Painter Of The Night Quotes

When I brought my eyes back to his, I knew without a doubt that if we were anywhere else—alone—he would kiss me. He swallowed, and my eyes tracked down to his throat before slowly climbing back up by way of his strong chin, nose, and dark-as-night brown eyes. He raised one eyebrow, an unspoken question, and I realized at that moment that I wanted it. I wanted Wes. Michael had been my endgame, but I couldn’t bring myself to care about that anymore. I wouldn’t run through a train station for Michael. But I would do it for Wes. Holy shit.

To all the secret writers, late-night painters, would-be singers, lapsed and scared artists of every stripe, dig out your paintbrush, or your flute, or your dancing shoes. Pull out your camera or your computer or your pottery wheel. Today, tonight, after the kids are in bed or when your homework is done, or instead of one more video game or magazine, create something, anything. Pick up a needle and thread, and stitch together something particular and honest and beautiful, because we need it. I need it. Thank you, and keep going.

In your dreams, Bennett,” she teased. “Every damn night, Buxbaum,

Once upon a time, there was a king who ruled a great and glorious nation. Favourite amongst his subjects was the court painter of whom he was very proud. Everybody agreed this wizzened old man pianted the greatest pictures in the whole kingdom and the king would spend hours each day gazing at them in wonder. However, one day a dirty and dishevelled stranger presented himself at the court claiming that in fact he was the greatest painter in the land. The indignant king decreed a competition would be held between the two artists, confident it would teach the vagabond an embarrassing lesson. Within a month they were both to produce a masterpiece that would out do the other. After thirty days of working feverishly day and night, both artists were ready. They placed their paintings, each hidden by a cloth, on easels in the great hall of the castle. As a large crowd gathered, the king ordered the cloth be pulled first from the court artist’s easel. Everyone gasped as before them was revealed a wonderful oil painting of a table set with a feast. At its centre was an ornate bowl full of exotic fruits glistening moistly in the dawn light. As the crowd gazed admiringly, a sparrow perched high up on the rafters of the hall swooped down and hungrily tried to snatch one of the grapes from the painted bowl only to hit the canvas and fall down dead with shock at the feet of the king. ’Aha!’ exclaimed the king. ’My artist has produced a painting so wonderful it has fooled nature herself, surely you must agree that he is the greatest painter who ever lived!’ But the vagabond said nothing and stared solemnly at his feet. ’Now, pull the blanket from your painting and let us see what you have for us,’ cried the king. But the tramp remained motionless and said nothing. Growing impatient, the king stepped forward and reached out to grab the blanket only to freeze in horror at the last moment. ’You see,’ said the tramp quietly, ’there is no blanket covering the painting. This is actually just a painting of a cloth covering a painting. And whereas your famous artist is content to fool nature, I’ve made the king of the whole country look like a clueless little twat.

At the end of the day, no amount of investing, no amount of clean electrons, no amount of energy efficiency will save the natural world if we are not paying attention to it - if we are not paying attention to all the things that nature give us for free: clean air, clean water, breathtaking vistas, mountains for skiing, rivers for fishing, oceans for sailing, sunsets for poets, and landscapes for painters. What good is it to have wind-powered lights to brighten the night if you can't see anything green during the day? Just because we can't sell shares in nature doesn't mean it has no value.

When he was a boy he'd read books about great military campaigns, and visited the museums and looked with patriotic pride at the paintings of famous cavalry charges, last stands and glorious victories. It had come as rather a shock, when he later began to participate in some of these, to find that the painters had unaccountably left out the intestines. Perhaps they just weren't very good at them.

Long Time. The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late. When you force the pace out of fear and impatience, you create a nest of problems that require fixing, and you end up taking much longer than if you had taken your time.

Gulls wheel through spokes of sunlight over gracious roofs and dowdy thatch, snatching entrails at the marketplace and escaping over cloistered gardens, spike topped walls and treble-bolted doors. Gulls alight on whitewashed gables, creaking pagodas and dung-ripe stables; circle over towers and cavernous bells and over hidden squares where urns of urine sit by covered wells, watched by mule-drivers, mules and wolf-snouted dogs, ignored by hunch-backed makers of clogs; gather speed up the stoned-in Nakashima River and fly beneath the arches of its bridges, glimpsed form kitchen doors, watched by farmers walking high, stony ridges. Gulls fly through clouds of steam from laundries' vats; over kites unthreading corpses of cats; over scholars glimpsing truth in fragile patterns; over bath-house adulterers, heartbroken slatterns; fishwives dismembering lobsters and crabs; their husbands gutting mackerel on slabs; woodcutters' sons sharpening axes; candle-makers, rolling waxes; flint-eyed officials milking taxes; etiolated lacquerers; mottle-skinned dyers; imprecise soothsayers; unblinking liars; weavers of mats; cutters of rushes; ink-lipped calligraphers dipping brushes; booksellers ruined by unsold books; ladies-in-waiting; tasters; dressers; filching page-boys; runny-nosed cooks; sunless attic nooks where seamstresses prick calloused fingers; limping malingerers; swineherds; swindlers; lip-chewed debtors rich in excuses; heard-it-all creditors tightening nooses; prisoners haunted by happier lives and ageing rakes by other men's wives; skeletal tutors goaded to fits; firemen-turned-looters when occasion permits; tongue-tied witnesses; purchased judges; mothers-in-law nurturing briars and grudges; apothecaries grinding powders with mortars; palanquins carrying not-yet-wed daughters; silent nuns; nine-year-old whores; the once-were-beautiful gnawed by sores; statues of Jizo anointed with posies; syphilitics sneezing through rotted-off noses; potters; barbers; hawkers of oil; tanners; cutlers; carters of night-soil; gate-keepers; bee-keepers; blacksmiths and drapers; torturers; wet-nurses; perjurers; cut-purses; the newborn; the growing; the strong-willed and pliant; the ailing; the dying; the weak and defiant; over the roof of a painter withdrawn first from the world, then his family, and down into a masterpiece that has, in the end, withdrawn from its creator; and around again, where their flight began, over the balcony of the Room of Last Chrysanthemum, where a puddle from last night's rain is evaporating; a puddle in which Magistrate Shiroyama observes the blurred reflections of gulls wheeling through spokes of sunlight. This world, he thinks, contains just one masterpiece, and that is itself.

Paying attention is more important to reliability than moving slowly. Because he pays close attention, a Navy pilot can land a 40,000 lb. aircraft at 140 miles per hour on a pitching carrier deck, at night, more safely than the average teenager can cut a bagel.

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.

The sky on a clear night is a living, pulsating thing. The stars are like musical notes turned to light, and, like notes, they shimmer and swell and fade and fall. The painters have never captured it—but they never will until some painter teaches his colors to dance.

we can proceed in our lives just as easily from love to love as from loss to loss. A good thing to remember in the middle of the night when you’re not sure how you will get through the next three breaths.

In an instant, I'd lost my grieving buddy and gained a woman who was nothing like the mom I cried for every night.

Trust me when I tell you that sometimes the person with the most ‘magical night possibility’ is the last person you’d expect. Sometimes there can be someone you’ve known forever, yet never really noticed.

I was never going to get another text from Bay. I was never going to make her forehead crinkle with my words, or hear her laugh in that surprised way she had when she tried and failed to suppress it, never going to hear her quiet intake of breath when she realised we were about to kiss, and never going to hear her sleepily say ‘G’night, Charlie’ on the other end of the phone. A thousand tiny nothing moments that were collectively every fucking thing I’d ever wanted.

Even that great poverty which had been and remains mine let up for a few days. I was not, as it happens, opposed to this poverty: I accepted to pay the price for not being a slave to life, to settle for the right I had assumed once and for all to not express any ideas but my own. We were not many in doing this… Poverty passed by in the distance, made lovelier and almost justified, a little like what has been called, in the case of a painter who was one of your first friends, the blue period. It seemed the almost inevitable consequence of my refusal to behave the way almost all the others did, whether on one side or another. This poverty, whether you had the time to dread it or not, imagine it was only the other side of the miraculous coin of your existence: the Night of the Sunflower would have been less radiant without it.

THE SOUNDTRACK OF WES AND LIZ Someone Like You | Van Morrison Paper Rings | Taylor Swift Lovers | Anna of the North ocean eyes | Billie Eilish Bad Liar | Selena Gomez Public Service Announcement (Interlude) | Jay-Z Up All Night | Mac Miller How Would You Feel (Paean) | Ed Sheeran Hello Operator | The White Stripes Paradise | Bazzi Sabotage | Beastie Boys Feelin’ Alright | Joe Cocker Someone Like You | Adele Monkey Wrench | Foo Fighters Bella Luna | Jason Mraz Forrest Gump | Frank Ocean Electric (feat. Khalid) | Alina Baraz Kiss | Tom Jones Enter Sandman | Metallica Death with Dignity | Sufjan Stevens We Are Young | fun. feat. Janelle Monáe New Year’s Day | Taylor Swift River | Joni Mitchell

You must bloom as a writer and I must bloom as a painter. Everything else about us is uninteresting.

There were many slippery slopes to nihilism in this new world, and the higher up you were the easier it was to fall down one of them.

There's nothing quite so terrifying as being unsure of your own sanity. All other concerns are downstream.

The recipe for becoming a good novelist, for example is easy to give but to carry it out presupposes qualities one is accustomed to overlook when one says 'I do not have enough talent'. One has only to make a hundred or so sketches for novels, none longer than two pages but of such distinctness that every word in them is necessary; one should write down anecdotes each day until one has learned how to give them the most pregnant and effective form; one should be tireless in collecting and describing human types and characters; one should above all relate things to others and listen to others relate, keeping one's eyes and ears open for the effect produced on those present, one should travel like a landscape painter or costume designer; one should excerpt for oneself out of the individual sciences everything that will produce an artistic effect when it is well described, one should, finally, reflect on the motives of human actions, disdain no signpost to instruction about them and be a collector of these things by day and night. One should continue in this many-sided exercise some ten years: what is then created in the work­shop, however, will be fit to go out into the world. - What, however, do most people do? They begin, not with the parts, but with the whole. Per­haps they chance to strike a right note, excite attention and from then on strike worse and worse notes, for good, natural reasons.

He grinned with his hat on the back of his head. He looked more like a Broadway character of the Nineties than the lovely painter that he was, and afterwards, when he had hanged himself, I liked to remember him as he was that night at the Dôme. They say the seeds of what we will do are in all of us, but it always seemed to me that in those who make jokes in life the seeds are covered with better soil and with a higher grade of manure.

the craggy gorge reminded me that we can proceed in our lives just as easily from love to love as from loss to loss. A good thing to remember in the middle of the night when you’re not sure how you will get through the next three breaths.

In a place like Paris, the air is so thick with dreams they clog the streets and take all the good tables at the cafés. Poets and writers, models and designers, painters and sculptors, actors and directors, lovers and escapists, they flock to the City of Lights. That night at Polly's, the table spilled over with the rapture of pilgrims who have found their temple. That night, among new friends and safe at Shakespeare and Company, I felt it too. Hope is a most beautiful drug.

When he was a boy, he’d read books about great military campaigns, and visited the museums and had looked with patriotic pride at the paintings of famous cavalry charges, last stands, and glorious victories. It had come as rather a shock, when he later began to participate in some of these, to find that the painters had unaccountably left out the intestines. Perhaps they just weren’t very good at them.

Nev was the man in the parlor and the painter in his studio, the banker and the rugby player. The boyfriend who bought her prawn crisps and rubbed her back when she cried. The tender lover. The caged beast who came out to play when they got naked together. He could be any of them.

And although it was in a hospital that she lay and I sat next to her—it is always that eternal poetry of Christmas night with the infant in the stable, as the old Dutch painters conceived it and MIllet and Breton—a light in the darkness, the brightness in the middle of a dark night. And so I hung a large etching after Rembrandt over it, the two women by the cradle, one of them reading from the Bible by candlelight, while the great shadows cast a deep chiaroscuro over the whole room.

he wanted to understand to the very end —Pascal's night —the nature of a diamond —the melancholy of the prophets —Achille's wrath —the madness of those who kill —the dreams of Mary Stuart —Neanderthal fear —the despair of the last Aztecs —Nietzsche's long death throes —the joy of the painter of Lascaux —the rise and fall of an oak —the rise and fall of Rome

Wes: Okay—weird question. Me: All questions from you are weird. Wes: Ignoring that. Actually I have two questions. First—did I piss you off last night?

Well what?” “Go fix it, you dimwitted night crawler.

One dial-painter, known as a “lively Italian girl,”13 painted the material all over her teeth one night before a date, wanting a smile that would knock him dead.

Mr. Ashville” called himself “a painter and glazier by trade.” Out of work for twelve months, he had spent thirty-three nights sleeping on the Embankment until the weather grew too cold.

I remember that a couple, both tall and thin, turned away from a painting and peered over as if I might be an ex-lover or a living (and unfinished) painting that had just got news of the painter's death. I know I walked out without looking back and that I walked for a long time until I realized I wasn't crying, but that it was raining and I was soaked. That night I didn't sleep at all.

Everything was numbered: the lenses, the painterly sky, the milligrams of my panic pills. I had prescription eyes that allowed me to see better, and prescription panic pills that allowed me to play blind.

Last Night’s Moon," “When will we next walk together under last night’s moon?” - Tu Fu March aspens, mist forest. Green rain pins down the sea, early evening cyanotype. Silver saltlines, weedy toques of low tide, pillow lava’s black spill indelible in the sand. Unbroken broken sea. — Rain sharpens marsh-hair birth-green of the spring firs. In the bog where the dead never disappear, where river birch drown, the surface strewn with reflection. This is the acid-soaked moss that eats bones, keeps flesh; the fermented ground where time stops and doesn’t; dissolves the skull, preserves the brain, wrinkled pearl in black mud. — In the autumn that made love necessary, we stood in rubber boots on the sphagnum raft and learned love is soil–stronger than peat or sea– melting what it holds. The past is not our own. Mole’s ribbon of earth, termite house, soaked sponge. It rises, keloids of rain on wood; spreads, milkweed galaxy, broken pod scattering the debris of attention. Where you are while your body is here, remembering in the cold spring afternoon. The past is a long bone. — Time is like the painter’s lie, no line around apple or along thigh, though the apple aches to its sweet edge, strains to its skin, the seam of density. Invisible line closest to touch. Lines of wet grass on my arm, your tongue’s wet line across my back. All the history in the bone-embedded hills of your body. Everything your mouth remembers. Your hands manipullate in the darkness, silver bromide of desire darkening skin with light. — Disoriented at great depths, confused by the noise of shipping routes, whales hover, small eyes squinting as they consult the magnetic map of the ocean floor. They strain, a thousand miles through cold channels; clicking thrums of distant loneliness bounce off seamounts and abyssal plains. They look up from perpetual dusk to rods of sunlight, a solar forest at the surface. Transfixed in the dark summer kitchen: feet bare on humid linoleum, cilia listening. Feral as the infrared aura of the snake’s prey, the bees’ pointillism, the infrasonic hum of the desert heard by the birds. The nighthawk spans the ceiling; swoops. Hot kitchen air vibrates. I look up to the pattern of stars under its wings.

To You" What is more beautiful than night and someone in your arms that’s what we love about art it seems to prefer us and stays if the moon or a gasping candle sheds a little light or even dark you become a landscape in a landscape with rocks and craggy mountains and valleys full of sweaty ferns breathing and lifting into the clouds which have actually come low as a blanket of aspirations’ blue for once not a melancholy color because it is looking back at us there’s no need for vistas we are one in the complicated foreground of space the architects are most courageous because it stands for all to see and for a long long time just as the words “I’ll always love you" impulsively appear in the dark sky and we are happy and stick by them like a couple of painters in neon allowing the light to glow there over the river

Darker the hell, darker the life...darker the death, darker the fear..." the painter's left-hand fingers where drenched in black color, which he kept on scrolling on white paper until he made a... "Raven...darkest like hell and life...raven darkest like fear and death...raven...nevermore

Late at night have you experienced a vision of the person you might become, the work you could accomplish, the realized being you were meant to be? Are you a writer who doesn’t write, a painter who doesn’t paint, an entrepreneur who never starts a venture? Then you know what Resistance is.

As day gradually turns to night, Nadia then lifts her naked body from the floor, and like a goddess, she moves across the room with a stride that gives complement to every curve of her figure. She now leans over the coffee table to strike a match that breaks the light of night that clings to her. One by one, Nadia lights each candle in perfect form as the glowing contrast of light and dark dances around the edges of her beautiful body. She then looks at me again, she being this magical creature who has given me life to every body and realm; and oh how grateful I am that she has found me.

In the course of my life I have had pre-pubescent ballerinas; emaciated duchesses, dolorous and forever tired, melomaniac and morphine-sodden; bankers' wives with eyes hollower than those of suburban streetwalkers; music-hall chorus girls who tip creosote into their Roederer when getting drunk... I have even had the awkward androgynes, the unsexed dishes of the day of the *tables d'hote* of Montmartre. Like any vulgar follower of fashion, like any member of the herd, I have made love to bony and improbably slender little girls, frightened and macabre, spiced with carbolic and peppered with chlorotic make-up. Like an imbecile, I have believed in the mouths of prey and sacrificial victims. Like a simpleton, I have believed in the large lewd eyes of a ragged heap of sickly little creatures: alcoholic and cynical shop girls and whores. The profundity of their eyes and the mystery of their mouths... the jewellers of some and the manicurists of others furnish them with *eaux de toilette*, with soaps and rouges. And Fanny the etheromaniac, rising every morning for a measured dose of cola and coca, does not put ether only on her handkerchief. It is all fakery and self-advertisement - *truquage and battage*, as their vile argot has it. Their phosphorescent rottenness, their emaciated fervour, their Lesbian blight, their shop-sign vices set up to arouse their clients, to excite the perversity of young and old men alike in the sickness of perverse tastes! All of it can sparkle and catch fire only at the hour when the gas is lit in the corridors of the music-halls and the crude nickel-plated decor of the bars. Beneath the cerise three-ply collars of the night-prowlers, as beneath the bulging silks of the cyclist, the whole seductive display of passionate pallor, of knowing depravity, of exhausted and sensual anaemia - all the charm of spicy flowers celebrated in the writings of Paul Bourget and Maurice Barres - is nothing but a role carefully learned and rehearsed a hundred times over. It is a chapter of the MANCHON DE FRANCINE read over and over again, swotted up and acted out by ingenious barnstormers, fully conscious of the squalid salacity of the male of the species, and knowledgeable in the means of starting up the broken-down engines of their customers. To think that I also have loved these maleficent and sick little beasts, these fake Primaveras, these discounted Jocondes, the whole hundred-franc stock-in-trade of Leonardos and Botticellis from the workshops of painters and the drinking-dens of aesthetes, these flowers mounted on a brass thread in Montparnasse and Levallois-Perret! And the odious and tiresome travesty - the corsetted torso slapped on top of heron's legs, painful to behold, the ugly features primed by boulevard boxes, the fake Dresden of Nina Grandiere retouched from a medicine bottle, complaining and spectral at the same time - of Mademoiselle Guilbert and her long black gloves!... Have I now had enough of the horror of this nightmare! How have I been able to tolerate it for so long? The fact is that I was then ignorant even of the nature of my sickness. It was latent in me, like a fire smouldering beneath the ashes. I have cherished it since... perhaps since early childhood, for it must always have been in me, although I did not know it!

On a clear night in blacked-out countryside, in between bomber runs, when the tracer fire ceased and the searchlights went dark, the stars did not fill the sky so much as coat it like hoarfrost on a windowpane. You looked up and saw The Starry Night, he told me; you realized that Van Gogh was a realist painter.

And on that night, when all he's ever known in the past couple of years started to break apart, he did not try so desperately to keep her muse. He didn't need to. He also did not soak up in bottles of rum. Instead, he went home. He went home and painted. Because before any of this has ever happened, he was a painter.

And even if you don't give a shit whether or not the Chinese painter of rocks and birds had some mysterious kinship of the soul with the Landgrave of Hesse, fantasies are nonetheless one path to the truth. History is Philomela, and they raped her, or so they say, and cut her tongue, and she whistles at night from deep in the woods.

Maybe you are a dancer moving to the sound of your own future; or a musician banging strumming bowing plucking blowing into, creating soundtracks for dream trains chugging along through thick night; or a painter spilling and splattering confessions across the face of stretched canvas; or an actor praying at the altar of your alter ego; or a photographer, finger on the button like a quick-draw cowboy, shooting not to kill anyone but to preserve forever; or maybe even a writer for some strange reason, writing expert books, pages of good intention and rah-rah and fantasy and sometimes truth, or maybe even letters to people you don't know but do know you love.

Martha’s Vineyard had fossil deposits one million centuries old. The northern reach of Cape Cod, however, on which my house sat, the land I inhabited—that long curving spit of shrub and dune that curves in upon itself in a spiral at the tip of the Cape—had only been formed by wind and sea over the last ten thousand years. That cannot amount to more than a night of geological time. Perhaps this is why Provincetown is so beautiful. Conceived at night (for one would swear it was created in the course of one dark storm) its sand flats still glistened in the dawn with the moist primeval innocence of land exposing itself to the sun for the first time. Decade after decade, artists came to paint the light of Provincetown, and comparisons were made to the lagoons of Venice and the marshes of Holland, but then the summer ended and most of the painters left, and the long dingy undergarment of the gray New England winter, gray as the spirit of my mood, came down to visit. One remembered then that the land was only ten thousand years old, and one’s ghosts had no roots. We did not have old Martha’s Vineyard’s fossil remains to subdue each spirit, no, there was nothing to domicile our specters who careened with the wind down the two long streets of our town which curved together around the bay like two spinsters on their promenade to church.   NORMAN MAILER, from Tough Guys Don’t Dance

A despatch from California describes a theosophist colony as donning white robes en masse for some “glorious fulfilment” which never arrives, whilst items from India speak guardedly of serious native unrest toward the end of March. Voodoo orgies multiply in Hayti, and African outposts report ominous mutterings. American officers in the Philippines find certain tribes bothersome about this time, and New York policemen are mobbed by hysterical Levantines on the night of March 22–23. The west of Ireland, too, is full of wild rumour and legendry, and a fantastic painter named Ardois-Bonnot hangs a blasphemous “Dream Landscape” in the Paris spring salon of 1926. And so numerous are the recorded troubles in insane asylums, that only a miracle can have stopped the medical fraternity from noting strange parallelisms and drawing mystified conclusions.

Are you high, Wes Bennett?” "I'll answer that if you answer this: Were you playing Beyoncé on the piano last night?" Her green eyes went wide, and her mouth dropped open. "You heard me?" "The windows were open," I said, shrugging like it was the first time I'd ever heard her, "and I was having a smoke out back. So was it 'Halo'?" "You smoke?" She was looking at me like I was a puzzle, like she couldn't figure me out. "No. Was it?" The crinkle in her forehead grew somehow. "Yes. So ... do you or don't you?" "Like Beyonce? Fucking love her." She rolled her eyes. "Why do I even bother trying to have a conversation with you?" "Because you're fascinated and want to know more." She snorted. "Because you find me wildly attractive and need some insight into my soul?" "Try again." "Because you want to reconcile the data you've entered into your diary about me with the real-life, actual facts?" "So you are high.

Beacon, beacon, lonesome on a hill— Waves run aground, pound ‘round, what a thrill! Water water everywhere crashes, Shore’s not lazy for it mashes, bashes….. Summer’s when tourists traipse o’er to see you, Offering to wipe-wash your dust and mildew; Summer painters place you with dinghy and gull, Historians have you as subject o’er which to mull. When feline Fog drifts gently or is heavy, Your bright light’s followed by boat bevy; And during those calm, clear days and nights You’re that upright nautical dream exciting tiny tykes.

Spring Lane burned with a mythology of chipped slates, pale wash-water blue and flaking at the seam. The summer yellow glow of an impending dawn diffused, diluted in the million-gallon sky above the tannery that occupied this low end of the ancient gradient, across the narrow street from where Phyllis and Michael stood outside the alley-mouth. The tannery’s high walls of browning brick with rusted wire mess over its high windows didn’t have the brutal aura that the building had down in the domain of the living. Rather it was softly iridescent with a sheen of fond remembrance – the cloisters of some mediaeval craft since disappeared – and had the homely perfume of manure and boiled sweets. Past the peeling wooden gates that lolled skew-whiff were yards where puddles stained a vivid tangerine harboured reflected chimney stacks, lamp black and wavering. Heaped leather shavings tinted with corrosive sapphire stood between the fire-opal pools, an azure down mounded into fantastic nests by thunderbirds to hatch their legendary fledglings. Rainspouts eaten through by time had diamond dribble beading on their chapped tin lips, and every splinter and subsided cobble sang with endless being. Michael Warren stood entranced and Phyllis Painter stood beside him, sharing his enchantment, looking at the heart-caressing vista through his eyes. The district’s summer sounds were, in her ears, reduced to a rich stock. The lengthy intervals between the bumbling drones of distant motorcars, the twittering filigree of birdsong strung along the guttered eaves, the silver gurgle of a buried torrent echoing deep in the night-throat of a drain, all these were boiled down to a single susurrus, the hissing tingling reverberation of a cymbal struck by a soft brush. The instant jingled in the breeze.

The creek at night under the moon was just enough like the creek in daylight to be reassuring. There was the deadfall spruce that sieved the current with skeleton branches, churning a line of pale foam. There was the long pool above, a dark mirror of tree shadows and beacon moon. There were the gravel bars, chalky, shaped to the banks and swept into low moraines that divided the water. There the sky, softened as if by a thin fog of moonlight, filling the canyon. For a moment I forgot my preoccupation with the dark and drove up the road with that awe I felt before certain paintings in certain museums, the awe in which I disappeared.

The Pillowcase" is printed with iridescent fish, each facing a different direction. I bought it for you at the Portland Goodwill our last semester in college. Spring break we brought it camping. I pretended I’d eaten sardines before, pretended I liked them. I don’t remember what you said when the condom broke. Probably ‘Oh, shit.’ The next day we drove into town. I took a pill and another pill and it was over. I couldn’t tell the difference, could have told my friends but didn’t, just made lots of dead baby jokes and went to bed in your dorm room. You’d put painter’s tape on all the edges. With the pillowcase, it was like living in the blueprint of an aquarium. I slept there the night I smoked Sasha’s weed and you stayed up for hours rubbing my back, telling fairytales so I wouldn’t totally lose it. I slept there the night I tried reading you Haruki Murakami’s Sleep but fell asleep. I slept there the night after the day I lost the bet and had to wear a lampshade on my head and your professor said ‘Nice hat.’ Later I learned she owns a lamp in the shape of a woman. I slept there the night you said ‘I think I’m falling in love with you,’ igniting a great unendurable belongingness, like a match in a forest fire. I burned so long so quiet you must have wondered if I loved you back. I did, I did, I do.

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

Often, when I went out for breakfast on Sunday morning, at the Mediterranean place around the corner, I was seated by a dancer who’d been a year ahead of me at school and waited on by a painter who’d been two years ahead. At night, Don and I could meet Lauren for Thai food, or Leigh and Allison for gin and tonics at the Rat Pack–era bar on Bedford and watch an alternative circus, which involved one college friend of mine eating fire, another clowning in the style of Jacques Lecoq, another riding a unicycle and playing trombone. For me, this was heaven, heaven that could only be improved by Jenny moving in down the street. For Jenny, though, it turned out this was hell. She had cast off such childish things. Heaven was, she told me, eyes shining, driving to a large supermarket and unloading a week’s worth of groceries directly into her apartment from her designated parking spot.

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

The slightly vulgar lady whom the man with an eye for women wouldn’t bother to look at as he passed by and would exclude from the poetic scene nature presents to his eyes, is beautiful too; the light on her dress is the same light that falls on the sail of that boat, everything is equally precious, the tawdry dress and the sail that is beautiful in itself are both mirrors of the same light. All the worth they have is conferred upon them by the painter’s eye.’ And this eye had been able to arrest the passage of the hours for all time in this luminous moment when the lady had felt hot and stopped dancing, when the tree was encircled by a ring of shade, when the sails seemed to be gliding over a glaze of gold. But precisely because that moment had such a forceful impact, the fixity of the canvas conveyed the impression of something highly elusive: you felt that the lady would soon return home, the boats vanish from the scene, the shadow shift, night begin to fall; that pleasure fades away, that life passes, and that the instant, illuminated by multiple and simultaneous plays of light, cannot be recaptured.

Gulls wheel through spokes of sunlight over gracious roofs and dowdy thatch, snatching entrails at the marketplace and escaping over cloistered gardens, spike-topped walls and treble-bolted doors. Gulls alight on whitewashed gables, creaking pagodas and dung-ripe stables; circle over towers and cavernous bells and over hidden squares where urns of urine sit by covered wells, watched by mule-drivers, mules and wolf-snouted dogs, ignored by hunchbacked makers of clogs; gather speed up the stoned-in Nakashima River and fly beneath the arches of its bridges, glimpsed from kitchen doors, watched by farmers walking high, stony ridges. Gulls fly through clouds of steam from laundries’ vats; over kites unthreading corpses of cats; over scholars glimpsing truth in fragile patterns; over bath-house adulterers; heartbroken slatterns; fishwives dismembering lobsters and crabs; their husbands gutting mackerel on slabs; woodcutters’ sons sharpening axes; candle-makers, rolling waxes; flint-eyed officials milking taxes; etoliated lacquerers; mottled-skinned dyers; imprecise soothsayers; unblinking liars; weavers of mats; cutters of rushes; ink-lipped calligraphers dipping brushes; booksellers ruined by unsold books; ladies-in-waiting; tasters; dressers; filching page-boys; runny-nosed cooks; sunless attic nooks where seamstresses prick calloused fingers; limping malingerers; swineherds; swindlers; lip-chewed debtors rich in excuses; heard-it-all creditors tightening nooses; prisoners haunted by happier lives and ageing rakes by other men’s wives; skeletal tutors goaded to fits; firemen-turned-looters when occasion permits; tongue-tied witnesses; purchased judges; mothers-in-law nurturing briars and grudges; apothecaries grinding powders with mortars; palanquins carrying not-yet-wed daughters; silent nuns; nine-year-old whores; the once-were-beautiful gnawed by sores; statues of Jizo anointed with posies; syphilitics sneezing through rotted-off noses; potters; barbers; hawkers of oil; tanners; cutlers; carters of night-soil; gate-keepers; bee-keepers; blacksmiths and drapers; torturers; wet-nurses; perjurers; cut-purses; the newborn; the growing; the strong-willed and pliant; the ailing; the dying; the weak and defiant; over the roof of a painter withdrawn first from the world, then his family, and down into a masterpiece that has, in the end, withdrawn from its creator; and around again, where their flight began, over the balcony of the Room of the Last Chrysanthemum, where a puddle from last night’s rain is evaporating; a puddle in which Magistrate Shiroyama observes the blurred reflections of gulls wheeling through spokes of sunlight. This world, he thinks, contains just one masterpiece, and that is itself.

The 1890s were apprentice years for Yeats. Though he played with Indian and Irish mythology, his symbolism really developed later. The decade was for him, as a poet, the years of lyric, of the Rhymers’ Club, of those contemporaries whom he dubbed the ‘tragic generation’. ‘I have known twelve men who killed themselves,’ Arthur Symons looked back from his middle-aged madness, reflecting on the decade of which he was the doyen. The writers and artists of the period lived hectically and recklessly. Ernest Dowson (1867–1900) (one of the best lyricists of them all – ‘I cried for madder music and for stronger wine’) died from consumption at thirty-two; Lionel Johnson (1867–1902), a dipsomaniac, died aged thirty-five from a stroke. John Davidson committed suicide at fifty-two; Oscar Wilde, disgraced and broken by prison and exile, died at forty-six; Aubrey Beardsley died at twenty-six. This is not to mention the minor figures of the Nineties literary scene: William Theodore Peters, actor and poet, who starved to death in Paris; Hubert Crankanthorpe, who threw himself in the Thames; Henry Harland, editor of The Yellow Book, who died of consumption aged forty-three, or Francis Thompson, who fled the Hound of Heaven ‘down the nights and down the days’ and who died of the same disease aged forty-eight. Charles Conder (1868–1909), water-colourist and rococo fan-painter, died in an asylum aged forty-one.

I had been walking through the Chakara Forest. Fat moths the size of palms wreathed my hair like pearls and moonstones. And then, as I had done since before language burgeoned in the velvet clefts of the mind--I danced. Not a slow dance, but sharp, punctual movements. My dance organized the shadows of trees, canceled the cloying plumes of wind-fallen fruit, aligned the moonbeams themselves. My back arced gracefully as I moved, neck extended like an oryx, fingers conjuring sharp kathas of rhythm, when a sound crunched not far from me. I spun around. “Who’s there?” From beneath the heart-shaped leaves of a peepal tree, something rustled. And a voice, so lush it made ambrosia acrid, answered me. “Only the lowly painter who tries each night, in vain, to capture evening herself.” “What do you want? Show yourself.” The stranger stepped out of the peepal tree. He was broad-shouldered, his features as severely beautiful as a strike of lightning. He wore a crown of blackbuck horns that arced in graceful whorls of onyx, catching the light. But it was his gaze that robbed the clamoring rhythm in my chest. His stare slipped beneath my skin. And when he saw my eyes widen, he smiled. And in that moment, his smile banished my loneliness and limned the hollows of my anima with starlight, pure and bright. He moved toward me, grasping my hand, and his touch hummed in my bones like an aria. A song to my dance. The beginning of a promise.

For the better part of two years Niels Lyhne wandered abroad. He was so lonely. He had no family, no friend who was dear to his heart. But there was a greater loneliness about him than that; for a person may well feel anguished and forsaken if on the whole enormous earth there is not one small place he can bless and wish well, someplace he can turn his heart toward when his heart insists on swelling, a place he can long for when longing insists on spreading its wings; but if he has the clear, steady star of a life’s goal shining overhead, then there is no night so lonely that he is entirely alone. But Niels Lyhne had no star. He didn’t know what to do with himself and his abilities. He did have talent, but he just couldn’t use it; he went around feeling like a painter without hands. How he envied the others, great and small, who, no matter where they reached in life, always found something to hold on to! Because he could not find anything to hold on to. It seemed to him that all he could do was sing the old romantic songs over again, and everything that he had accomplished had been nothing more than this. It was as if his talent were something remote in him, a quiet Pompeii, or like a harp he could take out of a corner. It was not omnipresent, it did not run down the street with him, it did not reside in his eyes, it did not tingle in his fingertips, not at all; his talent did not have a hold on him. At times it seemed to him that he had been born half a century too late, at other times that he had arrived much too early. The talent within him was rooted in something from the past which was the only thing that could give it life. It could not draw nourishment from his opinions, his convictions, his sympathies, it could not assimilate them and give them form; they floated away from each other, these two parts, like water and oil, they could be shaken together but could not be mixed, never become one.

So she shifted her gaze inside the night-sky dome of her mind and watched different parts of her life pass by. Through a window she watched people dance. She watched a tram move along a street. She watched a painter mix her colors. And the night spun into day and the rest of the time still to come......It wasn't so bad, she supposed. She'd just lie here, quite quietly, and wait.....Maybe this was how she'd finally get home.

It hung above his mantel, the painting of the headless hawk, and on those nights when he could not sleep he would pour a glass of whiskey and talk to it, tell it the stuff of his life: he was, he said, a poet who had never written poetry, a painter who had never painted, a lover who had never loved - someone without direction, and quite headless. It wasn't that he hadn't tried - good beginnings, always, bad endings, always. Vincent, white, male, 36, college graduate: a man in the sea, fifty miles from shore; a victim, born to be murdered, either by himself or another; an actor unemployed.

he rang, using the mobile number she didn’t

played the piano every night and made the most superficial acquaintances with poets and painters and artists that often only lasted a night.

Miss Price is a delightful young lady and a fine painter.” Vincent regarded her with narrowed eyes. “Ah yes, I am well aware of your scheme to throw her in the path of Sir Thomas Lawrence.” Sally shook her head vigorously. “It is not like that, my lord. We do not want him seducing her. We wanted to place him in your path so you may tell us how he fares, since we aren’t allowed to see for ourselves.” “And so she may receive the guidance she desires for her portraits,” Maria chimed in. “She is very talented for one of such youth and inexperience and—” He held up a hand. “I know what your intentions are. And I am not overly worried about the painter toying with her heart. He has to be past fifty by now—” “Fifty-three,” they both interrupted. “And balding and gout-ridden if your wishes have come true. At any rate, I would not permit her to be alone with the man for a second, and neither will her chaperone.” Maria nodded. “That woman is a dragon if I’ve ever seen the like.” “So

Then his face grew bitterly scornful. "What poor minds women have got! Love. It's always love. They think a man leaves them only because he wants others. Do you think I should be such a fool as to do what I’ve done for a woman?” "Do you mean to say you didn't leave your wife for another woman?" "Of course not." "On your word of honour?" I don't know why I asked for that. It was very ingenuous of me. "On my word of honour." "Then, what in God's name have you left her for?" "I want to paint." I looked at him for quite a long time. I did not understand. I thought he was mad. It must be remembered that I was very young, and I looked upon him as a middle-aged man. I forgot everything but my own amazement. "But you're forty." "That's what made me think it was high time to begin." "Have you ever painted?" "I rather wanted to be a painter when I was a boy, but my father made me go into business because he said there was no money in art. I began to paint a bit a year ago. For the last year I've been going to some classes at night.

But her territory was currently getting a fresh coat of paint. Much needed too. Her little cottage was long overdue for a sprucing up. And this was only a short trip. Jayne would be back Saturday night. In time to enjoy the next day, New Year’s Eve, with the new man in her life, Sinclair Crowe.

A foot in both worlds and belonging to neither.

They care about being safe," he said. "They care that someone is out there doing what I do. At the same time, we make them uncomfortable. We’re a reminder that things lurk at night, feeding on their nightmares.

I smiled in the darkness. Goodnight, Lover. Bailey: Good night... Sex God.

I smiled in the darkness. Goodnight, Lover. Bailey: Good night... Sex God.”

I cleared my throat. I hated ruining the night’s vibes with talk of college. Talk of next year always left me feeling devastated because I knew firsthand how fast everything changed. Life pressed forward with a burning velocity that left all of the beautifully-pressed details quickly forgotten.

Trust me when I tell you that sometimes the person with the most ‘magical night possibility’ is the last person you’d expect. Sometimes there can be someone you’ve known forever, yet never really noticed.

It was only with the passage of time that Titania became familiar to people through the growing popularity of Midsummer Night’s Dream- both in stage performances and representations by painters and illustrators. As a consequence, it was not until the nineteenth century that the queen was accepted as one of the rightful members of the fairy court.

I watched my mom’s beloved romcoms practically every night, using her DVD collection I’d inherited when she died. I felt closer to my mother when I watched them; it felt like a tiny piece of her was there, watching beside me.

Once upon a time there was a phenomenon that fueled local gossip continuously: During the long winter nights a strange and unidentified troop could be heard passing outside, over the land or through the air. Anyone caught by surprise in the open fields or depths of the woods saw a bizarre procession of foot soldiers and knights, some covered in blood and others carrying their heads beneath their arms. . . . This was the Wild or Infernal Hunt, the host of the damned, a theme that still inspires poets, writers, and painters.

In your dreams, Bennett," she teased. "Every damn night, Buxbaum,

And though they may have many scruples that they are wasting time, and that it may be better for them to betake themselves to some other good work, seeing that in prayer and meditation they are become helpless; yet let them be patient with themselves, and remain quiet, for that which they are uneasy about is their own satisfaction and liberty of spirit. If they were now to exert their inferior faculties, they would simply hinder and ruin the good which, in that repose, God is working in the soul; for if a man while sitting for his portrait cannot be still, but moves about, the painter will never depict his face, and even the work already done will be spoiled.

As a young man he had shared a room with a painter whose paintings had grown larger and larger as he tried to get the whole of life into his art.[...]The swollen events of the night of the crescent knives reminded Nadir Khan of his room-mate, because life had once again, perversely, refused to remain life-sized.

Carter, who'd never seen a ghost, nonetheless found the idea of them wonderful. Who wouldn't want to see a ghost? Whenever he visited the park at night, he saw nothing. On weekend afternoons, he detoured through its rambles on his way to the ferry, watching the boaters, the Sunday painters, the wild and frantic children, and he thought how odd it was that the same joyful places, minus sunlight, became frightening.

If Meridith had been anxious the night before, it was nothing compared to her response upon seeing Jake at her door. His hair was damp, like he’d just stepped from the shower, and he spun a roll of blue painter’s tape around his index finger. He wore a black polo, fitted jeans, and a furtive grin. How had she gotten herself into this? “Noelle,

This rocky peninsula is truly a very wild and unworldlike little territory, jutting boldly out as it does into the mighty bay of Massachusetts, and commanding a view of its whole extent, from Cape Cod to Cape Anne, together with the many islands, towns, and villages scattered along the coast; whilst in front spreads out the Atlantic Ocean. To sit within the upper gallery of this house upon the cliff, and watch the rising moon fling her golden bridge from the far horizon's edge, until it seems to rest upon the beach below, is a sight which would be worth something in a poet or a painter's eyes. I never, either in the East or in the Mediterranean, beheld anything exceed in colour the glory of these evening skies, or their depth by night. Round about, near to the edge of the cliffs, are scattered a number of dwellings, built in the style of the southern cottage, having low projecting eaves covering a broad gallery which usually encircles the building: these are objects upon which the eye is pleased to rest when the moon deepens their shadows on the barren rock.

Because at night there is a comfort in moving darkly. In slipping through, shadow to shadow. Can’t say why. Maybe because we were hunters, all of us. The way a cat moves in the shadows. Or a wolf. The instinctive safety in that.

We have heard the stories: Duke Ellington would say, “I merely took the energy it takes to pout and wrote some blues.” 5 Tennessee Williams felt that “apparent failure” motivated him. He said it “sends me back to my typewriter that very night, before the reviews are out. I am more compelled to get back to work than if I had a success.” Many have heard that Thomas Edison told his assistant, incredulous at the inventor’s perseverance through jillions of aborted attempts to create an incandescent light bulb, “I have not failed, I’ve just found 10,000 ways that won’t work.” 6 “Only one look is enough. Hardly one copy would sell here. Hardly one. Hardly one. Many thanks . . .” read part of the rejection letter that Gertrude Stein received from a publisher in 1912.7 Sorting through dross, artists, entrepreneurs, and innovators have learned to transform askew strivings. The telegraph, the device that underlies the communications revolution, was invented by a painter, Samuel F. B. Morse, who turned the stretcher bars from what he felt was a failed picture into the first telegraph device. The 1930s RKO screen-test response “Can’t sing. Can’t act. Balding. Can dance a little” was in reference to Fred Astaire. We hear more stories from commencement speakers—from J. K. Rowling to Steve Jobs to Oprah Winfrey—who move past bromides to tell the audience of the uncommon means through which they came to live to the heights of their capacity. Yet the anecdotes of advantages gleaned from moments of potential failure are often considered cliché or insights applicable to some, not lived out by all.

The painters were teenage girls and young women who became friendly during their hours together and entertained themselves during breaks by playing with the paint. They sprinkled the luminous liquid in their hair to make their curls twinkle in the dark. They brightened their fingernails with it. One girl covered her teeth to give herself a Cheshire cat smile when she went home at night. None of them considered this behavior risky.

Attend a university if you possibly can. There is no content of knowledge that is not pertinent to the work you will want to do. But before you attend a university work at something for a while. Do anything. Get a job in a potato field; or work as a grease-monkey in an auto repair shop. But if you do work in a field do not fail to observe the look and the feel of earth and of all things that you handle — yes, even potatoes! Or, in the auto shop, the smell of oil and grease and burning rubber. Paint of course, but if you have to lay aside painting for a time, continue to draw. Listen well to all conversations and be instructed by them and take all seriousness seriously. Never look down upon anything or anyone as not worthy of notice. In college or out of college, read. And form opinions! Read Sophocles and Euripides and Dante and Proust. Read everything that you can find about art except the reviews. Read the Bible; read Hume; read Pogo. Read all kinds of poetry and know many poets and many artists. Go to and art school, or two, or three, or take art courses at night if necessary. And paint and paint and draw and draw. Know all that you can, both curricular and noncurricular — mathematics and physics and economics, logic and particularly history. Know at least two languages besides your own, but anyway, know French. Look at pictures and more pictures. Look at every kind of visual symbol, every kind of emblem; do not spurn signboards of furniture drawings of this style of art or that style of art. Do not be afraid to like paintings honestly or to dislike them honestly, but if you do dislike them retain an open mind. Do not dismiss any school of art, not the Pre-Raphaelites nor the Hudson River School nor the German Genre painters. Talk and talk and sit at cafés, and listen to everything, to Brahms, to Brubeck, to the Italian hour on the radio. Listen to preachers in small town churches and in big city churches. Listen to politicians in New England town meetings and to rabble-rousers in Alabama. Even draw them. And remember that you are trying to learn to think what you want to think, that you are trying to co-ordinate mind and hand and eye. Go to all sorts of museums and galleries and to the studios of artists. Go to Paris and Madrid and Rome and Ravenna and Padua. Stand alone in Sainte Chapelle, in the Sistine Chapel, in the Church of the Carmine in Florence. Draw and draw and paint and learn to work in many media; try lithography and aquatint and silk-screen. Know all that you can about art, and by all means have opinions. Never be afraid to become embroiled in art of life or politics; never be afraid to learn to draw or paint better than you already do; and never be afraid to undertake any kind of art at all, however exalted or however common, but do it with distinction.

The story of Noah’s Ark, if you’re familiar, left out the part where the animal kingdom is repopulated entirely through rampant incest.

A fate worse than death, in that it also included death at the end.

How spectacularly things shine when viewed from the darkness...

...how can someone who may be losing his mind accurately assess his own sanity?

Once upon a time the only thing that couldn't be taken from someone under any circumstances was their own attitude and thoughts. A sufficiently trained and powerful mind could always take refuge in itself. But Keli knew all too well this was no longer the case; when you strip away the layers of abstraction we're merely chemical reactions and electric pulses, both of which can be manipulated.

There's a brute fact at the end of every chain of causality. Some are just harder to accept than others. If you keep asking 'why' in any domain you eventually arrive at something that just seems to be true about reality, at least insofar as we understand it.

Would intelligent life evolve again on this planet, and if so would it have the means—like opposable thumbs or a way to store knowledge outside of brains—to build technology? Dolphins could have lived for eternity and never developed the capability to annihilate their species or the world, much less colonize another.

We stood on the shoulders of giants, but we fell off.

Tragically ironic, isn't it? How nuclear weapons represent both our species' mastery over the very foundations of nature, as well as our utter inability to master our most primitive instincts.

But at this point I know I'm only remembering the last time I remembered, an increasingly distorted recursion reaching back in time.

Midsummer Dance (Midsommardans) by Anders Zorn is a prime example of how Swedish painters expressed their idea of Sweden, its traditions and its characteristic light conditions in the summer – the painting shows a dancing scene in the Swedish countryside in Dalecarlia in which couples clad in folk costumes twirl around the meadow in the wistful twilight of the early dawning sun in the midsummer night.

We are just two naked bodies. There's no need to share what's on our minds.

The old antiquarian bookstore was a sliver amongst the larger pastel-coloured shops on the leafy Parisian street of Rue Cardinet. It was called Librairie d'antiquites de Geroux but was, nonetheless, as much a part of the Batignolles village as the Saturday farmers' market, the square, or the tourists retracing the steps of impressionist painter Alfred Sisley. The only other building that seemed as much a part of the furniture was the abandoned restaurant on the corner, like one of those unfortunate heirloom pieces that tends to clash with everything. Most people believed it to be cursed or haunted as a result of what had happened there during the Occupation, when the former owner had poisoned all of her customers one night. A fact that had turned to legend over the intervening years

That night the wind came and carried Kelsang’s mat away. The next morning, the painter shambled out to water his plants. Kelsang had never existed, he was sure of it. While there was still a hazy image of a dog lingering in the back of his mind, he thought of it as he did one of his tanka paintings that had been taken away and was now hanging in a temple somewhere.

Ever since she was a little girl, Sadie had thought a lot about the written word. She thought about words as she fell asleep at night; she thought about them when she dressed in the morning. She arranged them in her mind like colors on a painter's palette. In her mind, she could make them dance. Words conveyed meaning. Words had power. Words gave everything and asked nothing in return.