Painting Comments Quotes

Anyone that says his mind will be probably regarded a fool, but the true artist is not moved by the comments about the looks of his painting or remarks that are dreadfully sarcastic, but hearken now! That he who says what others want to hear hasn't said anything of his own.

It is Duchamp who is to blame for the whole “is it art?” debate, which of course is exactly what he intended. As far as he was concerned, the role in society of an artist was akin to that of a philosopher; it didn’t even matter if he or she could paint or draw. An artist’s job was not to give aesthetic pleasure—designers could do that; it was to step back from the world and attempt to make sense or comment on it through the presentation of ideas that had no functional purpose other than themselves.

Her youthful habit of consuming a picture just inches from its aromatic surface died a long time ago. Sebastian, when they were first dating, had once called it an affectation and she could never bring herself to do it again. His offhanded comment should have been a sign of future cruelties and standards of perfection, but instead she’d quickly agreed with his assessment and was grateful for his candor. She

Let us finally consider how naive it is altogether to say: "Man ought to be such and such!" Reality shows us an enchanting wealth of types, the abundance of a lavish play and change of forms — and some wretched loafer of a moralist comments: "No! Man ought to be different." He even knows what man should be like, this wretched bigot and prig: he paints himself on the wall and comments, "Ecce homo!" But even when the moralist addresses himself only to the single human being and says to him, "You ought to be such and such!" he does not cease to make himself ridiculous. The single human being is a piece of fatum from the front and from the rear, one law more, one necessity more for all that is yet to come and to be. To say to him, "Change yourself!" is to demand that everything be changed, even retroactively. And indeed there have been consistent moralists who wanted man to be different, that is, virtuous — they wanted him remade in their own image, as a prig: to that end, they negated the world! No small madness! No modest kind of immodesty! Morality, insofar as it condemns for its own sake, and not out of regard for the concerns, considerations, and contrivances of life, is a specific error with which one ought to have no pity — an idiosyncrasy of degenerates which has caused immeasurable harm. We others, we immoralists, have, conversely, made room in our hearts for every kind of understanding, comprehending, and approving. We do not easily negate; we make it a point of honor to be affirmers. More and more, our eyes have opened to that economy which needs and knows how to utilize everything that the holy witlessness of the priest, the diseased reason in the priest, rejects — that economy in the law of life which finds an advantage even in the disgusting species of the prigs, the priests, the virtuous. What advantage? But we ourselves, we immoralists, are the answer.

We can combat existential anguish – the unbearable lightness of our being – in a variety of ways. We can choose to work, play, destroy, or create. We can allow a variety of cultural factors or other people to define who we are, or we can create a self-definition. We decide what to monitor in the environment. We regulate how much attention we pay to nature, other people, or the self. We can watch and comment upon current cultural events and worldly happenings or withdraw and ignore the external world. We can drink alcohol, dabble with recreational drugs, play videogames, or watch television, films, and sporting events. We can travel, go on nature walks, camp, fish, and hunt, climb mountains, or take whitewater-rafting trips. We can build, paint, sing, create music, write poetry, or read and write books. We can cook, barbeque, eat fine cuisine at restaurants or go on fasts. We can attend church services, worship and pray, or chose to embrace agnosticism or atheism. We can belong to charitable organizations or political parties. We can actively or passively support or oppose social and ecological causes. We can share time with family, friends, co-workers, and acquaintances or live alone and eschew social intermixing.

In her mind’s eye, the days and weeks of her time with Julian at the café returned to her: bits of conversations, strange comments, questions unanswered and topics diverted. A pointillism painting she’d been standing too close to; none of it made sense. Now, if she stepped back…

The end of this short story could be a rather disturbing thing, if it came true. I hope you like it, and if you do, be sure to COMMENT and SHARE. Paradoxes of Destiny? Dani! My boy! Are you all right? Where are you? Have you hurt yourself? Are you all right? Daniiii! Why won’t you answer? It’s so cold and dark here. I can’t see a thing… It’s so silent. Dani? Can you hear me? I shouldn’t have looked at that text message while I was driving… I shouldn’t have done it! I'm so stupid sometimes! Son, are you all right?... We really wrecked the car when we rolled it! I can’t see or hear a thing… Am I in hospital? Am I dead…? Dani? Your silence is killing me… Are you all right?! I can see a glimmer of light. I feel trapped. Dani, are you there? I can’t move. It’s like I’m wrapped in this mossy green translucent plastic. I have to get out of here. The light is getting more and more intense. I think I can tear the wrapping that’s holding me in. I'm almost out. The light is blinding me. What a strange place. I've never seen anything like it. It doesn’t look like Earth. Am I dead? On another planet? Oh God, look at those hideous monsters! They’re so creepy and disgusting! They look like extraterrestrials. They’re aliens! I'm on another planet! I can’t believe it. I need to get the hell out here. Those monsters are going to devour me. I have to get away. I’m so scared. Am I floating? Am I flying? I’m going to go higher to try to escape. I can’t see the aliens anymore and the landscape looks less terrifying. I think I've made it. It’s very windy. Is that a highway? I think I can see some vehicles down there. Could they be the extraterrestrials’ transport? I’m going to go down a bit. I see people! Am I on Earth? Could this be a parallel universe? Where could Dani be? I shouldn’t have looked at that text message while I was driving. I shouldn’t… That tower down there looks a lot like the water tank in my town… It’s identical. But the water tank in my town doesn’t have that huge tower block next to it. It all looks very similar to my neighborhood, but it isn’t exactly the same: there are a lot of tower blocks here. There’s the river… and the factory. It’s definitely my neighborhood, but it looks kind of different. I must be in a parallel universe… It’s amazing that I can float. People don’t seem to notice my presence. Am I a ghost? I have to get back home and see if Dani’s there. God, I hope he’s safe and sound. Gabriela must be out of her mind with the crash. There’s my house! Home sweet home. And whose are those cars? The front of the house has been painted a different color… This is all so strange! There’s someone in the garden… Those trees I planted in the spring have really grown. Is… is that… Dani? Yes, yes! It’s Dani. But he looks so different… He looks older, he looks… like a big boy! What’s important is that he’s OK. I need to hug him tight and tell him how much I love him. Can he see me if I’m a ghost? I'll go up to him slowly so I don’t scare him. I need to hold him tight. He can’t see me, I won’t get any closer. He moved his head, I think he’s started to realize I’m here… Wow I’m so hungry all of a sudden! I can’t stop! How are you doing, son?! It’s me! Your dad! My dear boy? I can’t stop! I'm too hungry! Ahhhh, so delicious! What a pleasure! Nooo Daniii! Nooooo!.... I’m your daaaad!... Splat!... “Mum, bring the insect repellent, the garden’s full of mosquitoes,” grunted Daniel as he wiped the blood from the palm of his hand on his trousers. Gabriela was just coming out. She did an about turn and went back into her house, and shouted “Darling, bring the insect repellent, it’s on the fireplace…” Absolute cold and silence… THE END (1) This note is for those who have read EQUINOX—WHISPERS OF DESTINY. This story is a spin-off of the novel EQUINOX—WHISPERS OF DESTINY and revolves around Letus’s curious theories about the possibility of animal reincarnation.

Flaubert believed that it was impossible to explain one art form in terms of another, and that great paintings required no words of explanation. Braque thought the ideal state would be reached when we said nothing at all in front of a painting. But we are very far from reaching that state. We remain incorrigibly verbal creatures who love to explain things, to form opinions, to argue. Put us in front of a picture and we chatter, each in our different way. Proust, when going round an art gallery, liked to comment on who the people in the pictures reminded him of in real life; which might have been a deft way of avoiding the direct aesethetic confrontation. But it is a rare picture that stuns, or argues, us into silence. And if one does, it is only a short time before we want to explain and understand the very silence into which we have been plunged.

For there is a spot the size of a shilling at the back of the head which one can never see for oneself. It is one of the good offices that sex can discharge for sex--to describe that spot the size of a shilling at the back of the head. Think how much women have profited by the comments of Juvenal; by the criticism of Strindberg. Think with what humanity and brilliancy men, from the earliest ages, have pointed out to women that dark place at the back of the head! And if Mary were very brave and very honest, she would go behind the other sex and tell us what she found there. A true picture of man as a whole can never be painted until a woman has described that spot the size of a shilling.

We are gathered here, friends,” he said, “to honor lo Hoon-yera Mora-toorz tut Zamoo-cratz-ya, children dead, all dead, all murdered in war. It is customary on days like this to call such lost children men. I am unable to call them men for this simple reason: that in the same war in which lo Hoon-yera Mora-toorz tut Zamoo-cratz-ya died, my own son died. “My soul insists that I mourn not a man but a child. “I do not say that children at war do not die like men, if they have to die. To their everlasting honor and our everlasting shame, they do die like men, thus making possible the manly jubilation of patriotic holidays. “But they are murdered children all the same. “And I propose to you that if we are to pay our sincere respects to the hundred lost children of San Lorenzo, that we might best spend the day despising what killed them; which is to say, the stupidity and viciousness of all mankind. “Perhaps, when we remember wars, we should take off our clothes and paint ourselves blue and go on all fours all day long and grunt like pigs. That would surely be more appropriate than noble oratory and shows of flags and well-oiled guns. “I do not mean to be ungrateful for the fine, martial show we are about to see—and a thrilling show it really will be . . .” He looked each of us in the eye, and then he commented very softly, throwing it away, “And hooray say I for thrilling shows.” We had to strain our ears to hear what Minton said next. “But if today is really in honor of a hundred children murdered in war,” he said, “is today a day for a thrilling show? “The answer is yes, on one condition: that we, the celebrants, are working consciously and tirelessly to reduce the stupidity and viciousness of ourselves and of all mankind.

The difference between a good and a great work of art was down to an almost indistinguishable series of largely unidentifiable factors: the élan of a brushstroke; the juxtaposition of colours; the collisions in a composition and an accidental stroke or two. Like a rolling stone gathering moss, a painting gathered history, comment and appreciation, all adding to its value.

In that day an educated rich man was acceptable. He might send his sons to college without comment, might wear a vest and white shirt and tie in the daytime of a weekday, might wear gloves and keep his nails clean. And since the lives and practices of rich men were mysterious, who knows what they could use or not use? But a poor man––what need had he for poetry or for painting or for music not fit for singing or dancing?

A woman with a huge angry short-haired tabby in her arms came through from the surgery. The newly named Lucy’s fur rose. She made a noise that suggested she had come to the boil. The tabby suddenly let out a yell. Dogs made ambiguous comments in their throats. “Oh Lor’!” said the newcomer. She grinned at Mr. Whipplestone. “Better make ourselves scarce,” she said, and to her indignant cat: “Shut up, Bardolph, don’t be an ass.

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.

Marina Orlova was hooked on my quote about women not owing men. I scrolled through her posted paintings and recalled a Slovak friend once commenting on a guy wanna-be a great painter, something like this: "Aaano, on bol profesionalnym maljiarom na Slovensku, maloval tam pice a hakove krize po stenach". He meant graffiti, but I hesitate to translate it in detail for it may sound too rough. Another thought is about surreal, sometimes spurious aesthetics mixed with hinted or daring sexuality, which Marina Orlova endorses, deliberately or not, in line of her claimed profession. The posts call to mind The Cook, the Thief, His Wife & Her Lover or even Titus Andronicus. No wonder, thousands of bozos are attracted to her internet activity because ..., well, the woman is hot.

To the door of an inn in the provincial town of N. there drew up a smart britchka—a light spring-carriage of the sort affected by bachelors, retired lieutenant-colonels, staff-captains, land-owners possessed of about a hundred souls, and, in short, all persons who rank as gentlemen of the intermediate category. In the britchka was seated such a gentleman—a man who, though not handsome, was not ill-favoured, not over-fat, and not over-thin. Also, though not over-elderly, he was not over-young. His arrival produced no stir in the town, and was accompanied by no particular incident, beyond that a couple of peasants who happened to be standing at the door of a dramshop exchanged a few comments with reference to the equipage rather than to the individual who was seated in it. "Look at that carriage," one of them said to the other. "Think you it will be going as far as Moscow?" "I think it will," replied his companion. "But not as far as Kazan, eh?" "No, not as far as Kazan." With that the conversation ended. Presently, as the britchka was approaching the inn, it was met by a young man in a pair of very short, very tight breeches of white dimity, a quasi-fashionable frockcoat, and a dickey fastened with a pistol-shaped bronze tie-pin. The young man turned his head as he passed the britchka and eyed it attentively; after which he clapped his hand to his cap (which was in danger of being removed by the wind) and resumed his way. On the vehicle reaching the inn door, its occupant found standing there to welcome him the polevoi, or waiter, of the establishment—an individual of such nimble and brisk movement that even to distinguish the character of his face was impossible. Running out with a napkin in one hand and his lanky form clad in a tailcoat, reaching almost to the nape of his neck, he tossed back his locks, and escorted the gentleman upstairs, along a wooden gallery, and so to the bedchamber which God had prepared for the gentleman's reception. The said bedchamber was of quite ordinary appearance, since the inn belonged to the species to be found in all provincial towns—the species wherein, for two roubles a day, travellers may obtain a room swarming with black-beetles, and communicating by a doorway with the apartment adjoining. True, the doorway may be blocked up with a wardrobe; yet behind it, in all probability, there will be standing a silent, motionless neighbour whose ears are burning to learn every possible detail concerning the latest arrival. The inn's exterior corresponded with its interior. Long, and consisting only of two storeys, the building had its lower half destitute of stucco; with the result that the dark-red bricks, originally more or less dingy, had grown yet dingier under the influence of atmospheric changes. As for the upper half of the building, it was, of course, painted the usual tint of unfading yellow. Within, on the ground floor, there stood a number of benches heaped with horse-collars, rope, and sheepskins; while the window-seat accommodated a sbitentshik[1], cheek by jowl with a samovar[2]—the latter so closely resembling the former in appearance that, but for the fact of the samovar possessing a pitch-black lip, the samovar and the sbitentshik might have been two of a pair.

But mostly, finally, ultimately, I'm here for the weather. As a result of the weather, ours is a landscape in a minor key, a sketchy panorama where objects, both organic and inorganic, lack well-defined edges and tent to melt together, creating a perpetual blurred effect, as if God, after creating Northwestern Washington, had second thoughts and tried unsuccessfully to erase it. Living here is not unlike living inside a classical Chinese painting before the intense wisps of mineral pigment had dried upon the silk - although, depending on the bite in the wind, they're times when it's more akin to being trapped in a bad Chinese restaurant; a dubious joint where gruff waiters slam chopsticks against the horizon, where service is haphazard, noodles soggy, wallpaper a tad too green, and considerable amounts of tea are spilt; but in each and every fortune cookie there's a line of poetry you can never forget. Invariably, the poems comment on the weather. In the deepest, darkest heart of winter, when the sky resembles bad banana baby food for months on end, and the witch measles that meteorologists call "drizzle" are a chronic gray rash on the skin of the land, folks all around me sink into a dismal funk. Many are depressed, a few actually suicidal. But I, I grow happier with each fresh storm, each thickening of the crinkly stratocumulus. "What's so hot about the sun?" I ask. Sunbeams are a lot like tourists: intruding where they don't belong, promoting noise and forced activity, faking a shallow cheerfulness, dumb little cameras slung around their necks. Raindrops, on the other hand, introverted, feral, buddhistically cool, behave as if they were locals. Which, of course, they are.

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.

It struck me, as my automaton knees went up and down, that I simply did not know a thing about my darling's mind and that quite possibly, behind the awful juvenile cliches, there was in her a garden and a twilight, and a palace gate—dim and adorable regions which happened to be lucidly and absolutely forbidden to me, in my polluted rags and miserable convulsions; for I often noticed that living as we did, she and I, in a world of total evil, we would become strangely embarrassed whenever I tried to discuss something she and an older friend, she and a parent, she and a real healthy sweetheart, I and Annabel, Lolita and a sublime, purified, analyzed, deified Harold Haze, might have discussed—an abstract idea, a painting, stippled Hopkins or shorn Baudelaire, God or Shakespeare, anything of a genuine kind. Good will! She would mail her vulnerability in trite brashness and boredom, whereas I, using for my desperately detached comments an artificial tone of voice that set my own last teeth on edge, provoked my audience to such outbursts of rudeness as made any further conversation impossible, oh my poor bruised child.

My honors thesis project was my first interactive exhibit, in which two facing chairs were activated by a motion sensor when the viewer walked by. One was a cofortable armchair of plush red velvet, with a dildo sticking out of a hole in the seat. When activated, the dildo moved up and down and a strobe light pulsed. The facing chair was hard and uncomfortable, with spikes protruding from the seat, and when the viewer walked by it a dog would bark. The juxtaposition of the two chairs was meant to represent how forces of repression censor the desire for liberation. In that same exhibition, I showed a handmade box in the shape of a cross, decorated with a beautiful painting of the Holy Trinity. The viewer was encouraged to open the box, where they would find a dildo wrapped in the American flag and nailed to a cross-- this was meant to symbolize the hypocrisy and repression that is hidden under the attractive facade of organized religion. The dildo was surrounded by pages from the Bible, which were themselves surrounded by images of the sickness and starvation caused by the embargo in Iraq, a comment on the effects of imposing one culture and religion on another.

She had a point,you know," Edward commented a few hours later. "Unnecessarily crude, perhaps, but apt. Our public personas frequently do not match our private ones. You, of all people, should know that." "This isn't about me," I said grumpily. "This is about needing to find more information about the private you.Something I don't already know." "I have terribly ugly feet." "Not what I had in mind.And probably untrue anyway." Edward glanced down at the empty space below his rib cage. "Probably. So, what did you have in mind?" "A letter,maybe.From Diana.Something that connected your love to your work." "I rather thought I did that through my paintings." "You did.I mean, that's what attracted me to you in the first place.Well, o, that was your smile, probably,but the paintings helped. It's just that I need to know more about your muse." "Ah, darling Ella, the artist's muse is Ego.Nothing more." "You don't mean that.You married Diana because she made you feel like no one else in the universe ever did or could." He nodded. "She was extraordinary." "But not everyone saw that.Your family went nuts.Half of your friends stopped inviting you over, at least for a while." "Their loss. She was a woman who comes along once in a lifetime.

Pretty soon, you find yourself spending more time on your front lawn than you do inside the house. And because your house tells the story of rainy winters and hot summers, including wear on the garage door and some faded paint, you’re working hard to maintain the outside. But over time, you lose sight of the fact that your house was made to inhabit, not just evaluate; you were meant to live inside your home, not on the front lawn. You also forget that your home is yours—which means it doesn’t have to look like the neighbors’. Your home is a place that allows you to express your own style, to entertain, and to store the resources you need to get through the demands of life. When it comes to our bodies, most of us are living on the front lawn. We are looking at our bodies from the outside only, and we have not yet learned how to move back in. In other words, we are so fixated on our appearance that we lose the ability to sense what is happening inside. Even if all our attention is on the outside, the house still exists—for us. We are all born living on the “inside”—it really is the only option. But as we start to realize we have a public body—that other people comment on, celebrate, use, grab, or critique—it gets harder to resist leaving the home that has always been ours.

You want us to love you, is that right? Love, Tabitha Crum, is to be earned, not given away to just anyone like a festering case of fleas. She'd been seven when her mother had made the comparison of love and irritable itching. Tabitha remembered the statement quite well because it was the same year children at school had suddenly gotten it in their heads that she had a case of head lice. That had been a difficult time and nobody had gotten close to Tabitha since. Of course, with the addition of a pet mouse over the last year, her lack of friendship could perhaps be further explained by the misapprehension that she spoke to herself. Pemberley was a most excellent consultant in all matters, but he tended to stay out of sight, so Tabitha could somewhat understand the slanderous comments. Or it might have been the unfortunate, uneven unattractive, blunt-scissored haircut her mother was so fond of giving her. Or it could have been the simple truth that making friends can be an awkward and a difficult thing when it's a one-sided endeavor and you've a pet mouse and you've been painted as odd and quiet and shy, when really you're just a bit misunderstood. In any case, nobody at St. John's seemed lacking for companionship except her. But Tabitha reminded herself that there were far worse things than not having friends. In fact, she often made a game of listing far worse things: • eating the contents of a sneeze • creatures crawling into her ear holes. • losing a body part (Though that one was debatable depending on the part. An ear or small toe might be worth a friend or two.

And I still have other smothered memories, now unfolding themselves into limbless monsters of pain. Once, in a sunset-ending street of Beardsley, she turned to little Eva Rosen (I was taking both nymphets to a concert and walking behind them so close as almost to touch them with my person), she turned to Eva, and so very serenely and seriously, in answer to something the other had said about its being better to die than hear Milton Pinski, some local schoolboy she knew, talk about music, my Lolita remarked: 'You know, what's so dreadful about dying is that you are completely on your own'; and it struck me, as my automaton knees went up and down, that I simply did not know a thing about my darling's mind and that quite possibly, behind the awful juvenile clichés, there was in her a garden and a twilight, and a palace gate — dim and adorable regions which happened to be lucidly and absolutely forbidden to me, in my polluted rags and miserable convulsions; for I often noticed that living as we did, she and I, in a world of total evil, we would become strangely embarrassed whenever I tried to discuss something she and an older friend, she and a parent, she and a real healthy sweetheart, I and Annabel, Lolita and a sublime, purified, analyzed, deified Harold Haze, might have discussed — and abstract idea, a painting, stippled Hopkins or shorn Baudelaire, God or Shakespeare, anything of a genuine kind. Good will! She would mail her vulnerability in trite brashness and boredom, whereas I, using for my desperately detached comments an artificial tone of voice that set my own last teeth on edge, provoked my audience to such outburst of rudeness as made any further conversation impossible, oh my poor, bruised child.

When we reach a certain age we have opportunity to decide how we present ourselves to the world, and that age is getting ever younger. Even our young teenage generation is aware of fashion and we grow acutely more and more aware of how obsessed our society is with imagery and appearance. Or rather we become more aware that to get on in life we need to be brash and bright and sparkling all the time. That bright colours and big noises is what gets your through life, that any substance behind that is almost irrelevant to success. We only need look at who we proclaim as celebrities, who society rewards with wealth, that substance is not a prerequisite to success. Be bright, make a statement, choose a bold look, dye your hair, pierce your body, paint it with permanent ink, wear outlandish clothes and don't be afraid to say something crude or mean or controversial because that's the person you are. Or is it? Is it that when you've done with the all the additions to your body, the person you look at in the mirror is no longer the real you. It is a character, the one you think society wants you to be, that society has convinced you that you want to be, substance optional. One of the most beautiful moments of conversation on and offline I've had with some people is when they surprise me, a comment or opinion with substance and thought, something away fro their character, revealing the real individual in-between. So why hide that part of you. When did our society evolve into a place when people have to sell themselves as a larger than life character? When did being a little quiet, thoughtful, more subtly dressed stop being classy and become perceived as dull. When did people, intelligent people, start to realise that world didn't want them to be themselves and it was better to throw in some over the top extravagances, make claim to some extreme habits and tastes. These same people permanently seeking definition of the character they've become rather than friendship from real people who know it is purely superficial but go along with it anyway. You're not your unnaturally coloured hair or your mark applied to you by a skilled artist. You are not the label of clothes you wear nor the quirky colours you choose to represent yourself. Just be honest with yourself, attention seeking is an illness. Don't follow the trends like everyone else. Make your own. That's my objective, to unashamedly be myself, And that is probably why I always wear a lot of black. No tricks, no fancy colours, no parlour tricks to detract from who I am. I want people to see my subtance, not be clouded with smoke and mirrors and see a character that doesn't really exist.

When we reach a certain age we have opportunity to decide how we present ourselves to the world, and that age is getting ever younger. Even our young teenage generation is aware of fashion and we grow acutely more and more aware of how obsessed our society is with imagery and appearance. Or rather we become more aware that to get on in life we need to be brash and bright and sparkling all the time. That bright colours and big noises is what gets your through life, that any substance behind that is almost irrelevant to success. We only need look at who we proclaim as celebrities, who society rewards with wealth, that substance is not a prerequisite to success. Be bright, make a statement, choose a bold look, dye your hair, pierce your body, paint it with permanent ink, wear outlandish clothes and don't be afraid to say something crude or mean or controversial because that's the person you are. Or is it? Is it that when you've done with the all the additions to your body, the person you look at in the mirror is no longer the real you. It is a character, the one you think society wants you to be, that society has convinced you that you want to be, substance optional. One of the most beautiful moments of conversation on and offline I've had with some people is when they surprise me, a comment or opinion with substance and thought, something away fro their character, revealing the real individual in-between. So why hide that part of you. When did our society evolve into a place when people have to sell themselves as a larger than life character? When did being a little quiet, thoughtful, more subtly dressed stop being classy and become perceived as dull. When did people, intelligent people, start to realise that world didn't want them to be themselves and it was better to throw in some over the top extravagances, make claim to some extreme habits and tastes. These same people permanently seeking definition of the character they've become rather than friendship from real people who know it is purely superficial but go along with it anyway. You're not your unnaturally coloured hair or your mark applied to you by a skilled artist. You are not the label of clothes you wear nor the quirky colours you choose to represent yourself. Just be honest with yourself, attention seeking is an illness. Don't follow the trends like everyone else. Make your own. That's my objective, to unashamedly be myself, And that is probably why I always wear a lot of black. No tricks, no fancy colours, no parlour tricks to detract from who I am. I want people to see my subtance, not be clouded with smoke and mirrors and see a character that doesn't really exist.

is common to youth and inexperience in like cases—but . . . unattended with that gracefulness and ease which sometimes makes even the impertinence of youth and inexperience agreeable or at least not offensive.” Rodney was a thoroughgoing eccentric who claimed to have personal visits from archangels, but odd though he was, his comment about the thirty-year-old Madison being fresh from college is revealing.32 A miniature painted by Charles Willson Peale about this time shows how Rodney might have made this mistake. The overall impression is of

Why Should I Care What Color the Bikeshed Is? "The really, really short answer is that you should not. The somewhat longer answer is that just because you are capable of building a bikeshed does not mean you should stop others from building one just because you do not like the color they plan to paint it. This is a metaphor indicating that you need not argue about every little feature just because you know enough to do so. Some people have commented that the amount of noise generated by a change is inversely proportional to the complexity of the change.

Handsome as the devil,” Samantha commented, following her gaze. “Is he as wicked as they say, Lottie?” “Not in the least,” Lottie lied. “Lord Sydney is as mild-tempered and obliging a gentleman as could be found anywhere.” It was a case of unfortunate timing that at that moment, Nick happened to glance in her direction. His gaze encompassed her in a smoldering sweep that threatened to singe her clothing to ashes. Knowing what that look meant, and what would happen in the evening hours after the ball, Lottie felt a thrill deep inside, and she struggled to maintain her composure. Samantha and Arabella, meanwhile, had snapped open their fans and were employing them vigorously. “Good heavens,” Samantha exclaimed in a low voice, “the way he looks at you is positively indecent, Lottie.” “I don’t know what you mean,” Lottie said demurely, though she felt her own cheeks heating. Arabella giggled behind her own painted silk fan. “The only time I’ve ever seen that expression on my Harry’s face is when a plate of Yorkshire pudding is set before him.

In the well reported Kubizek period from late 1904 through mid-1908, with its additiona data from the circumstances of failure at school, lung ailment, and tragic episode of his mother’s death, the picture remains the same. Hitler’s character is one of bold license for a youngster, but not directed toward dissolute behavior or activity that gives a hint of evil. Hitler devoured grand opera and classical music, painted, sketched, planned a great new Linz; he wrote sonnets, communed with nature, and exuded politeness and reserve. These are activities and qualities that suggest potential, although overblown, aspirations to artistic genius. What we see, like it or not, is morally laudable behavior and aspiration on the part of a young man in his teens. But is there a dark side somewhere in this picture? If there were a dark side, it probably would have been the light gray of the contempt that he had for many of his school teachers and his resistance to formal education. Hitler’s comments in Mein Kampf support such contempt and are buoyed by his indelible comment, about his tour of the customs office where his father worked, that the clerks and officials squatted about as monkeys in cages. -- Hitler: Beyond Evil and Tyranny, p. 101

The end of this short story could be a rather disturbing thing, if it came true. I hope you like it, and if you do, be sure to COMMENT and SHARE. Paradoxes of Destiny? Dani! My boy! Are you all right? Where are you? Have you hurt yourself? Are you all right? Daniiii! Why won’t you answer? It’s so cold and dark here. I can’t see a thing… It’s so silent. Dani? Can you hear me? I shouldn’t have looked at that text message while I was driving… I shouldn’t have done it! I'm so stupid sometimes! Son, are you all right?... We really wrecked the car when we rolled it! I can’t see or hear a thing… Am I in hospital? Am I dead…? Dani? Your silence is killing me… Are you all right?! I can see a glimmer of light. I feel trapped. Dani, are you there? I can’t move. It’s like I’m wrapped in this mossy green translucent plastic. I have to get out of here. The light is getting more and more intense. I think I can tear the wrapping that’s holding me in. I'm almost out. The light is blinding me. What a strange place. I've never seen anything like it. It doesn’t look like Earth. Am I dead? On another planet? Oh God, look at those hideous monsters! They’re so creepy and disgusting! They look like extraterrestrials. They’re aliens! I'm on another planet! I can’t believe it. I need to get the hell out here. Those monsters are going to devour me. I have to get away. I’m so scared. Am I floating? Am I flying? I’m going to go higher to try to escape. I can’t see the aliens anymore and the landscape looks less terrifying. I think I've made it. It’s very windy. Is that a highway? I think I can see some vehicles down there. Could they be the extraterrestrials’ transport? I’m going to go down a bit. I see people! Am I on Earth? Could this be a parallel universe? Where could Dani be? I shouldn’t have looked at that text message while I was driving. I shouldn’t… That tower down there looks a lot like the water tank in my town… It’s identical. But the water tank in my town doesn’t have that huge tower block next to it. It all looks very similar to my neighborhood, but it isn’t exactly the same: there are a lot of tower blocks here. There’s the river… and the factory. It’s definitely my neighborhood, but it looks kind of different. I must be in a parallel universe… It’s amazing that I can float. People don’t seem to notice my presence. Am I a ghost? I have to get back home and see if Dani’s there. God, I hope he’s safe and sound. Gabriela must be out of her mind with the crash. There’s my house! Home sweet home. And whose are those cars? The front of the house has been painted a different color… This is all so strange! There’s someone in the garden… Those trees I planted in the spring have really grown. Is… is that… Dani? Yes, yes! It’s Dani. But he looks so different… He looks older, he looks… like a big boy! What’s important is that he’s OK. I need to hug him tight and tell him how much I love him. Can he see me if I’m a ghost? I'll go up to him slowly so I don’t scare him. I need to hold him tight. He can’t see me, I won’t get any closer. He moved his head, I think he’s started to realize I’m here… Wow I’m so hungry all of a sudden! I can’t stop! How are you doing, son?! It’s me! Your dad! My dear boy? I can’t stop! I'm too hungry! Ahhhh, so delicious! What a pleasure! Nooo Daniii! Nooooo!.... I’m your daaaad!... Splat!... “Mum, bring the insect repellent, the garden’s full of mosquitoes,” grunted Daniel as he wiped the blood from the palm of his hand on his trousers. Gabriela was just coming out. She did an about turn and went back into her house, and shouted “Darling, bring the insect repellent, it’s on the fireplace…” Absolute cold and silence… THE END (1) This note is for those who have read EQUINOX—WHISPERS OF DESTINY. This story is a spin-off of the novel EQUINOX—WHISPERS OF DESTINY and revolves around Letus’s curious theories about the possibility of animal reincarnation

May 5: At 5:00 a.m., Marilyn awakes with chills and sheets drenched in perspiration. Her fever is again 101 degrees, and her vision is blurred. Marilyn hires a bicycle at the cost of eighteen dollars a month, a rental from the Hans Ohrt Lightweight Bicycles store in Beverly Hills. But Marilyn never acts on her plans to ride this English-style bicycle to the studio. Marilyn purchases Rodin’s The Embrace, and Poucette’s oil painting The Bull, from Edgardo Acosta, Modern Paintings, 441 North Bedford Drive, Beverly Hills, California. Norman Rosten, who was with her, remembered her comment on The Embrace: “He’s hurting her but he wants to love her, too.” The bull appears against a fierce red background and seems reflective of Monroe’s rage over “romance gone awry,” as Lois Banner puts it in MM—Personal.

She burst out laughing. “Did you just quote Silence of the Lambs at me? Serial killer dialogue meant to reassure me?” He cursed under his breath, and she reached out to pat his arm to reassure him. “I know it was a joke. Really. I’m more concerned you have a foot fetish than with you being a serial killer.” “Foot fetish?” “The toes comment? I mean, look, if it floats someone’s boat, more power to them. But I can’t even get a pedicure because people touching my feet weirds me out.” “Note to self, don’t try to paint Nat’s toenails.” He turned with a grin on his face. “We’re both being way more nervous than we need to be.” “Yeah. Probably.” “I like cute toes when they’re painted and looking great in nice high heels. I don’t want to lick them or anything. Yours would probably be worth it. But I can control my baser urges.

His vision was religious and clean, and therefore his paintings were without decoration or superfluous comment, since a religious man respects the power of God's creation to bear witness for itself.

In contrast to most of the examples given in this chapter, it is occasionally recorded that even solitary confinement imposed by enemies can be the trigger for psychological experiences of lasting value. Anthony Grey, who experienced solitary confinement in China, and Arthur Koestler, who was similarly imprisoned in Spain, discussed their experiences together on television. The transcript of their discussion appears in Koestl’s collection of essays, Kaleidoscope. Both men were grateful that they did not have to share a cell with another prisoner. Both felt that solitude enhanced their appreciation of, and sympathy with, their fellow men. Both had intense experiences of feeling that some kind of higher order of reality existed with which solitude put them in touch. Both felt that trying to put this experience into words tended to trivialize it, because words could not really express it. Although neither man subscribed to any orthodox religious belief, both agreed that they had felt the abstract existence of something which was indefinable or which could only be expressed in symbols. Anthony Grey thought that his experience had given him a new awareness and appreciation of normal life. Koestler concurred, but added that he had also become more aware of horrors lurking under the surface. Koestler also refers to a feeling of inner freedom, of being alone and confronted with ultimate realities instead of with your bank statement. Your bank statement and other trivialities are again a kind of confinement. Not in space but in spiritual space . . . So you have got a dialogue with existence. A dialogue with life, a dialogue with death. Grey comments that this is an area of experience into which most people do not enter. Koesder righdy affirms that most people have occasional confrontations of this kind when they are severely ill or when a parent dies, or when they first fall in love. Then they are transferred from what I call the trivial plane to the tragic or absolute plane. But it only happens a few times. Whereas in the type of experience which we shared, one has one’s nose rubbed into it, for a protracted period.17 So, occasionally, good can come out of evil. Anthony Grey recalled being shown a painting by a Chinese friend in which a beautiful lotus flower is growing out of mud. The human spirit is not indestructible; but a courageous few discover that, when in hell, they are granted a glimpse of heaven.

Madame Le Brun, who once painted a portrait of her, claimed Marie Thérèse had ‘the most beautiful blonde hair imaginable’,13 and another person commented that her hair could easily be ‘likened to the tresses which crown, nimbus-like, the heads of Raphael’s Madonnas.’14

Two years later, Thomas Couture unveiled his painting “The Romans of the Decadence,” setting off a storm of comment and controversy in Paris. It showed a Roman orgy in a sumptuous palace, surrounded by the luxuries and delicacies of superfluous wealth. But the faces of the participants betray their boredom; as they go through the motions of sensual delight, they are spiritually dead. Material comfort and opulence had drained away all creativity and life. Couture attached this subtitle from Juvenal’s “Sixth Satire”: Luxury, more vicious than any foreign foe, lays its heavy hand upon us, and avenges the world we conquered.

Moderns think of the earth as a globe, as something one can easily get round, the spirit of a schoolmistress. This is shown in the odd mistake perpetually made about Cecil Rhodes. His enemies say that he may have had large ideas, but he was a bad man. His friends say that he may have been a bad man, but he certainly had large ideas. The truth is that he was not a man essentially bad, he was a man of much geniality and many good intentions, but a man with singularly small views. There is nothing large about painting the map red; it is an innocent game for children. It is just as easy to think in continents as to think in cobble-stones. The difficulty comes in when we seek to know the substance of either of them. Rhodes' prophecies about the Boer resistance are an admirable comment on how the "large ideas" prosper when it is not a question of thinking in continents but of understanding a few two-legged men. And under all this vast illusion of the cosmopolitan planet, with its empires and its Reuter's agency, the real life of man goes on concerned with this tree or that temple, with this harvest or that drinking-song, totally uncomprehended, totally untouched. And it watches from its splendid parochialism, possibly with a smile of amusement, motor-car civilization going its triumphant way, outstripping time, consuming space, seeing all and seeing nothing, roaring on at last to the capture of the solar system, only to find the sun cockney and the stars suburban.

How’s the patient? I know you said she’s asleep, but I need to see how she’s healing. Would now be all right?” “Of course.” Thomas motioned for Nathaniel to lead the way. “She’s improving all the time, I’m happy to say.” Nathaniel let out a slight chuckle. “I bet you are happy.” “What do you mean by that?” Thomas protested, grabbing his arm and stopping him mid-stride on the stairs. “Nothing.” Nathaniel painted a look of bewilderment on his face. “But, I’ve been meaning to ask you, how would you feel about me, say, taking her around town once she’s feeling up to it?” A sudden fire burned inside Thomas. The muscles in his face began to twitch as he shot Nathaniel a glowering look. How dare his friend make such a comment? Nathaniel tried to suppress a large grin. “That’s what I thought.” He laughed under his breath. Thomas relaxed a bit and attempted a small grin of his own as his pulse cooled. “You’re asking for trouble.” Nathaniel slapped him on the back with a loud smack, then whispered into his face. “It’s too easy to ruffle your feathers, Thomas.” His eyes lit with mischief. “Don’t worry, I know you saw her first.” If

When the scientific experts finished giving their testimony, the presiding judge asked Van Meegeren if he had any comments...He then added dryly that, from now on, the faking of old-master paintings would, of course, be impossible.

Toby was in town visiting for a few days. Between all the time the man had been spending with Lori, and with his own family, Zev hadn’t gotten to see his friend much. But that evening Toby had shown up with an extra-large pizza and a six-pack of beer. They’d eaten some of the food, then shifted and gone out for a long run. It had felt good to let his wolf free and feel the wind running through his fur. So good, in fact, that Zev was almost smiling. A foreign expression on his face these days. “Look, Zev, I know you’d rather sit on my lap while I’m taking a dump than talk about your feelings, but what’s going on with you?” Zev coughed at the visual image that little comment had painted in his mind. “I don’t know what you’re talking about,” he replied none too convincingly. Then he flopped his head on the back of the couch and draped his arm across his eyes.

I pop in every now and then to comment on the show, but for the most part I sit back, stop thinking, and enjoy a group of pretty twenty-somethings pretending to be teenagers, making astronomically bad decisions and learning from their mistakes. Every once in a while, a troll account will take over the chat window with screaming caps or strings of emoticons, and the account Forges_ of_Risht appears to block them. A message from Max appears on my phone. Apocalypse_Cow: forges, reporting for duty with the banhammer. MirkerLurker: Excellent work, soldier. Apocalypse_Cow: see, there’s a reason you hired me for this job. MirkerLurker: Yeah, so Emmy doesn’t have to do that and take care of the website. Apocalypse_Cow: har har. MirkerLurker: But really, great job. No one wields the banhammer quite as well as you. Max sends more emojis. A lady dancing the salsa. Nail painting. A lightning bolt.

Whipped or ice cream on your dumplings?" she asked them, once the crust browned and the filling bubbled. She sprinkled additional cinnamon sugar on top. Grace and Cade responded as one, "Ice cream." Cade leaned his elbows on the table, cut her a curious look. "I didn't think we had a thing in common." She gave him a repressive look. "Ice cream doesn't make us friends." Amelia scooped vanilla bean into the bowls with the dumplings. Her smile was small, secret, when she served their dessert, and she commented, "Friendships are born of likes and dislikes. Ice cream is binding." Not as far as Grace was concerned. Cade dug into his dessert. Amelia kept the conversation going. "I bet you're more alike than you realize." Why would that matter? Grace thought. She had no interest in this man. A simultaneous "doubtful" surprised them both. Amelia kept after them, Grace noted, pointing out, "You were both born, grew up, and never left Moonbright." "It's a great town," Cade said. "Family and friends are here." "You're here," Grace emphasized. Amelia patted her arm. "I'm very glad you've stayed. Cade, too. You're equally civic-minded." Grace blinked. We are? "The city council initiated Beautify Moonbright this spring, and you both volunteered." We did? Grace was surprised. Cade scratched his stubbled chin, said, "Mondays, I transport trees and mulch from Wholesale Gardens to grassy medians between roadways. Flower beds were planted along the nature trails to the public park." Grace hadn't realized he was part of the community effort. "I help with the planting. Most Wednesdays." Amelia was thoughtful. "You're both active at the senior center." Cade acknowledged, "I've thrown evening horseshoes against the Benson brothers. Lost. Turned around and beat them at cards." "I've never seen you there," Grace puzzled. "I stop by in the afternoons, drop off large-print library books and set up audio cassettes for those unable to read because of poor eyesight." "There's also Build a Future," Amelia went on to say. "Cade recently hauled scaffolding and worked on the roof at the latest home for single parents. Grace painted the bedrooms in record time." "The Sutter House," they said together. Once again. "Like minds," Amelia mused, as she sipped her sparkling water.

He glanced around, as if taking in the surroundings for the first time. "Is this your childhood room?" he asked. "There's a lot of black." "Well, I didn't paint it that way until I was fourteen and capable of making cryptic comments about how I wanted my room to match my soul. When this was truly my childhood bedroom, it was perfectly normal, thank you very much. I had a wallpaper border with roses on it and an American Girl doll on the dresser and everything." "Let me guess." He narrowed his eyes at me. "Samantha." "Not all brunette girls needed to own a Samantha doll," I said, affronted. "But yes, it was Samantha. She had a really cool tartan cape and a valise and she stood up against child labor, so don't think she was just some prissy rich girl.

Aza [Raskin] said: 'For instance, Facebook tomorrow could start batching your notifications, so you only get one push notification a day ... They could do that tomorrow.' ....So instead of getting 'this constant drip of behavioural cocaine,' telling you every few minutes that somebody liked your picture, commented on your post, has a birthday tomorrow, and on and on - you would get one daily update, like a newspaper, summarising it all. You'd be pushed to look once a day, instead of being interrupted several times an hour. 'Here's another one,' he said 'Infinite scroll. ...it's catching your impulses before your brain has a chance to really get involved and make a decision.' Facebook and Instagram and the others could simply turn off infinite scroll - so that when you get to the bottom of the screen, you have to make a conscious decision to carry on scrolling. Similarly, these sites could simply switch off the things that have been shown to most polarise people politically, stealing our ability to pay collective attention. Since there's evidence YouTube's recommendation engine is radicalising people, Tristan [Harris] told one interviewer: 'Just turn it off. They can turn it off in a heartbeat.' It's not as if, he points out, the day before recommendations were introduced, people were lost and clamouring for somebody to tell them what to watch next. Once the most obvious forms of mental pollution have been stopped, they said, we can begin to look deeper, at how these sites could be redesigned to make it easier for you to restrain yourself and think about your longer-term goals. ...there could be a button that says 'here are all your friends who are nearby and are indicating they'd like to meet up today.' You click it, you connect, you put down your phone and hang out with them. Instead of being a vacuum sucking up your attention and keeping it away from the outside world, social media would become a trampoline, sending you back into that world as efficiently as possible, matched with the people you want to see. Similarly, when you set up (say) a Facebook account, it could ask you how much time you want to spend per day or per week on the site. ...then the website could help you to achieve your goal. One way could be that when you hit that limit, the website could radically slow down. In tests, Amazon found that even 100 milliseconds of delay in the pace at which a page loads results in a substantial drop-off in people sticking around to buy the product. Aza said: 'It just gives your brain a chance to catch up to your impulse and [ask] - do I really want to be here? No.' In addition, Facebook could ask you at regular intervals - what changes do you want to make to your life? ...then match you up with other people nearby... who say they also want to make that change and have indicated they are looking for the equivalent of gym buddies. ...A battery of scientific evidence shows that if you want to succeed in changing something, you should meet up with groups of people doing the same. At the moment, they said, social media is designed to grab your attention and sell it to the highest bidder, but it could be designed to understand your intentions and to better help you achieve them. Tristan and Aza told me that it's just as easy to design and program this life-affirming Facebook as the life-draining Facebook we currently have. I think that most people, if you stopped them in the street and painted them a vision of these two Facebooks, would say they wanted the one that serves your intentions. So why isn't it happened? It comes back... to the business model.

Did Tobey just call me pretty? There's no way he called me pretty. He was just making a comment. Why did it make me feel a certain way then?

I slung off my outer clothes on to the sagging dresser- frowning at the violets and roses I'd painted around the knobs of Elain's dresser, the crackling flames I'd painted around Nesta's, and the night sky- whorls of yellow stars standing in for white- around mine. I'd done it to brighten the otherwise dark room. They'd never commented on it. I don't know why I'd ever expected them to.

You’re going to break your idiot neck one day, or someone’s going to break it for you.” My dad. He was probably right. They were all right. But when the thing is right there in front of me, and I can kick it, grab it, shout it out, jump into it, paint it, launch it, or light it on fire, it’s like I’m a puppet on a string, powerless to resist. I don’t think; I do. It can be little things, like throwing darts at a pool float to test my sister’s swimming skills, or spitting back at the llamas at the zoo. It can be more creative—a helium balloon, a fishhook, and Uncle Mark’s toupee. It can even be the smart-alecky comments that got me voted Most Likely to Wind Up in Jail in my middle school the last two years running.

Some news outlets run a different story about it every day. Even though loads of the comments under the articles say there's no logic to it and that the whole thing is a joke, this tiny minority of scaremongers feel much more powerful than they should. I hate seeing someone painted in the wrong light.

Some news outlets run a different story about it every day. Even though loads of the comments under the articles say there’s no logic to it and that the whole thing is a joke, this tiny minority of scaremongers feel much more powerful than they should. I hate seeing someone painted in the wrong light.

Commit to mastering three to four new words every day. People with a rich vocabulary seldom have trouble articulating their views and display greater confidence while talking to people. The difference between a functional vocabulary and extensive vocabulary can be the difference between a black and white and vivid, colorful picture. Paint a picture with your words to make the conversation more interesting and compelling. Stay away from redundant words and phrases. Avoid using conversation fillers. Keep your sentences short, crisp and to the point. Do not use the most highfalutin words to flaunt your vocabulary. Instead be an effective communicator by using words that convey your ideas and feelings most appropriately. Less is always more in a conversation. Try to say more by using less yet effective words and phrases. Think of better and more articulate ways to convey your emotions and ideas, For example, you can say “famished” in place of “very hungry” or “livid” instead of “very angry or upset.” Try to convey your ideas using more effective words. Replace redundant words and phrases in your daily conversations. For example, instead of saying, “They said xyz about my looks” say “they commented on my looks.” The idea is to make your speech crisper, more articulate and tighter by replacing ineffectual words/phrases with more meaningful expressions. Everyday words and phrases such as “big” can become “gigantic,” “massive” or “colossal.” Similarly, scared can become “petrified” and “spooked,” hungry become “famished” and so on. Consciously think of more effective ways to convey the same meaning. This practice will make you come across as a more engaging, interesting and vibrant conversationalist. A richer and more power-packed vocabulary lends more character, feelings and sensory experiences to the conversation. The way to go about it is – Use a diary or notebook for listing new words and phrases you come across each day. You can also randomly pick three new words to learn from the dictionary every day, and try to use it in your speech or conversation. Install ‘word a day’ applications on your phones to keep enriching your vocabulary. It’s a work in progress. You’ll never know everything. Even if you believe you have a limited vocabulary or aren’t able to hold a conversation because you don’t know how best to express yourself, breathe easy. There are plenty of ways to build a powerful vocabulary if you have the initiative.

The comments are sharp enough to pierce a man’s bladder and make him piss all over the floor. The elders could not get past the corners of the painting, never mind its window. The pang of words sliced my father into an exposed shell. He wept uncontrollably and quickly ushered them out. His hope was dangling in front of me, as if it would fall like a teardrop unattended. I too cried that day in confusion. If my father loses hope then what is left of me?

His vision was religious and clean, and therefore his paintings were without decoration or superfluous comment, since a religious man respects the power of God’s creation to bear witness for itself.

In the fleeting moments of clarity I was awarded as my blood stilled in my veins, I envisioned my funeral. I would be in a suit, my face painted an unnatural tan and my eyes glued shut, and all the people who played a part in my decision to make a deadly escape into mother nature's arms would file past my body, commenting on how peaceful I looked even though they had spent the last few years telling me I was hellbound.

He tore his mouth from her eager lips to whisper, “Juliet…ah, sweeting…” Only he had ever called her sweeting. “Morgan…” she whispered back. He froze. Jerking back from her, he stared uncomprehending into her eyes. Then his face drained of heat as suddenly as hot iron dunked in water. He dropped his hands from her. “What the devil am I doing? I must be mad…” Pivoting away, he leaned over to brace his fists on the table. His shoulders shook from the force of his sharp, heavy breaths. “Morgan?” She stepped forward to lay her hand on his back. He flinched at her touch. “Don’t ever call me that again. Call me Sebastian or Lord Templemore, but never Morgan. I’m not him!” He whirled to face her once more. His haunted eyes gleamed in the dimness, and his features were twisted into anger. “I think I’ve proved that sufficiently.” His denial struck a dagger to her heart, and she began to tremble. Surely, he didn’t mean to continue in his lies after what they’d just shared. How could he? “Please, Morgan, don’t-“ “I’m not Morgan!” He glanced away. “I’m not.” Only his shaky hand shoving his beautiful, thick hair from his face belied his seeming control. “And another thing: no woman ruined by a man waits two years to hunt him down when her family is spoiling for vengeance. She doesn’t hide the truth from them, and she doesn’t come in secret to accuse her supposed debaucher.” His gaze swung back to her as he dropped his voice. “She certainly doesn’t let him kiss her intimately. Your encounter with my brother wasn’t ‘wicked’ at all, was it? This was merely another of your little tests.” He did mean to deny it all! Of all the infernal, dastardly- “But now you should realize,” he went on, twisting the dagger, “that your attempts to paint me the villain are pointless. I’m not the man you seek. You’ll never prove I am.” If she’d had one of his horrible weapons in her hand right now, he’d be dead for certain. That he could stand here and kiss her with such passion, then deny that it meant anything, deny their entire past together, while she still tasted him on her lips… Very well, she could play that game. Lord knows she’d seen enough games played in society to manage one of her own. If that’s what it took to make him confess the truth. “You’re right. It was a test. But you passed.” Her sudden change of tactic made him eye her with suspicion. “I did?” “Certainly. First, by your reaction to my calling you Morgan. And second, because you kiss nothing like him.” “You mean because he didn’t kiss you intimately.” “No. Because he put more feeling into it. Like the rogue he was, Morgan kissed with great abandon.” She’d die before she admitted that his lordship had gone the same. If he could deceive her without remorse, he deserved this. “Of course, that’s to be expected of a reckless adventurer. His sort excel at inflaming women’s passions. Whereas you-“ She broke off, as if the rest were perfectly obvious. He gazed at her mulishly. “Whereas I what?” “You’re a gentleman, of course. You’re much too proper to kiss recklessly, and certainly you’d never attempt to inflame a woman’s passion.” “You can’t tell me that my brother kissed you with more passion, for I know otherwise. His kiss was-“ He broke off, realizing his error too late. “You’ve already said that his kisses were perfectly chaste.” Aha! Finally she’d pierced his infernal armor. She hadn’t told him there’d been only one kiss; he’d slipped up already. Let him believe she’d given up her suspicions-it would lull him into lowering his guard. She’d use his own arrogance against him, batter his pride at every opportunity with “perfectly innocent” comments about the past. She shrugged. “Chaste? Well, that’s a different matter entirely. His kiss may have been ‘chaste,’ as you put it, but it was still thrilling.” She could hardly suppress her smile at the lovely effect her words had on Lord Templemore. He looked positively offended.

This painting was created between 1662 and 1665, and is now housed in the Gemäldegalerie Berlin. It depicts a young woman holding her pearl necklace up to the light, apparently considering whether it is the right piece of jewellery to wear. The woman is caught at the exact moment where she considers her own beauty. Interestingly the mirror appears to be too high for the woman to be naturally able to view her reflection, perhaps commenting in part on her vanity. It is believed that this painting was originally kept in Vermeer’s wife’s bedroom, where it was recorded as being found following his death. Vermeer only kept four of his own paintings, which suggests that the sitter of this work was most likely his wife.

And I propose to you that if we are to pay our sincere respects to the hundred lost children of San Lorenzo, that we might best spend the day despising what killed them; which is to say, the stupidity and vicious-ness of all mankind. “Perhaps, when we remember wars, we should take off our clothes and paint ourselves blue and go on all fours all day long and grunt like pigs. That would surely be more appropriate than noble oratory and shows of flags and well-oiled guns. “I do not mean to be ungrateful for the fine, martial show we are about to see—and a thrilling show it really will be …” He looked each of us in the eye, and then he commented very softly, throwing it away, “And hooray say I for thrilling shows.

Suppose I told you that I knew for a fact that the following statements were true: If you paint yourself a certain exact color between blue and green, it will reverse the force of gravity on you and cause you to fall upward. In the future, the sky will be filled by billions of floating black spheres. Each sphere will be larger than all the zeppelins that have ever existed put together. If you offer a sphere money, it will lower a male prostitute out of the sky on a bungee cord. Your grandchildren will think it is not just foolish, but evil, to put thieves in jail instead of spanking them. You’d think I was crazy, right? Now suppose it were the year 1901, and you had to choose between believing those statements I have just offered, and believing statements like the following: There is an absolute speed limit on how fast two objects can seem to be traveling relative to each other, which is exactly 670,616,629.2 miles per hour. If you hop on board a train going almost this fast and fire a gun out the window, the fundamental units of length change around, so it looks to you like the bullet is speeding ahead of you, but other people see something different. Oh, and time changes around too. In the future, there will be a superconnected global network of billions of adding machines, each one of which has more power than all pre-1901 adding machines put together. One of the primary uses of this network will be to transport moving pictures of lesbian sex by pretending they are made out of numbers. Your grandchildren will think it is not just foolish, but evil, to say that someone should not be President of the United States because she is black. Based on a comment of Robin Hanson’s: “I wonder if one could describe in enough detail a fictional story of an alternative reality, a reality that our ancestors could not distinguish from the truth, in order to make it very clear how surprising the truth turned out to be.

As times change and social mechanisms evolve, it seems to me, different survival instincts come into play. In social terms the Cultural Revolution was a simple era whereas today's society is complex and chaotic. One of Mao Zedong's remarks sums up a basic characteristic of the Cultural Revolution. 'We should support whatever the enemy opposes,' he said. 'and oppose whatever the enemy supports.' The Cultural Revolution was an era when everything was painted in black and white, when the eney was always wrong and we were always right; nobody had the courage to suggest that the enemy might sometimes be right and we might be sometimes be wrong. Deng Xiaoping, in turn, said something that captures the zeitgeist of our current age: 'A cat that catches the mouse is a good cat, no matter whether it is black or white.' In so saying, he overturned Mao's system of values and pointed out a fact long evident in Chinese society: right and wrong often coexist in a single phenomenon and interact in a dynamic of mutual displacement. At the same time, his comment put an end to the argument about where socialism and capitalism belong in China's economic development. So China moved from Mao Zedong's monochrome era of politics-in-command to Deng Xiaoping's polychrome era of economics above all.

As times change and social mechanisms evolve, it seems to me, different survival instincts come into play. In social terms the Cultural Revolution was a simple era whereas today's society is complex and chaotic. One of Mao Zedong's remarks sums up a basic characteristic of the Cultural Revolution. 'We should support whatever the enemy opposes,' he said. 'and oppose whatever the enemy supports.' The Cultural Revolution was an era when everything was painted in black and white, when the enemy was always wrong and we were always right; nobody had the courage to suggest that the enemy might sometimes be right and we might be sometimes be wrong. Deng Xiaoping, in turn, said something that captures the zeitgeist of our current age: 'A cat that catches the mouse is a good cat, no matter whether it is black or white.' In so saying, he overturned Mao's system of values and pointed out a fact long evident in Chinese society: right and wrong often coexist in a single phenomenon and interact in a dynamic of mutual displacement. At the same time, his comment put an end to the argument about where socialism and capitalism belong in China's economic development. So China moved from Mao Zedong's monochrome era of politics-in-command to Deng Xiaoping's polychrome era of economics above all.

Now, analysis, the breaking of the wholes into parts, is fundamental to science, but for judging works of art, the procedure is more uncertain: what are the natural parts of a story, a sonnet, a painting? The maker's aim is to project his vision by creating not a machine made up of parts but the impression of seamless unity that belongs to a living thing. Looking at an early example of systematic criticism by analysis -- say, Dante's comments on his sonnet sequence La Vita Nuova -- one sees that the best he can do is to tell again in prose what the first two lines mean, then the next three, and so on in little chunks through the entire work. We may understand somewhat better his intention here and there, but at the same time we vaguely feel that the exercise was superfluous and inappropriate. Reflection tells us why: those notations taken together do not add up to the meaning of the several poems. In three words: analysis is reductive. Since its patent success in natural sciences, analysis has become a universal mode of dealing not merely with what is unknown or difficult, but also with all interesting things as if they were difficult. Accordingly, analysis is a theme. Depending on the particulars of its effect, it can also be designated reductivism.

Paul’s letters, in a standard modern translation, occupy fewer than eighty pages. Even taken as a whole, they are shorter than almost any single one of Plato’s dialogues or Aristotle’s treatises. It is a safe bet to say that these letters, page for page, have generated more comment, more sermons and seminars, more monographs and dissertations than any other writings from the ancient world. (The gospels, taken together, are half as long again.) It is as though eight or ten small paintings by an obscure artist were to become more sought after, more studied and copied, more highly valued than all the Rembrandts and Titians and all the Monets and Van Goghs in the world.

Prayer to Our Lady of Waiting Rooms Let the seats be plentiful and padded. Let the magazines be recent or let the book I’ve brought last until we can leave. Let the TV on its bolted stand be off, muted, or showing something I can ignore— weather, gameshows, CNN. Let the room be mostly empty—no one shouting, sobbing, asking about my husband’s health. Let everyone be strangers except the staff. Let the walls be freshly painted, soothing to behold. Let my husband be there for a physical or routine checkup. Let no one comment on my clothes or unwashed hair, how I can sit so calmly while he has staples or a catheter removed, his lungs or heart or kidneys tested, an infected wound debrided. Under no circumstances let me be called into the back by a nurse who touches my arm, says I’m sorry but— Let my husband walk out whistling before I’ve finished my book, looked at my watch too many times. Let the news be good or benign, his next appointment not for months. When the waiting is over, let us walk outside feeling better, or at least no worse, than we did before.