Paint Your Life With Colors Quotes

There is a magnificent, beautiful, wonderful painting in front of you! It is intricate, detailed, a painstaking labor of devotion and love! The colors are like no other, they swim and leap, they trickle and embellish! And yet you choose to fixate your eyes on the small fly which has landed on it! Why do you do such a thing?

Somewhere someone is thinking of you. Someone is calling you an angel. This person is using celestial colors to paint your image. Someone is making you into a vision so beautiful that it can only live in the mind. Someone is thinking of the way your breath escapes your lips when you are touched. How your eyes close and your jaw tightens with concentration as you give pleasure a home. These thoughts are saving a life somewhere right now. In some airless apartment on a dark, urine stained, whore lined street, someone is calling out to you silently and you are answering without even being there. So crystalline. So pure. Such life saving power when you smile. You will never know how you have cauterized my wounds. So sad that we will never touch. How it hurts me to know that I will never be able to give you everything I have

I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.

Relax into your creativity. Allow your mind to paint the pictures of words and colors, images and lines, rhythm and melodies. Lean into your passion without strife and allow your heart to sing as you create. Share your gifts with the world as we all deserve to absorb the beauty and awes of art.

I hear the question upon your lips: What is it to be a colour? Colour is the touch of the eye, music to the deaf, a word out of the darkness. Because I’ve listened to souls whispering – like the susurrus of the wind – from book to book and object to object for tens or thousands of years, allow me to say that my touch resembles the touch of angels. Part of me, the serious half, calls out to your vision while the mirthful half sours through the air with your glances. I’m so fortunate to be red! I’m fiery. I’m strong. I know men take notice of me and that I cannot be resisted. I do not conceal myself: For me, delicacy manifests itself neither in weakness nor in subtlety, but through determination and will. So, I draw attention to myself. I’m not afraid of other colours, shadows, crowds or even of loneliness. How wonderful it is to cover a surface that awaits me with my own victorious being! Wherever I’m spread, I see eyes shine, passions increase, eyebrows rise and heartbeats quicken. Behold how wonderful it is to live! Behold how wonderful to see. I am everywhere. Life begins with and returns to me. Have faith in what I tell you.

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.

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

Once you show someone your true colors it is impossible to paint over them.

For Jenn At 12 years old I started bleeding with the moon and beating up boys who dreamed of becoming astronauts. I fought with my knuckles white as stars, and left bruises the shape of Salem. There are things we know by heart, and things we don't. At 13 my friend Jen tried to teach me how to blow rings of smoke. I'd watch the nicotine rising from her lips like halos, but I could never make dying beautiful. The sky didn't fill with colors the night I convinced myself veins are kite strings you can only cut free. I suppose I love this life, in spite of my clenched fist. I open my palm and my lifelines look like branches from an Aspen tree, and there are songbirds perched on the tips of my fingers, and I wonder if Beethoven held his breath the first time his fingers touched the keys the same way a soldier holds his breath the first time his finger clicks the trigger. We all have different reasons for forgetting to breathe. But my lungs remember the day my mother took my hand and placed it on her belly and told me the symphony beneath was my baby sister's heartbeat. And I knew life would tremble like the first tear on a prison guard's hardened cheek, like a prayer on a dying man's lips, like a vet holding a full bottle of whisky like an empty gun in a war zone… just take me just take me Sometimes the scales themselves weigh far too much, the heaviness of forever balancing blue sky with red blood. We were all born on days when too many people died in terrible ways, but you still have to call it a birthday. You still have to fall for the prettiest girl on the playground at recess and hope she knows you can hit a baseball further than any boy in the whole third grade and I've been running for home through the windpipe of a man who sings while his hands playing washboard with a spoon on a street corner in New Orleans where every boarded up window is still painted with the words We're Coming Back like a promise to the ocean that we will always keep moving towards the music, the way Basquait slept in a cardboard box to be closer to the rain. Beauty, catch me on your tongue. Thunder, clap us open. The pupils in our eyes were not born to hide beneath their desks. Tonight lay us down to rest in the Arizona desert, then wake us washing the feet of pregnant women who climbed across the border with their bellies aimed towards the sun. I know a thousand things louder than a soldier's gun. I know the heartbeat of his mother. Don't cover your ears, Love. Don't cover your ears, Life. There is a boy writing poems in Central Park and as he writes he moves and his bones become the bars of Mandela's jail cell stretching apart, and there are men playing chess in the December cold who can't tell if the breath rising from the board is their opponents or their own, and there's a woman on the stairwell of the subway swearing she can hear Niagara Falls from her rooftop in Brooklyn, and I'm remembering how Niagara Falls is a city overrun with strip malls and traffic and vendors and one incredibly brave river that makes it all worth it. Ya'll, I know this world is far from perfect. I am not the type to mistake a streetlight for the moon. I know our wounds are deep as the Atlantic. But every ocean has a shoreline and every shoreline has a tide that is constantly returning to wake the songbirds in our hands, to wake the music in our bones, to place one fearless kiss on the mouth of that brave river that has to run through the center of our hearts to find its way home.

You can’t colour your world with someone’s paint.

If you’re to choose to paint your life today... What will it be? Remember, you’re the artist, not the canvas.

If you use too much paint, you'll not only obscure your savvy completely, but most everything else in life will become dull and uninteresting for you too. You can't get rid of part of what makes you you and be happy...So a well-scumbled savvy gives you clarity and control...You have to let your own know-how, your own unique color, shine through as a something-special others can't quite put a finger on." —Momma

Live or die, but don't poison everything... Well, death's been here for a long time -- it has a hell of a lot to do with hell and suspicion of the eye and the religious objects and how I mourned them when they were made obscene by my dwarf-heart's doodle. The chief ingredient is mutilation. And mud, day after day, mud like a ritual, and the baby on the platter, cooked but still human, cooked also with little maggots, sewn onto it maybe by somebody's mother, the damn bitch! Even so, I kept right on going on, a sort of human statement, lugging myself as if I were a sawed-off body in the trunk, the steamer trunk. This became perjury of the soul. It became an outright lie and even though I dressed the body it was still naked, still killed. It was caught in the first place at birth, like a fish. But I play it, dressed it up, dressed it up like somebody's doll. Is life something you play? And all the time wanting to get rid of it? And further, everyone yelling at you to shut up. And no wonder! People don't like to be told that you're sick and then be forced to watch you come down with the hammer. Today life opened inside me like an egg and there inside after considerable digging I found the answer. What a bargain! There was the sun, her yolk moving feverishly, tumbling her prize -- and you realize she does this daily! I'd known she was a purifier but I hadn't thought she was solid, hadn't known she was an answer. God! It's a dream, lovers sprouting in the yard like celery stalks and better, a husband straight as a redwood, two daughters, two sea urchings, picking roses off my hackles. If I'm on fire they dance around it and cook marshmallows. And if I'm ice they simply skate on me in little ballet costumes. Here, all along, thinking I was a killer, anointing myself daily with my little poisons. But no. I'm an empress. I wear an apron. My typewriter writes. It didn't break the way it warned. Even crazy, I'm as nice as a chocolate bar. Even with the witches' gymnastics they trust my incalculable city, my corruptible bed. O dearest three, I make a soft reply. The witch comes on and you paint her pink. I come with kisses in my hood and the sun, the smart one, rolling in my arms. So I say Live and turn my shadow three times round to feed our puppies as they come, the eight Dalmatians we didn't drown, despite the warnings: The abort! The destroy! Despite the pails of water that waited, to drown them, to pull them down like stones, they came, each one headfirst, blowing bubbles the color of cataract-blue and fumbling for the tiny tits. Just last week, eight Dalmatians, 3/4 of a lb., lined up like cord wood each like a birch tree. I promise to love more if they come, because in spite of cruelty and the stuffed railroad cars for the ovens, I am not what I expected. Not an Eichmann. The poison just didn't take. So I won't hang around in my hospital shift, repeating The Black Mass and all of it. I say Live, Live because of the sun, the dream, the excitable gift.

Walt Whitman (1819–1892). Leaves of Grass. 1900. To You WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying. Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago; I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you; None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light; From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; (Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

Today is your day to paint life in bold colors; set today’s rhythm with your heart-drum; walk today’s march with courage; create today as your celebration of life.

Have you ever stared at a painting so long that the colors blur and you can’t tell what you’re looking at anymore? There’s no form, face, or shape–just color, just swirls of paint? I think people are like that. When you really look at them, you stop seeing a perfect nose or straight teeth. You stop seeing the acne scar or the dimple in the chin. Those things start to blur, and suddenly you see them, the colors, the life inside the shell, and beauty takes on a whole new meaning.

Do you want to paint your life using two colors (good and bad) or do you want to paint the best piece of your life with colors beyond your wildest imagination?

Life is neither misery nor bliss. Life is an empty canvas, paint your life with color of your choice, start with a day. Let horses of your imagination run wild.

Each time you love—be it a man or a child, a cat or a horse—you add color to this world. When you fail to love, you erase color.” She smiles. “Love, in any of its forms, is what takes this journey from a bleak black-and-white pencil sketch to a magnificent oil painting.” She touches my cheek. “It’s the sweet fruit that paints the field and wakes our senses. I’m not saying you must be on a constant quest for it, but please, if love comes to you, if you find it within your grasp, promise me you’ll pluck it from the vine and give it a good looking-over, won’t you?

Let every sunrise adorn your mind with the power of hope. Let it paint your life with the colors of the morning sky.

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.

Define the perimeter of your life. Set it beyond the realm of possibility. Then from there begin to paint in between the lines. Use many colors and get into every possible nook and cranny. Don't erase a single thing.

A funny thing happens when you have nothing left to live for. Your existence loses all its sharp edges. There are no more steep drops, no hills to climb. Colors blur and muddle together until your surroundings are a bunch of meaningless shapes and figures painted in the same shade of gray. There's nothing that could possibly surprise you or resurrect those old sensations of joy or fear. No humans could be as unfeeling, as numb, as you are. And then, just when you're getting lulled into the monotonous routine, something snaps. No more.

Our lives are blank canvases on which we paint our choices. There is no right or wrong; the colors just change, and if your painting turns out to be excessively dark, don't be discouraged. There are those who are drawn to the darkness.

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.

But mostly, when I look back, what I remember is not Mom rushing about; it’s Mom sitting quietly in the center of the house, in the living room, under the swirling colors of a Paul Jenkins painting; there would be a fire in the fireplace and a throw over her lap, her hands sticking out to hold a book. And we all wanted to be there with her and Dad, reading quietly too.

Somewhere someone is thinking of you. Someone is calling you an angel. This person is using celestial colors to paint your image. Someone is making you into a vision so beautiful that it can only live in the mind. Someone is thinking of the way your breath escapes your lips when you are touched. How your eyes close and your jaw tightens with concentration as you give pleasure a home. These thoughts are saving a life somewhere right now. In some airless apartment on a dark, urine stained, whore lined street, someone is calling out to you silently and you are answering without even being there. So crystalline. So pure. Such life saving power when you smile.

Everyday we are all presented with the same primary colors(red, yellow, blue), some mix their colors to get secondary and tertiary colors to paint their life's portrait beautifully, others sit and complain that they don't have enough colors. It's not the number of colors on your pallet that does the magic, it's what you do with what you have. Go ahead and paint anyway. It's your life's portrait.

Exactly. The dots guy. I've always thought getting older was a bit like looking at those paintings. You're born, and that's when you're standing right up next to the canvas. Nothing makes any sense. There's just a lot of light and color. But as you get older, you begin to back away, and that's when the image starts to cohere. All those little spots of color turn into flowers, or people, or dogs. You gain perspective.

Becoming a better grownup is not about achieving more. Part of being a better grownup is letting people know they are enough—including yourself. It's realizing that every single day is another layer of fresh color on the masterpiece of a life you're painting. It's handing out trophies to let people know they've wowed you by simply being the best at who they are. Maybe it's even creating a trophy for yourself, holding it, and owning it.

If you stand before a canvas, up close, almost to the point where your nose touches paint, you will see nothing but a blurred image; an image composed of thousands of tiny dots of paint. Stand back from the canvas and all those points of color merge to form an image of beauty recognizable to the human heart. Life is composed of thousands of tiny moments of time. Stand back and you will see a life of beauty, capable of touching the human heart.

You worked, slaved, fought off the rats, the mice, the roaches, the ants, the Housing Authority, the cops, the muggers, and now the drug dealers. You lived a life of disappointment and suffering, of too-hot summers and too-cold winters, surviving in apartments with crummy stoves that didn’t work and windows that didn’t open and toilets that didn’t flush and lead paint that flecked off the walls and poisoned your children, living in awful, dreary apartments built to house Italians who came to America to work the docks, which had emptied of boats, ships, tankers, dreams, money, and opportunity the moment the colored and the Latinos arrived. And still New York blamed you for all its problems

Paint the sky of life with colors that only you can create!

Storms pass by on their way to get all the colors needed to paint your rainbow.

These dances into the scientific prove what ancient wisdom has already known: if you paint your world with every color of the rainbow, the world will smile back.

Jump inside a painting till you retouch your life with colors of euphoria.

Paint it the color of your suit.

Sometimes there are people who come into your life and leave a permanent mark. They paint your soul different colors and change the way you see the world.

The world is yours to live a beautiful life. If you can do something to make it memorable, paint your life with extraordinary colours.

Today is a new canvas, paint it with all your favorite colors.

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.

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.

Haven't you ever read any books? You can paint the walls of your room the color of his eyes, you can save his future child's life from an evil wizard, you can give him your fortune upon your death--

Lily Owens: If your favorite color is blue, why did you paint the house pink? August Boatwright: [chuckles] That was May's doing. When we went to the paint shop, she latched on to a color called, "Caribbean Pink." She said it made her feel like dancing a Spanish Flamenco. I personally thought it was the tackiest color I had ever seen, but I figured if it could lift May's heart, it was good enough to live in. Lily Owens: That was awfully nice of you. August Boatwright: Well, I don't know. Some things in life, like the color of a house, don't really matter. But lifting someone's heart? Now, that matters.

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. ________________________

It's hard to explain my life; it's kind of like a mash up. When you're a kid and you think it's a good idea to mix all the paint colors and you think it's going to be awesome, but you find out it just all turns black.

Don’t let the painting of your life be blurred with regret and unspoken words, that’s been resting on your lips for so very long. Say what you have to say and find peace. The colors of the rainbow are yours if you’d only set yourself free.

What's Toraf's favorite color?" She shrugs. "Whatever I tell him it is." I raise a brow at her. "Don't know, huh?" She crosses her arms. "Who cares anyway? We're not painting his toenails." "I think what's she's trying to say, honey bunches, is that maybe you should paint your nails his favorite color, to show him you're thinking about him," Rachel says, seasoning her words with tact. Rayna sets her chin. "Emma doesn't paint her nails Galen's favorite color." Startled that Galen has a favorite color and I don't know it, I say, "Uh, well, he doesn't like nail polish." That is to say, he's never mentioned it before. When a brilliant smile lights up her whole face, I know I've been busted. "You don't know his favorite color!" she says, actually pointing at me. "Yes, I do," I say, searching Rachel's face for the answer. She shrugs. Rayna's smirk is the epitome of I know something you don't know. Smacking it off her face is my first reflex, but I hold back, as I always do, because of the kiss I shared with Toraf and the way it hurt her. Sometimes I catch her looking at me with that same expression she had on the beach, and I feel like fungus, even though she deserved it at the time. Refusing to fold, I eye the buffet of nail polish scattered before me. Letting my fingers roam over the bottles, I shop the paints, hoping one of them stands out to me. To save my life, I can't think of any one color he wears more often. He doesn't have a favorite sport, so team colors are a no-go. Rachel picked his cars for him, so that's no help either. Biting my lip, I decide on an ocean blue. "Emma! Now I'm just ashamed of myself," he says from the doorway. "How could you not know my favorite color?" Startled, I drop the bottle back on the table. Since he's back so soon, I have to assume he didn't find what or who he wanted-and that he didn't hunt them for very long. Toraf materializes behind him, but Galen's shoulders are too broad to allow them both to stand in the doorway. Clearing my throat, I say, "I was just moving that bottle to get to the color I wanted." Rayna is all but doing a victory dance with her eyes. "Which is?" she asks, full of vicious glee. Toraf pushes past Galen and plops down next to his tiny mate. She leans into him, eager for his kiss. "I missed you," she whispers. "Not as much as I missed you," he tells her. Galen and I exchange eye rolls as he walks around to prop himself on the table beside me, his wet shorts making a butt-shaped puddle on the expensive wood. "Go ahead, angelfish," he says, nodding toward the pile of polish. If he's trying to give me a clue, he sucks at it. "Go" could mean green, I guess. "Ahead" could mean...I have no idea what that could mean. And angelfish come in all sorts of colors. Deciding he didn't encode any messages for me, I sigh and push away from the table to stand. "I don't know. We've never talked about it before." Rayna slaps her knee in triumph. "Ha!" Before I can pass by him, Galen grabs my wrist and pulls me to him, corralling me between his legs. Crushing his mouth to mine, he moves his hand to the small of my back and presses me into him. Since he's still shirtless and I'm in my bikini, there's a lot of bare flesh touching, which is a little more intimate than I'm used to with an audience. Still, the fire sears through me, scorching a path to the furthest, deepest parts of me. It takes every bit of grit I have not to wrap my arms around his neck. Gently, I push my hands against his chest to end the kiss, which is something I never thought I'd do. Giving him a look that I hope conveys "inappropriate," I step back. I've spent enough time in their company to know without looking that Rayna's eyes are bugging out of their sockets and Toraf is grinning like a nutcracker doll. With any luck, Rachel didn't even see the kiss. Stealing a peek at her, she meets my gaze with openmouthed shock. Okay, it looked as bad as I thought it did.

Young Bindo Altovini, looking out from time, made a perfect coalition with the mountains, the sky, and the tall redheaded woman who had bent over just slightly to examine a raging battle that was long over. Alessandro imagined that Bindo Altovini was saying, half with longing, half with delight, "These are the things in which I was so helplessly caught up, the waves that took me, what I loved. When light filled my eyes and I was restless and could move, I knew not what all the color was about, but only that I had a passion to see. And now that I am still, I pass on to you my liveliness and my life, for you will be taken, as once I was, and although you must fight beyond your capacity to fight and feel beyond your capacity to feel, remember that it ends in perfect peace, and you will be as still and content as am I, for whom centuries are not even seconds." In the eyes of Bindo Altoviti, Alessandro saw wisdom and amusement, and he knew why the subjects of paintings and photographs seemed to look from the past as if with clairvoyance. Even brutal and impatient men, when frozen in time, assumed expressions of extraordinary compassion, as if they had reflected the essence of their redemption back into the photograph. In a sense they were still living.

He snatched at the kerchief, managing to loosen it. "Please. It's all I want from life, to see you with-" another swipe, and he snagged the edge of the cloth, "-your hair all-" But Leo broke off as the kerchief pulled free, and the hair that spilled out was not any conceivable shade of green. It was blond... pale amber and champagne and honey... and there was so much of it, cascading in shimmering waves to the middle of her back. Leo went still, holding her in place as his astonished gaze raked over her. They both gulped for breath, worked up and winded like racehorses. Marks couldn't have looked more appalled if he had just stripped her naked. And the truth was, Leo couldn't have been any more confounded- or aroused- if he were actually viewing her naked. Though he certainly would have been willing to try it. Such a commotion had risen in him, Leo hardly knew how to react. Just hair, just locks of hair... but it was like a previously undistinguished painting in the perfect frame, revealing its beauty in full luminous detail. Catherine Marks in the sunlight was a mythical creature, a nymph, with delicate features and opalescent eyes. The most confounding realization was that it wasn't really hair color that had concealed all this from him... he had never noticed how stunning she was because she had deliberately kept him from seeing it. "Why," Leo asked, his voice husky, "would you conceal something so beautiful?" Staring at her, nearly devouring her, he asked more softly still, "What are you hiding from?

Jessabelle, I'm sorry to just leave, but I need some time. Time to get my head back on straight. Time to remember who I really am. Time with my Creator, the one who knew before the foundations of the earth what would happen over the last few days. I wish more than anything, that I could process all of this with you, go through all of this together, because I'm coming to understand that, out of all the men in the world, God picked me for you. It's so much more than lineage. It's you. How you've come into your own. How you've blossomed and grown. I'm so privileged to see that secret side of you-the side no one else gets to see. The side where you secretly paint your second toenail a different color because everyone else does the fourth one, but you're not sure my mother would approve so you never wear open-toed shoes to show them off. You only eat M&Ms in odd numbers. You use your right hand to put hair behind your ear, but never your left. You didn't know I knew those things, did you? I've watched you over the last few months and learned more about you than I realized until I tried to put my thoughts on paper. You're sleeping just feet away from me as I write this. Your even breathing brings some peace to my troubled soul. The small smile on your face makes me wonder what your dreaming about and if, in your sleep, you've managed to find happiness instead of the turmoil life always seems to bring. I have to stop myself from wondering if dream-Jessabelle has found happiness with someone besides dream-Malachi, because I've realized something in the last couple of days. I love you. My life didn't really begin until you walked down the aisle into it. I want to be man enough to tell you to your face, to kiss you, to tell you over and over what you've come to mean to me, but I can't. Not yet... You are the only one for me, sweet Mia Belle. I love you with my entire being, in a way I never believed possible to love another person. I didn't know this kind of love truly existed outside of fairy tales. Always, Kai

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.

Life in the Cause would lurch forward as it always did. You worked, slaved, fought off the rats, the mice, the roaches, the ants, the Housing Authority, the cops, the muggers, and now the drug dealers. You lived a life of disappointment and suffering, of too-hot summers and too-cold winters, surviving in apartments with crummy stoves that didn’t work and windows that didn’t open and toilets that didn’t flush and lead paint that flecked off the walls and poisoned your children, living in awful, dreary apartments built to house Italians who came to America to work the docks, which had emptied of boats, ships, tankers, dreams, money, and opportunity the moment the colored and the Latinos arrived. And still New York blamed you for all its problems. And who can you blame? You were the one who chose to live here, in this hard town with its hard people, the financial capital of the world, land of opportunity for the white man and a tundra of spent dreams and empty promises for anyone else stupid enough to believe the hype. Sister Gee stared at her neighbors as they surrounded her, and at that moment she saw them as she had never seen them before: they were crumbs, thimbles, flecks of sugar powder on a cookie, invisible, sporadic dots on the grid of promise, occasionally appearing on Broadway stages or on baseball teams with slogans like “You gotta believe,” when in fact there was nothing to believe but that one colored in the room is fine, two is twenty, and three means close up shop and everybody go home; all living the New York dream in the Cause Houses, within sight of the Statue of Liberty, a gigantic copper reminder that this city was a grinding factory that diced the poor man’s dreams worse than any cotton gin or sugarcane field from the old country. And now heroin was here to make their children slaves again, to a useless white powder. She looked them over, the friends of her life, staring at her. They saw what she saw, she realized. She read it in their faces. They would never win. The game was fixed. The villains would succeed. The heroes would die.

Have you stared at a painting so long that the colors blur and you can't tell what you're looking at anymore? There's no form, face or shape; just color. Just swirls of paint. I think people are like that. When you really look at them, you stop seeing a perfect nose or straight teeth. You stop seeing the acne scar or the dimple in the chin. Those things start to blur and you suddenly see them. The colors, the life inside the shell and beauty takes on a whole new meaning.

AMOR FATI Inside every world there is another world trying to get out, and there is something in you that would like to discount this world. The stars could rise in darkness over heartbreaking coasts, and you would not know if you were ruining your life or beginning a real one. You could claim professional fondness for the world around you; the pictures would dissolve under the paint coming alive, and you would only feel a phantom skip of the heart, absorbed so in the colors. Your disbelief is a later novel emerging in the long, long shadow of an earlier one— is this the great world, which is whatever is the case? The sustained helplessness you feel in the long emptiness of days is matched by the new suspiciousness and wrath you wake to each morning. Isn’t this a relationship with your death, too, to fall in love with your inscrutable life? Your teeth fill with cavities. There is always unearned happiness for some, and the criminal feeling of solitude. Always, everyone lies about his life.

I love you, Emily. You'll always be my best friend. You'll always be my...Molly. You're the mother of my child. You and Noah have brought color to my empty canvas, light into my darkened life. Let's paint the full picture together and light up the sky sweets. I love you both more than anything. I believe in forever, and that's what you and I are. We define eternity. This may sound cheese, but you make me go there. You give me butterflies, Emily Cooper. I've never had that before, and I don't want to let that go for anything. Ever. I asked you once to crash with me, and you did. Now...I'm asking you to take the full ride. Walk with me the rest of the way until we're old, sitting in rocking chairs and watching our sugar-high grandchildren play in our yard. I've seen this world a million times over, but I've never seen it with you by my side. I want you, no, I need you to be my wife. I need to wake up every morning knowing you're Mrs. Emily Michelle Blake. Please. Take this last step with me.

I consider these things idly. Each one of them seems the same size as all the others. Not one seems preferable. Fatigue is here, in my body, in my legs and eyes. That is what gets you in the end. Faith is only a word, embroidered.   I look out at the dusk and think about its being winter. The snow falling, gently, effortlessly, covering everything in soft crystal, the mist of moonlight before a rain, blurring the outlines, obliterating color. Freezing to death is painless, they say, after the first chill. You lie back in the snow like an angel made by children and go to sleep. Behind me I feel her presence, my ancestress, my double, turning in midair under the chandelier, in her costume of stars and feathers, a bird stopped in flight, a woman made into an angel, waiting to be found. By me this time. How could I have believed I was alone in here? There were always two of us. Get it over, she says. I'm tired of this melodrama, I'm tired of keeping silent. There's no one you can protect, your life has value to no one. I want it finished.   As I'm standing up I hear the black van. I hear it before I see it; blended with the twilight, it appears out of its own sound like a solidification, a clotting of the night. It turns into the driveway, stops. I can just make out the white eye, the two wings. The paint must be phosphorescent. Two men detach themselves from the shape of it, come up the front steps, ring the bell. I hear the bell toll, ding-dong, like the ghost of a cosmetics woman, down in the hall. Worse is coming, then. I've

There is nothing that the media could say to me that would justify the way they’ve acted. You can hound me. You can follow me, but in no way should you frighten those around me. To harm my wife and potentially harm my daughter—there is no excuse that could put any of you on the right side of morality. I met Rose when I was fifteen and she was fourteen, and through what she would call fate and I’d call circumstance of our hobbies, we’d cross paths dozens of times over the course of a decade. At seventeen, I attended the same national Model UN conference as Rose, and a delegate for Greenland locked us in a janitorial closet. He also stole our phones. He had to beat us dishonorably because he couldn’t beat us any other way. Rose said being locked in a confined space with me was the worst two hours of her life" They look bemused, brows furrowing. I can’t help but smile. “You’re confused because you don’t know whether she was exaggerating or whether she was being truthful. But the truth is that we are complex people with the ability to love to hate and to hate to love, and I wouldn’t trade her for any other person. So that day, stuck beside mops and dirtied towels, I could’ve picked the lock five minutes in and let her go. Instead, I purposefully spent two hours with a girl who wore passion like a dress made of diamonds and hair made of flames. Every day of my life, I am enamored. Every day of my life, I am bewitched. And every day of my life, I spend it with her.” My chest swells with more power, lifting me higher. “I’ve slept with many different kinds of people, and yes, the three that spoke to the press are among them. Rose is the only person I’ve ever loved, and through that love, we married and started a family. There is no other meaning behind this, and for you to conjure one is nothing less than a malicious attack against my marriage and my child. Anything else has no relevance. I can’t be what you need me to be. So you’ll have to accept this version or waste your time questioning something that has no answer. I know acceptance isn’t easy when you’re unsure of what you’re accepting, but all I can say is that you’re accepting me as me. I leave them with a quote from Sylvia Plath. “‘I took a deep breath and listened to the old brag of my heart.’” My lips pull higher, into a livelier smile. “‘I am, I am, I am.’” With this, I step away from the podium, and I exit to a cacophony of journalists shouting and asking me to clarify. Adapt to me. I’m satisfied, more than I even predicted. Some people will rewind this conference on their television, to listen closely and try to understand me. I don’t need their understanding, but my daughter will—and I hope the minds of her peers are wide open with vibrant hues of passion. I hope they all paint the world with color.

Saturday evening, on a quiet lazy afternoon, I went to watch a bullfight in Las Ventas, one of Madrid's most famous bullrings. I went there out of curiosity. I had long been haunted by the image of the matador with its custom made torero suit, embroidered with golden threads, looking spectacular in his "suit of light" or traje de luces as they call it in Spain. I was curious to see the dance of death unfold in front of me, to test my humanity in the midst of blood and gold, and to see in which state my soul will come out of the arena, whether it will be shaken and stirred, furious and angry, or a little bit aware of the life embedded in every death. Being an avid fan of Hemingway, and a proponent of his famous sentence "About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after,” I went there willingly to test myself. I had heard atrocities about bullfighting yet I had this immense desire to be part of what I partially had an inclination to call a bloody piece of cultural experience. As I sat there, in front of the empty arena, I felt a grandiose feeling of belonging to something bigger than anything I experienced during my stay in Spain. Few minutes and I'll be witnessing a painting being carefully drawn in front of me, few minutes and I will be part of an art form deeply entrenched in the Spanish cultural heritage: the art of defying death. But to sit there, and to watch the bull enter the arena… To watch one bull surrounded by a matador and his six assistants. To watch the matador confronting the bull with the capote, performing a series of passes, just before the picador on a horse stabs the bull's neck, weakening the neck muscles and leading to the animal's first loss of blood... Starting a game with only one side having decided fully to engage in while making sure all the odds will be in the favor of him being a predetermined winner. It was this moment precisely that made me feel part of something immoral. The unfair rules of the game. The indifferent bull being begged to react, being pushed to the edge of fury. The bull, tired and peaceful. The bull, being teased relentlessly. The bull being pushed to a game he isn't interested in. And the matador getting credits for an unfair game he set. As I left the arena, people looked at me with mocking eyes. Yes, I went to watch a bull fight and yes the play of colors is marvelous. The matador’s costume is breathtaking and to be sitting in an arena fills your lungs with the sands of time. But to see the amount of claps the spill of blood is getting was beyond what I can endure. To hear the amount of claps injustice brings is astonishing. You understand a lot about human nature, about the wars taking place every day, about poverty and starvation. You understand a lot about racial discrimination and abuse (verbal and physical), sex trafficking, and everything that stirs the wounds of this world wide open. You understand a lot about humans’ thirst for injustice and violence as a way to empower hidden insecurities. Replace the bull and replace the matador. And the arena will still be there. And you'll hear the claps. You've been hearing them ever since you opened your eyes.

We almost began a perfect conversation, F. said as he turned on the six o'clock news. He turned the radio very loud and began to shout wildly against the voice of the commentator, who was reciting a list of disasters. Sail on, sail on, O Ship of State, auto accidents, births, Berlin, cures for cancer! Listen, my friend, listen to the present, the right now, it's all around us, painted like a target, red, white, and blue. Sail into the target like a dart, a fluke bull's eye in a dirty pub. Empty your memory and listen to the fire around you. Don't forget your memory, let it exist somewhere precious in all the colors that it needs but somewhere else, hoist your memory on the Ship of State like a pirate's sail, and aim yourself at the tinkly present. Do you know how to do this? Do you know how to see the akropolis like the Indians did who never even had one? Fuck a saint, that's how, find a little saint and fuck her over and over in some pleasant part of heaven, get right into her plastic altar, dwell in her silver medal, fuck her until she tinkles like a souvenir music box, until the memorial lights go on for free, find a little saintly faker like Teresa or Catherine Tekakwitha or Lesbia, whom prick never knew but who lay around all day in a chocolate poem, find one of these quaint impossible cunts and fuck her for your life, coming all over the sky, fuck her on the moon with a steel hourglass up your hole, get tangled in her airy robes, suck her nothing juices, lap, lap, lap, a dog in the ether, then climb down to this fat earth and slouch around the fat earth in your stone shoes, get clobbered by a runaway target, take the senseless blows again and again, a right to the mind, piledriver on the heart, kick in the scrotum, help! help! it's my time, my second, my splinter of the shit glory tree, police, fire men! look at the traffic of happiness and crime, it's burning in crayon like the akropolis rose! And so on.

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.

I’ve often wished—especially when I was younger—that my work was better, that it rose to the level of genius, that I could write well enough to make something worth remembering. But I think that way of imagining art might make individuals too important. Maybe in the end art and life are more like the world’s largest ball of paint. You carefully choose your colors, and then you add your layer as best you can. In time, it gets painted over. The ball gets painted again and again until there is no visible remnant of your paint. And eventually, maybe nobody knows about it except for you. But that doesn’t mean your layer of paint is irrelevant or a failure. You have permanently, if slightly, changed the larger sphere. You’ve made it more beautiful, and more interesting. The world’s largest ball of paint looks nothing like the baseball it used to be, and you’re part of the reason. In the end, that’s what art is for me. You paint the ball, which changes the way someone else thinks about painting the ball, and so on, until some guy overwhelmed with grief and dread drives out to Alexandria, Indiana, to see what beautiful foolishness thousands of people have made together, and feels a hope that cannot be explained or shared except by painting. That guy adds a layer of his own to the ball, one that won’t last but still matters. Art is not only a genius going forth, as James Joyce put it, “to forge in the smithy of my soul the uncreated conscience of my race.” Art is also picking a light blue for your layer of the world’s largest ball of paint, knowing that it will soon be painted over, and painting anyway. I give the world’s largest ball of paint four stars.

Necessities 1 A map of the world. Not the one in the atlas, but the one in our heads, the one we keep coloring in. With the blue thread of the river by which we grew up. The green smear of the woods we first made love in. The yellow city we thought was our future. The red highways not traveled, the green ones with their missed exits, the black side roads which took us where we had not meant to go. The high peaks, recorded by relatives, though we prefer certain unmarked elevations, the private alps no one knows we have climbed. The careful boundaries we draw and erase. And always, around the edges, the opaque wash of blue, concealing the drop-off they have stepped into before us, singly, mapless, not looking back. 2 The illusion of progress. Imagine our lives without it: tape measures rolled back, yardsticks chopped off. Wheels turning but going nowhere. Paintings flat, with no vanishing point. The plots of all novels circular; page numbers reversing themselves past the middle. The mountaintop no longer a goal, merely the point between ascent and descent. All streets looping back on themselves; life as a beckoning road an absurd idea. Our children refusing to grow out of their childhoods; the years refusing to drag themselves toward the new century. And hope, the puppy that bounds ahead, no longer a household animal. 3 Answers to questions, an endless supply. New ones that startle, old ones that reassure us. All of them wrong perhaps, but for the moment solutions, like kisses or surgery. Rising inflections countered by level voices, words beginning with w hushed by declarative sentences. The small, bold sphere of the period chasing after the hook, the doubter that walks on water and treads air and refuses to go away. 4 Evidence that we matter. The crash of the plane which, at the last moment, we did not take. The involuntary turn of the head, which caused the bullet to miss us. The obscene caller who wakes us at midnight to the smell of gas. The moon's full blessing when we fell in love, its black mood when it was all over. Confirm us, we say to the world, with your weather, your gifts, your warnings, your ringing telephones, your long, bleak silences. 5 Even now, the old things first things, which taught us language. Things of day and of night. Irrational lightning, fickle clouds, the incorruptible moon. Fire as revolution, grass as the heir to all revolutions. Snow as the alphabet of the dead, subtle, undeciphered. The river as what we wish it to be. Trees in their humanness, animals in their otherness. Summits. Chasms. Clearings. And stars, which gave us the word distance, so we could name our deepest sadness.

Onions! Fresh, hot, sweet onions,” Sam called as Mary Lou pulled the cart down Main Street. “Eight cents a dozen.” It was a beautiful spring morning. The sky was painted pale blue and pink—the same color as the lake and the peach trees along its shore. Mrs. Gladys Tennyson was wearing just her nightgown and robe as she came running down the street after Sam. Mrs. Tennyson was normally a very proper woman who never went out in public without dressing up in fine clothes and a hat. So it was quite surprising to the people of Green Lake to see her running past them. “Sam!” she shouted. “Whoa, Mary Lou,” said Sam, stopping his mule and cart. “G’morning, Mrs. Tennyson,” he said. “How’s little Becca doing?” Gladys Tennyson was all smiles. “I think she’s going to be all right. The fever broke about an hour ago. Thanks to you.” “I’m sure the good Lord and Doc Hawthorn deserve most of the credit.” “The Good Lord, yes,” agreed Mrs. Tennyson, “but not Dr. Hawthorn. That quack wanted to put leeches on her stomach! Leeches! My word! He said they would suck out the bad blood. Now you tell me. How would a leech know good blood from bad blood?” “I wouldn’t know,” said Sam. “It was your onion tonic,” said Mrs. Tennyson. “That’s what saved her.” Other townspeople made their way to the cart. “Good morning, Gladys,” said Hattie Parker. “Don’t you look lovely this morning.” Several people snickered. “Good morning, Hattie,” Mrs. Tennyson replied. “Does your husband know you’re parading about in your bed clothes?” Hattie asked. There were more snickers. “My husband knows exactly where I am and how I am dressed, thank you,” said Mrs. Tennyson. “We have both been up all night and half the morning with Rebecca. She almost died from stomach sickness. It seems she ate some bad meat.” Hattie’s face flushed. Her husband, Jim Parker, was the butcher. “It made my husband and me sick as well,” said Mrs. Tennyson, “but it nearly killed Becca, what with her being so young. Sam saved her life.” “It wasn’t me,” said Sam. “It was the onions.” “I’m glad Becca’s all right,” Hattie said contritely. “I keep telling Jim he needs to wash his knives,” said Mr. Pike, who owned the general store. Hattie Parker excused herself, then turned and quickly walked away. “Tell Becca that when she feels up to it to come by the store for a piece of candy,” said Mr. Pike. “Thank you, I’ll do that.” Before returning home, Mrs. Tennyson bought a dozen onions from Sam. She gave him a dime and told him to keep the change. “I don’t take charity,” Sam told her. “But if you want to buy a few extra onions for Mary Lou, I’m sure she’d appreciate it.” “All right then,” said Mrs. Tennyson, “give me my change in onions.” Sam gave Mrs. Tennyson an additional three onions, and she fed them one at a time to Mary Lou. She laughed as the old donkey ate them out of her hand.

We almost began a perfect conversation, F. said as he turned on the six o'clock news. He turned the radio very loud and began to shout wildly against the voice of the commentator, who was reciting a list of disasters. Sail on, sail on, O Ship of State, auto accidents, births, Berlin, cures for cancer! Listen, my friend, listen to the present, the right now, it's all around us, painted like a target, red, white, and blue. Sail into the target like a dart, a fluke bull's eye in a dirty pub. Empty your memory and listen to the fire around you. Don't forget your memory, let it exist somewhere precious in all the colors that it needs but somewhere else, hoist your memory on the Ship of State like a pirate's sail, and aim yourself at the tinkly present. Do you know how to do this? Do you know how to see the akropolis like the Indians did who never even had one? Fuck a saint, that's how, find a little saint and fuck her over and over in some pleasant part of heaven, get right into her plastic altar, dwell in her silver medal, fuck her until she tinkles like a souvenir music box, until the memorial lights go on for free, find a little saintly faker like Teresa or Catherine Tekakwitha or Lesbia, whom prick never knew but who lay around all day in a chocolate poem, find one of these quaint impossible cunts and fuck her for your life, coming all over the sky, fuck her on the moon with a steel hourglass up your hole, get tangled in her airy robes, suck her nothing juices, lap, lap, lap, a dog in the ether, then climb down to this fat earth and slouch around the fat earth in your stone shoes, get clobbered by a runaway target, take the senseless blows again and again, a right to the mind, piledriver on the heart, kick in the scrotum, help! help! it's my time, my second, my splinter of the shit glory tree, police, fire men! look at the traffic of happiness and crime, it's burning in crayon like the akropolis rose! And so on.

Paint in several colors was squeezed out of tubes and mixed and applied to woven fabric stretched on a wooden frame so artfully we say we see a woman hanging out a sheet rather than oil on canvas. Ana Teresa Fernandez’s image on that canvas is six feet tall, five feet wide, the figure almost life-size. Though it is untitled, the series it’s in has a title: Telaraña. Spiderweb. The spiderweb of gender and history in which the painted woman is caught; the spiderweb of her own power that she is weaving in this painting dominated by a sheet that was woven. Woven now by a machine, but before the industrial revolution by women whose spinning and weaving linked them to spiders and made spiders feminine in the old stories. In this part of the world, in the creation stories of the Hopi, Pueblo, Navajo, Choctaw, and Cherokee peoples, Spider Grandmother is the principal creator of the universe. Ancient Greek stories included an unfortunate spinning woman who was famously turned into a spider as well as the more powerful Greek fates, who spun, wove, and cut each person’s lifeline, who ensured that those lives would be linear narratives that end. Spiderwebs are images of the nonlinear, of the many directions in which something might go, the many sources for it; of the grandmothers as well as the strings of begats. There’s a German painting from the nineteenth century of women processing the flax from which linen is made. They wear wooden shoes, dark dresses, demure white caps, and stand at various distances from a wall, where the hanks of raw material are being wound up as thread. From each of them, a single thread extends across the room, as though they were spiders, as though it came right out of their bellies. Or as though they were tethered to the wall by the fine, slim threads that are invisible in other kinds of light. They are spinning, they are caught in the web. To spin the web and not be caught in it, to create the world, to create your own life, to rule your fate, to name the grandmothers as well as the fathers, to draw nets and not just straight lines, to be a maker as well as a cleaner, to be able to sing and not be silenced, to take down the veil and appear: all these are the banners on the laundry line I hang out.

I’ll climb right up on you, just straddle your face and smother you with my sweet stuff… bury your face in thighs and my big old butt until you just can’t breathe.”  Dan groaned again. “Oh, yeah, baby, you know what I like.” “And when I’m done riding your face and drowning you in my wetness, I’m going to slide down... way down and leave a little trail of my juice down your chest and tummy, all the way down to your knees.” Dan was beginning to breathe harder.  “Yeah, oh, yeah, baby,” he said. “Yeah.  And you know big old girls are hungry girls, so I’m going to savor that big hard monster, rub it all over my face.”  I moan and groan a bit while peeking out the livingroom window to make sure Shell is still where I can see her in the front yard.  She is.  I continue, “Dan, oh, baby, I’m rubbing it on my lips… my chin… my cheeks… over my eyes…”  He’s imagining me caressing his daylily.  In reality, though, I’m dipping my paint brush into mauve paint and spreading the almost-pink color on the walls. I can tell that Dan is feeling the heat.  “I kiss that big old head gently… now I’m licking just underneath it… where it’s so sensitive.  Do you like that, sweetheart?” I ask him provocatively. “Oh, yeah…” “Tell me how much you like it, baby.  You just tell Rosie…

After another second had passed I added, “But you’re pretty, pretty,” and as soon as I said it I thought, “Pretty, pretty? John, you’re an idiot.” But she squeezed my hand and when I looked at her I saw her entire lovely face was aglow with a wonderful smile, the kind of smile you get when you have won something. “Why do you rub your fingers together all the time?” she asked me, and I felt the breath leave my body and gasped for air. She had seen me do my crazy finger thing, my affliction. I clenched my teeth while I searched for a long, exaggerated lie to tell her about why I did what I did. I didn’t want to be the crazy kid with tics, I wanted to be James Bond 007, so slick ice avoided me. “It’s okay,” she said. “I bite my nails, see?” and she showed me the backs of her hands. Her finger nails were painted a color I later learned was puce. “My Dad, he blinks all the time, he doesn’t know why either,” she continued. She looked down her feet and said, “I shouldn’t have asked you that. I’m really nervous and I say stupid things when I’m nervous. I’m a girl and this is my first date, and for girls this really is a very big deal.” I understood completely. I was so nervous I couldn’t feel my toes, so I started moving them up and down to make sure they were still there. “It’s all right,” I said. “I don’t know why I do that with my fingers; it’s a thing I do.” “Well, you’re really cute when you do it,” she said. “I know,” I said, and I don’t know why I said it, but I did.

Ronan's trying to wake up the world. I'm trying to think of how to talk him out of it, but what he's talking about is a world where she never fell asleep. A world where Matthew's just a kid. A world where it doesn't matter what Hennessy does, if something happens to her. A level playing field. I don't think it's a good idea, but it's not like I can't see the appeal, because now I'm biased, I'm too biased to be clear." Declan shook his head a little. "I said I would never become my father, anything like him. And now look at me. At us." Ah, there it was. It took no effort to remember the way he'd looked at her the first moment he realized she was a dream. "I'm a dream," Jordan said. "I'm not your dream." Declan put his chin in his hand and looked back out the window; that, too, would be a good portrait. Perhaps it was just because she liked looking at him that she thought each pose would make a good one. A series. What a future that idea promised, nights upon nights like this, him sitting there, her standing here. "By the time we're married," Declan said eventually, "I want you to have applied for a different studio in this place because this man's paintings are very ugly." Her pulse gently skipped two beats before continuing on as before. "I don't have a social security number of my own, Pozzi." "I'll buy you one," Declan said. "You can wear it in place of a ring." The two of them looked at each other past the canvas on her easel. Finally, he said, voice soft, "I should see the painting now." "Are you sure?" "It's time, Jordan." Putting his jacket to the side, he stood. He waited. He would not come around to look without an invite. It's time, Jordan. Jordan had never been truly honest with anyone who didn't wear Hennessy's face. Showing him this painting, this original, felt like being more honest than she had ever been in her life. She stepped back to give him room. Declan took it in. His eyes flickered to and from the likeness, from the jacket on Portrait Declan's leg to the real jacket he'd left behind on the chair. She watched his gaze follow the line edge she had taken such care to paint, that subtle electricity of complementary colors at the edge of his form. "It's very good," Declan muttered. "Jordan, it's very good." "I thought it might be." "I don't know if it's a sweetmetal. But you're very good." "I thought I might be." "The next one will be even better." "I think it might be." "And in ten years your scandalous masterpiece will get you thrown out of France, too," he said. "And later you can triumphantly sell it to the Met. Children will write papers about you. People like me will tell stories about you to their dates at museums to make them think they're interesting." She kissed him. He kissed her. And this kiss, too, got all wrapped up in the art-making of the portrait sitting on the easel beside them, getting all mixed in with all the other sights and sounds and feelings that had become part of the process. It was very good.

The Poetry that Searches Poetry that paints a portrait in words, Poetry that spills the bottled emotions, Gives life to the feelings deep inside, Breaks through all the times wept, To sweep you in a whirling ecstatic delight. The chiseled marble of language, The paint spattered canvas, Where colors flow through words, Where emotions roll on a canvas, And it all begins with you. The canvas that portrays the trembling you, Through the feelings that splash, Through the words that spatter, All over the awaiting canvas. Such is the painting sketched with passion, Colored with the heart's unleashed emotions. The poetry that reads your trembling heart, The poetry that feeds the seed of your dreams, That poetry that reveals light within rain, Takes you to a place where beauty lies in stain. The poetry that whispers- "May you find the stars, in a night so dark, May you find the moon, so rich with silver, May you sip the madness and delight In a night berserk with a wailing agony". Such words that arise from spilling emotions, So recklessly you fall, in love with life again. So, you rise shedding your fears, To chase after your dreams, As you hear thunder in the rain, That carries your pain, Through the painting of words, colored with courage, Splashed with ferocity, amidst the lost battles. Such is the richest color splash in words, Laid down on papers, that stayed so empty, For ages and ages. At times, you may feel lost, Wandering homeless in the woods, But poetry that you write, To drink the moonlight and madness, Poetry that you spill on a canvas with words, Calls you to fall, for life again. The words that evoke the intense emotions, The painting that gives the richest revelation, The insight that deepens in a light so streaming, Is the poetry that reveals the truth and beauty, In a form so elemental, in a way so searching, For a beauty so emotive, Which trembles, With the poetry's deepest digging. The words that take your eyes to sleep, The poetry that stills your raging feelings, Is the portrait of words that carries you, In emotions bottled within, held so deep, For an era so long. Forgotten they seemed, yet they arose, With the word's deepest calling, To the soul sleeping inside. The poetry that traces your emotions with words, Is a poetry that traces your soul with its lips, To speak a language that your heart understands. The Ecstatic Dance of Soul Copyright 2020 Jayita Bhattacharjee

But…but that’s tragic! To go through life without color? Unable to appreciate art, or beauty?” He laughed. “Now, sweet-hold your brush before you paint me a martyr’s halo. It’s not as though I’m blind. I have a great appreciation for art, as I believe we’ve discussed. And as for beauty…I don’t need to know whether your eyes are blue or green or lavender to know that they’re uncommonly lovely.” “No one has lavender eyes.” “Don’t they?” His gaze caught hers and refused to let go. Leaning forward, he continued, “Did that tutor of yours ever tell you this? That your eyes are ringed with a perfect circle a few shades darker than the rest of the…don’t they call it the iris?” Sophia nodded. “The iris.” He propped his elbow on the table and leaned forward, his gaze searching hers intently. “An apt term it is, too. There are these lighter rays that fan out from the center, like petals. And when your pupils widen-like that, right there-your eyes are like two flowers just coming into bloom. Fresh. Innocent.” She bowed her head, mixing a touch of lead white into the sea-green paint on her palette. He leaned closer still, his voice a hypnotic whisper. “But when you take delight in teasing me, looking up through those thick lashes, so saucy and self-satisfied…” She gave him a sharp look. He snapped his fingers. “There! Just like that. Oh, sweet-then those eyes are like two opera dancers smiling from behind big, feathered fans. Coy. Beckoning.” Sophia felt a hot blush spreading from her bosom to her throat. He smiled and reclined in his chair. “I don’t need to know the color of your hair to see that it’s smooth and shiny as silk. I don’t need to know whether it’s yellow or orange or red to spend an inordinate amount of time wondering how it would feel brushing against my bare skin.” Opening his book to the marked page, he continued, “And don’t get me started on your lips, sweet. If I endeavored to discover the precise shade of red or pink or violet they are, I might never muster the concentration for anything else.” He turned a leaf of his book, then fell silent. Sophia stared at her canvas. Her pulse pounded in her ears. A bead of sweat trickled down the back of her neck, channeling down between her shoulder blades, and a hot, itchy longing pooled at the cleft of her legs. Drat him. He’d known she was taunting him with her stories. And now he sat there in an attitude of near-boredom, making love to her with his teasing, colorless words in a blatant attempt to fluster her. It was as though they were playing a game of cards, and he’d just raised the stakes. Sophia smiled. She always won at cards. “Balderdash,” she said calmly. He looked up at her, eyebrow raised. “No one has violet lips.” “Don’t they?” She laid aside her palette and crossed her arms on the table. “The slope of your nose is quite distinctive.” His lips quirked in a lopsided grin. “Really.” “Yes.” She leaned forward, allowing her bosom to spill against her stacked arms. His gaze dipped, but quickly returned to hers. “The way you have that little bump at the ridge…It’s proving quite a challenge.” “Is that so?” He bent his head and studied his book. Sophie stared at him, waiting one…two…three beats before he raised his hand to rub the bridge of his nose. Quite satisfactory progress, that. Definite beginnings of fluster.

Should I be scared?” “I think you should get ready for quite an inquiry, but they’re necessary questions that must be answered if I want to ask you out on a second date.” “What if I don’t want to go on a second date?” “Hmm.” He taps his chin with his fork, ready to dig in the minute the plate arrives at our table. “That’s a good point. All right. If the question arose, would you go on a second date with me?” “Well, now I feel pressured to say yes just so I can hear the inquiry.” “You’re going to have to deal with the pressure, sweet cheeks.” “Fine. Hypothetically, if you were to ask me out on a second date, I would hypothetically, possibly say yes.” “Great.” He bops his own nose with his fork and then sets it down on the table. “Here goes.” He looks serious; both his hands rest palm down on the table and his shoulders stiffen. Looking me dead in the eyes, he asks, “Bobbies and Rebels are in the World Series, what shirt do you wear?” “Bobbies obviously.” He blinks. Sits back. “What?” “Bobbies for life.” “But I’m on the Rebels.” “Yes, but are we dating, are we married? Are we just fooling around? There’s going to have to be a huge commitment on my part in order to put a Rebels shirt on. Sorry.” “We’re dating.” “Eh.” I wave my hand. “Fine. We’re living together.” “Hmm, I don’t know.” I twist a strand of hair in my finger. “Christ, we’re married.” “Ugh.” I wince. “I’m sorry, I just don’t think it will ever happen.” “Not even if we’re married, for fuck’s sake?” he asks, dumbfounded. It’s endearing, especially since he’s pushing his hand through his hair in distress, tousling it. “Do we have kids?” I ask. “Six.” “Six?” Now it’s time for my eyes to pop out of their sockets. “Do you really think I want to birth six children?” “Hell, no.” He shakes his head. “We adopted six kids from all around the world. We’re going to have the most diverse and loving family you’ll ever see.” Adopting six kids, now that’s incredibly sweet. Or mad? No, it’s sweet. In fact, it’s extremely rare to meet a man who not only knows he wants to adopt kids, but is willing to look outside of the US, knowing how much he could offer that child. Good God, this man is a unicorn. “We have the means for it, after all,” he says, continuing. “You’re taking over the city of Chicago, and I’ll be raining home runs on every opposing team. We would be the power couple, the new king and queen of the city. Excuse me, Oprah and Steadman, a new, hip couple is in town. People would wear our faces on their shirts like the royals in England. We’re the next Kate and William, the next Meghan and Harry. People will scream our name and then faint, only for us to give them mouth-to-mouth because even though we’re super famous, we are also humanitarians.” “Wow.” I sit back in my chair. “That’s quite the picture you paint.” I know what my mom will say about him already. Don’t lose him, Dorothy. He’s gold. Gorgeous and selfless. “So . . . with all that said, our six children at your side, would you wear a Rebels shirt?” I take some time to think about it, mulling over the idea of switching to black and red as my team colors. Could I do it? With the way Jason is smiling at me, hope in his eyes, how could I ever deny him that joy—and I say that as if we’ve been married for ten years. “I would wear halfsies. Half Bobbies, half Rebels, and that’s the best I can do.” He lifts his finger to the sky. “I’ll take it.

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

Don’t present yourself to people as a blank sheet; they will paint you with their preferred colors, then your life will be in problem. Choose your own colors and paint it the way you want the world to see you. Make it a little brighter so you stand out.

In destroying its own agency, as well as in many other ways, the backlash is a precise mirror image of the pseudo-leftist academic discipline known as cultural studies. According to this theoretical tendency, the most banal and routine culture-products are intensely political and subversive; the left is constantly but silently winning the war over everyday life; and even the lowliest of consumers are endowed with massive quantities of agency, with a stupendous power to exert their radical will in the world. For the backlash, on the other hand, nobody has agency except for people on the left. We, the Middle Americans, are utterly powerless to change our culture -- to ban abortion or outlaw sodomy or build Ten Commandments monuments -- or to prevent the left from wrecking daily life. And yes, the backlash agrees, everything is politicized -- the way you mow your lawn, the color you paint your house, whether or not you ride a bicycle -- but politicized negatively. Everything offends; everything is calculated to advance liberalism's plot to make the culture more to its liking. Backlashers are, in fact, just about the only people in the world who would agree with the professors who find all sorts of subversiveness in Madonna and Britney and Christina Aguilera. A final, telling commonality: neither movement bothers seriously to consider the role of business in American life of culture.

My bedroom looked very different the morning of my eighteenth birthday. It looked lonely. I opened my eyes just as the sun started creeping through the window, and I stared at the white chest of drawers that had greeted me every morning since I could remember. Maybe it’s stupid to think that a piece of furniture had feelings, but then again, I’m the same girl who kept my tattered old baby doll dressed in a sweater and knitted cap so she wouldn’t get cold sitting on the top shelf of my closet. And this morning that chest of drawers was looking sad. All the photographs and trophies and silly knickknacks that had blanketed the top and told my life story better than any words ever could were gone, packed in brown cardboard boxes and neatly stacked in the cellar. Even my pretty pink walls were bare. Mama picked that color after I was born, and I’ve never wanted to change it. Ruthis Morgan used to try to convince me that my walls should be painted some other color. ‘Pink’s just not your color, Catherine Grace. You know as well as I do that there’s not a speck of pink on the football field.’ There was nothing she could say that was going to change my mind of the color on my walls. If I had I would have lost another piece of my mama. And I wasn’t letting go of any piece of her, pink or not. Daddy insisted on replacing my tired, worn curtains a while back, but I threw such a fit that he spent a good seven weeks looking for the very same fabric, little bitsy pink flowers on a white -and-pink-checkered background. He finally found a few yards in some textile mill down in South Carolina. I told him there were a few things in life that should never be allowed to change, and my curtains were one of them. So many other things were never going to stay the same, and this morning was one of them. I’d been praying for this day for as long as I could remember, and now that it was here, all I wanted to do was crawl under my covers and pretend it was any other day. . . . I know that this would be the last morning I would wake up in this bed as a Sunday-school-going, dishwashing, tomato-watering member of this family. I knew this would be the last morning I would wake up in the same bed where I had calculated God only knows how many algebra problems, the same bed I had hid under playing hide-and-seek with Martha Ann, and the same bed I had lain on and cried myself to sleep too many nights after Mama died. I wasn’t sure how I was going to make it through the day considering I was having such a hard time just saying good-bye to my bed.

Pinned shoulder to shoulder, t-shirts extended in lines, The power of expression, is what "THE CLOTHESLINE" defines. Although each color symbolic, the threads weave the same, Each shirt a picture of violence, each shirt a witness to pain. The color white a memorial, for a victim who died, Simply, because of her gender, precious life was denied. Yellow signifies a victim, embraced by batter and assault, When intimacy turned into violence, as if loving was a fault. Shades of pink, red, and orange - when passion turned into rape, Denied the right to say "NO", by either stranger, or date. The blue and green bear nightmares, when a child of incest and misuse Was forced not to tell the "SECRETS", endured from physical and sexual abuse. See the beautiful shades of lavender, to the one not afraid to voice, A different sexual orientation, condemned, when in public made the choice. In the beginning they first choose the color, then allowing pain to flow from inside, Using buttons, bows, paints, and prose, self-expression no longer denied. As you walk through the line of color, emotional pain may fill your heart, But to the victim this personal creation, permits an inner healing to start. Pinned shoulder to shoulder, t-shirts extended in lines, The power of expression, is what "THE CLOTHESLINE" defines.

What your father never understood, is that what he loved most about her was her unbridled love and freedom to live her own life. He loved her colors and viewed her like paint.

Finally, every society develops a system of aesthetic standards that get manifested in everything from decorative art, music, and dance to the architecture and planning of buildings and communities. There are many different ways we could examine artistic systems. One way of thinking about it is to observe the degree to which a society's aesthetics reflect clear lines and solid boundaries versus fluid ones. Many Western cultures favor clean, tight boundaries whereas many Eastern cultures prefer more fluid, indiscriminate lines. In most Western homes, kitchen drawers are organized so that forks are with forks and knives are with knives. The walls of a room are usually uniform in color, and when a creative shift in color does occur, it usually happens at a corner or along a straight line midway down the wall. Pictures are framed with straight edges, molding covers up seams in the wall, and lawns are edged to form a clear line between the sidewalk and the lawn. Why? Because we view life in terms of classifications, categories, and taxonomies. And cleanliness itself is largely defined by the degree of order that exists. It has little to do with sanitation and far more to do with whether things appear to be in their proper place. Maintaining boundaries is essential in the Western world; otherwise categories begin to disintegrate and chaos sets in.13 Most Americans want dandelion-free lawns and roads with clear lanes prescribing where to drive and where not to drive. Men wear ties to cover the adjoining fabric on the shirts that they put on before going to the symphony, where they listen to classical music based on a scale with seven notes and five half steps. Each note has a fixed pitch, defined in terms of the lengths of the sound waves it produces.14 A good performance occurs when the musicians hit the notes precisely. In contrast, many Eastern cultures have little concern in everyday life for sharp boundaries and uniform categories. Different colors of paint may be used at various places on the same wall. And the paint may well “spill” over onto the window glass and ceiling. Meals are a fascinating array of ingredients where food is best enjoyed when mixed together on your plate. Roads and driving patterns are flexible. The lanes ebb and flow as needed depending on the volume of traffic. In a place like Cambodia or Nigeria, the road space is available for whichever direction a vehicle needs it most, whatever the time of day. And people often meander along the road in their vehicles the same way they walk along a path. There are many other ways aesthetics between one place and another could be contrasted. But the important point is some basic understanding of how cultures differ within the realm of aesthetics. Soak in the local art of a place and chalk it up to informing your strategy for international business.

Today we will practice the mindful contemplation of an image. You may select whatever image you would like to look at, something you find calming and positive. Your image could be a painting, a computer desktop, the view out of your window, or a blank wall. Sit yourself comfortably before your selected image and begin your breathing exercise of choice.  Look at the image. Do not strain your eyes. Let your eyes rest on it. See the features of the image. Your eyes slide over it, recognizing the beauty in the image. Notice details you may have missed with a hurried glance. Notice the edges, the contours, the colors, the scrapes, the marks, the lines, patterns. Only focus on the image, so all other thoughts are let go. Be in the now. When you are ready, you may return your attention to your surroundings. You can use this practice of image meditation when you are in situations where closing your eyes for extended times may not be possible, or if you simply see a sight you would like to remember. 

In the American colonies, the first laborers were European indentured servants. When African laborers were forcibly brought to Virginia beginning in 1619, status was defined by wealth and religion, not by physical characteristics such as skin color. But this would change. Over time, physical difference mattered, and with the development of the transatlantic slave trade, landowners began replacing their temporary European laborers with enslaved Africans who were held in permanent bondage. Soon a new social structure emerged based primarily on skin color, with those of English ancestry at the top and African slaves and American Indians at the bottom. By 1776, when “all men are created equal” was written into the Declaration of Independence by a slaveholder named Thomas Jefferson, a democratic nation was born with a major contradiction about race at its core. As our new nation asserted its independence from European tyranny, blacks and American Indians were viewed as less than human and not deserving of the same liberties as whites. In the 19th and 20th centuries, the notion of race continued to shape life in the United States. The rise of “race science” supported the common belief that people who were not white were biologically inferior. The removal of Native Americans from their lands, legalized segregation, and the internment of Japanese Americans during World War II are legacies of where this thinking led. Today, science tells us that all humans share a common ancestry. And while there are differences among us, we’re also very much alike. Changing demographics in the United States and across the globe are resulting in new patterns of marriage, housing, education, employment, and new thinking about race. Despite these advances, the legacy of race continues to affect us in a variety of ways. Deeply held assumptions about race and enduring stereotypes make us think that gaps in wealth, health, housing, education, employment, or physical ability in sports are natural. And we fail to see the privileges that some have been granted and others denied because of skin color. This creation, called race, has fostered inequality and discrimination for centuries. It has influenced how we relate to each other as human beings. The American Anthropological Association has developed this exhibit to share the complicated story of race, to unravel fiction from fact, and to encourage meaningful discussions about race in schools, in the workplace, within families and communities. Consider how your view of a painting can change as you examine it more closely. We invite you to do the same with race. Examine and re-examine your thoughts and beliefs about race. 1

The future is a blank canvas. - not Yogi, Michael Hyatt or Lewis H. Lapham (the correct author is Suzy Kassem according to the U.S. copyright office).

I could still remember the sharp scent of varnish and turpentine in my nose, the careful, steady hands of the man bent over a Gustav Klimt painting. I’d watched raptly as the man carefully peeled back the layers of dirt and the patina of time from the old canvas. One side was dull and grey-brown, the other slowly coming to life in vivid color the way it had looked at its inception. It was magic. The purest form I’d ever seen. Something about it resonated with me then as it did now. The idea that with careful dedication, you could unearth your truest self even after years of brutal wear and tear. It gave me hope.

The world is yours to live a beautiful life. If you can do something to make it memorable, paint your life with extraordinary colors.

Life is a canvas, and you are the artist. Paint it with colors that reflect your dreams, passions, and the beauty you wish to see.

Caretaking in a relationship is not flowers or date night—necessary as these are, they are the equivalent of a new color painted on your walls. Delightful, but not structural. Structural is unloading the dishwasher when it’s your partner’s turn, or making sure whoever gets home last from work is greeted with dinner. It’s learning about mushroom hunting or musical theater or rugby because your spouse loves it. It is talking about the best of your partner in public, not the worst. It’s listening to stories we have heard a hundred times before as if they are new. Often, it is just listening, period. My father always washed the car by hand before he took my mother out on a date, even after they were married. He would say he wanted it clean “for his girl.” That is the part she remembered, not where they went or what they did. As psychologist John Gottman, who has studied countless married couples, will tell you, it is the presence of respect and an abiding willingness to support each other, more than romance, that indicates whether a marriage will last. Couples that exhibit these qualities tend to stay together, creating the marital equivalent of firmitas.

AN INCOMPLETE PORTRAIT OF OUR LOVE written by: Zaki Ansari An incomplete portrait of our love Relic of our relationship like a poor injured dove An incomplete portrait of our love framed with some shabby moments Hanging on my heart’s wall. Thirsty for some colors of love Which are missing at all I have painted, the shadow of your smile. I have added Some color of your hair, I drew some marks of your lips I spread shine of your eyes Tried to fill with some of our memories And with some of our dreams I Gave a touch of your laughter, and made the shape of your dimple. Decorated with the beautiful mole mole the same as you have on pretty face but many things are mismade yet, it is dark, it is fade Missing a complete part which has been made That’s You, your love, your presence And all those beautiful colors which you took with you when you left How do I complete without you? even I have lost myself without you, Yes I’m breathing, yes I’m living But that’s not life which spent without you. you are required, Your touch is needed to make complete An incomplete portrait of our love Relic of our relationship, like a poor injured dove thirsty for some colors of love Which are missing at all Maybe there is no chance to make it whole Complete or incomplete, happiness or sorrow tears or laughter, the wounds on the soul Whatever, but it’s a masterpiece of my life, that’s all into the bitter ocean of life only sweetest thing, I have known, Even it’s incomplete but it’s my own An incomplete portrait of our love Relic of our relationship like a poor injured dove

There is an exercise I teach at colleges: Get yourself a canvas and a bunch of acrylics and go into a very dimly lighted room. Dip a brush into one of the colors, slap it on the canvas, don't look, close your eyes, make a painting, don't look, turn the lights on and see what you've got. I think this releases people from the editor in their life that's always standing over their shoulder saying, "Oh, you don't have any talent; who do you think you are?

As painters, our brushes are our magic wands, and every room is our canvas. We transform each home into a masterpiece that reflects your dreams and style. From the colorful streets of Amager to the serene corners of Copenhagen, our passion for painting creates beautiful spaces that invite life and joy. Visit our website to explore our wide range of services and let us paint your next chapter. And if you're seeking inspiration specifically from Amager, check out our page to see how we've transformed some of the most beautiful homes in this area. Let's paint the stories of our lives, wall by wall.

There's a shade of color for everyone. Whether you're as vibrant as neon pink or as cool as midnight blue, there's a hue that’s uniquely you. Embrace your colors and paint your own masterpiece. After all, the rainbow wouldn’t be complete without every quirky shade! So, go on—be your own brilliant color in this beautifully diverse world. Let your true colors shine because the world needs your unique sparkle. Don't blend in when you were born to stand out—paint the town with your individuality!

Remember, darling, you're not a chameleon. You're not meant to blend into someone else's canvas. Stay bold, stay vibrant, and never let anyone dilute your colors. After all, you're not here to be a watercolor wash in someone else's masterpiece; you're the oil paint, adding richness and depth to your own canvas. So, stand tall, wear your uniqueness proudly, and let the world marvel at your vibrant hues.

Don't resent the artist for painting the wrong picture of you after you provided the colors of your character.

Paint your life with the colors of kindness so that you may find the true bliss of happiness.

the more decisions we’re asked to make, the less cognitive capacity we have available to assess alternatives and make good, nuanced choices—a phenomenon known to scientists as decision fatigue. It’s something you’ll be familiar with if you’ve ever redecorated an apartment and found yourself worn down by the endless choices of paint color or faucet design; perhaps you ended up saying, “I just don’t care.

Paint your life with the magnificent colors of a joyful sunset.

HellOoo...Inspiration I believe that one day current infinity presence of everyone will be no longer available in this space... Am I right ? And it will be over like other creative masters of this world who had Awarded New face to this world and our society to make it beautiful. So, I was looking up in the sky in the night one day from my window and asking myself what should I do to keep all the Philosophy and Skills learned from this life and experiences by safekeeping bound to myself central in the 6feet grave one day like my other inspirational master’s - Steve Job and M.Ali etc... But it should amplify and spread its fumes of creativity and paint with the contrasting colors every possible area for the reason that the world is so abstract “ Not Young to so New Young Minds ” every generation needs that because it's already too dark in your deadpan room which is ultimately final place to reside. So, why don't we use this life to fill every soul with colors, positivity and education along upright knowledge.

See, I have this theory that humans are just living, breathing, talking forms of art, each crafted with a different technique and carved out of different materials. Each beautiful in their own way. And sure, beauty is in the eye of the beholder, and totally subjective, and changes depending on your circumstance, yada-yada-yada… but most of the time, it’s pretty easy to classify people. Like, okay, you know those women who are gorgeous and never know it? Or the men who pass quietly through life, handsome and unnoticed, never begging for attention or crying out for recognition? Those are your watercolors. And the loud, vivacious, gorgeous-and-they-know-it creatures, with bright lipstick and closets full of bold colors and outfits they never wear twice? Acrylics. The graceful, elegant, aging beauties you pick out in the crowd, or across the cafe, the lines on their faces telling a story you just know you’d want to hear, with so many layers and smudges, twists and turns, you’re not even sure where they begin? Charcoals. Then, you’ve got the big-picture-beautiful people, with the collection of interesting features that together make a beautiful face. They’re your oil paintings — best from ten feet away and, at the end of the day, kind of funny looking if you lean closer and analyze all their elements separately. But I’m quickly learning that Chase Croft doesn’t fit any of my categories. He isn’t a brushstroke on canvas, or bumpy layers of paint on a palette, or imperfect lines scratched inside a sketchbook. His features aren’t just gorgeous as a collective — he’s one of those annoyingly attractive people whose every feature is equally stunning. He’s a sculpture.

Paint your life with 7 colors, like a rainbow circles.

Unveil the shade of your soul through the paint brush of your life. Let the colors run true, let the canvas be bright.

No matter how greatly sin has damaged your life … no matter how many dull, ugly layers of paint and veneer you may have applied in an unsuccessful attempt to cover the cracks … no matter if the colors are faded or the picture is so obscured that you can barely see the original … God is in the restoration business. He is a great, redeeming God who is making all things new, through the work of Christ on our behalf. His divine power and love can re-create and restore your life to its original design—that beautiful work of art intended to display the loveliness of Christ!