Postage Stamp Picture Quotes

Smoking dope and hanging up Che's picture is no more a commitment than drinking milk and collecting postage stamps.

...I drag the kids to the farmers' market and fill out the week's cheap supermarket haul with a few vivid bunches of organic produce...Once home, I set out fresh flowers and put the fruit in a jadeite bowl. A jam jar of garden growth even adorns the chartreuse kids' table...I found some used toddler-sized chairs to go around it...It sits right in front of the tall bookcases...When the kids are eating or coloring there, with the cluster or mismatched picture frames hanging just to their left, my son with his mop of sandy hair, my daughter just growing out of babyhood...they look like they could be in a Scandinavian design magazine. I think to myself that maybe motherhood is just this, creating these frames, the little vistas you can take in that look like pictures from magazines, like any number of images that could be filed under familial happiness. They reflect back to you that you're doing it - doing something - right. In my case, these scenes are like a momentary vacation from the actual circumstances of my current life. Children, clean and clad in brightly striped clothing, snacking on slices of organic plum. My son drawing happy gel pen houses, the flourishing clump of smiley-faced flowers beneath a yellow flat sun. To counter the creeping worry that I am a no-good person, I must collect a lot of these images, postage-stamp moments I can gaze upon and think, I can't be fucking up that bad. Can I?

The kid in the newspaper was named Stevie, and he was eight. I was thirty-nine and lived by myself in a house that I owned. For a short time our local newspaper featured an orphan every week. Later they would transition to adoptable pets, but for a while it was orphans, children your could foster and possibly adopt of everything worked out, the profiles were short, maybe two or three hundred words. This was what I knew: Stevie liked going to school. He made friends easily. He promised he would make his bed every morning. He hoped that if he were very good we could have his own dog, and if he were very, very good, his younger brother could be adopted with him. Stevie was Black. I knew nothing else. The picture of him was a little bigger than a postage stamp. He smiled. I studied his face at my breakfast table until something in me snapped. I paced around my house, carrying the folded newspaper. I had two bedrooms. I had a dog. I had so much more than plenty. In return he would make his bed, try his best in school. That was all he had to bargain with: himself. By the time Karl came for dinner after work I was nearly out of my mind. “I want to adopt him,” I said. Karl read the profile. He looked at the picture. “You want to be his mother?” “It’s not about being his mother. I mean, sure, if I’m his mother that’s fine, but it’s like seeing a kid waving from the window of a burning house, saying he’ll make his bed if someone will come and get him out. I can’t leave him there.” “We can do this,” Karl said. We can do this. I started to calm myself because Karl was calm. He was good at making things happen. I didn’t have to want children in order to want Stevie. In the morning I called the number in the newspaper. They took down my name and address. They told me they would send the preliminary paperwork. After the paperwork was reviewed, there would be a series of interviews and home visits. “When do I meet Stevie?” I asked. “Stevie?” “The boy in the newspaper.” I had already told her the reason I was calling. “Oh, it’s not like that,” the woman said. “It’s a very long process. We put you together with the child who will be your best match.” “So where’s Stevie?” She said she wasn’t sure. She thought that maybe someone had adopted him. It was a bait and switch, a well-written story: the bed, the dog, the brother. They knew how to bang on the floor to bring people like me out of the woodwork, people who said they would never come. I wrapped up the conversation. I didn’t want a child, I wanted Stevie. It all came down to a single flooding moment of clarity: he wouldn’t live with me, but I could now imagine that he was in a solid house with people who loved him. I put him in the safest chamber of my heart, he and his twin brother in twin beds, the dog asleep in Stevie’s arms. And there they stayed, going with me everywhere until I finally wrote a novel about them called Run. Not because I thought it would find them, but because they had become too much for me to carry. I had to write about them so that I could put them down.

For Shackleton, self-promotion had been essential all the way. He had paid all his expenses with media tie-ins, one way or another: auctioning off news and picture rights before he left, taking special postage stamps along to be franked at the south pole. After he made it, his bestseller had nine translations. He spruced up his expedition ship into a museum and charged admission.

He devised his own con games. He placed ads in newspapers offering a color picture of the President for a dollar. When he received a dollar, he sent his victim a postage stamp with a picture of the President on it. He put announcements in magazines warning the public that there were only sixty days left to send in five dollars, that after that it would be too late. The ad did not specify what the five dollars would buy, but the money poured in.

If it was her diary, it would be wrong to open it. More wrong than leaving her dead in the hallway for the better part of a day? I shrugged my shoulders as I opened the black cardboard cover. It was all relative. It wasn’t a diary—not really. Carefully pasted onto the pages of notebook paper were magazine pictures of different houses. There was a picture of a wide, green lawn with a house perched way off in the distance and a family having a picnic on a postage-stamp-sized blanket. There were dining rooms with long tables where people could linger after a meal and talk about politics or sports. A bedroom with a white canopy bed big enough for a mom and kids to curl up on a Sunday morning and read the newspaper. Every now and then on the page would be something written very carefully in her sprawling handwriting.

In George Orwell’s novel 1984, the “Big Brother” state employs an army of bureaucrats whose only job is to alter the records of the past so they conform to the interests of those currently in power. 1984 was not just an engaging political fantasy; it was based on the Stalinist Soviet Union, where the rewriting of history was institutionalized. Soon after Stalin took power, pictures of his rival Leon Trotsky—a monumental figure in the 1905 and 1917 revolutions—began to disappear. Heroic and wholly anhistoric paintings of Stalin and Lenin together directing the Bolshevik Revolution took their place, with Trotsky, the founder of the Red Army, nowhere in evidence. These images became icons of the state. You could see them in every office building, on outdoor advertising signs sometimes ten stories high, in museums, on postage stamps.