Pottery Making Quotes

I want my life to be like-like making pottery. I want to enjoy it while it's happening, not just for where it might get me eventually.

Kintsugi is a pottery technique. When something breaks, like a vase, they glue it back together with melted gold. Instead of making the cracks invisible, they make them beautiful. To celebrate the history of the object. What it's been through. And I was just... Thinking of us like that. My heart full of gold veins, instead of cracks.

Did you know that pottery can be repaired with gold?" Kami asked. "Then it's meant to be stronger than before, and more beautiful. Which is awesome, though it seems expensive." Her grandmother had nodded. "Makes sense to me," she said. "Why be broken when you can be gold?

You want to write a book? Make a song? Direct a movie? Decorate pottery? Learn a dance? Explore a new land? You want to draw a penis on your wall? Do it. Who cares? It’s your birthright as a human being, so do it with a cheerful heart. (I mean, take it seriously, sure—but don’t take it seriously.) Let inspiration lead you wherever it wants to lead you.

I decided I would put off the novel until I had gone to Europe and had a lover, and that I would never learn a word of shorthand. If I never learned shorthand I would never have to use it. I thought I would spend the summer reading "Finnegan's Wake" and writing my thesis. Then I would be way ahead when college started at the end of September, and able to enjoy my last year instead of swotting away with no make up and stringy hair, on a diet of Benzedrine, the way most of the seniors taking honors did, until they finished their thesis. Then I thought I might put off college for a year and apprentice myself to a pottery maker. Or work my way to Germany and be a waitress, until I was bilingual. Then plan after plan started leaping through my head, like a family of scatty rabbits. I saw the years of my life spaced along a road in the form of telephone poles, threaded together by the wires. I counted one, two, three.... nineteen telephone poles dangled in space, and try as I would, I couldn't see a single pole beyond the nineteenth.

A kind man once told me that in Japan, broken pottery is pieced back together using gold as the glue, highlighting the cracks, making them beautiful. And maybe that could be my heart—hurt and healed, but filled with gold because I’d known Kyle.

Frustrated with drawing, I switched to the printmaking department, where I overturned great buckets of ink. After trying my hand at sculpture, I attempted pottery. During class critiques the teacher would lift my latest project from the table and I’d watch her arm muscles strain and tighten against the weight. With their thick, clumsy bases, my mugs weighed in at close to five pounds each. The color was muddy and the lips rough and uninviting. I gave my mother a matching set for Christmas, and she accepted them as graciously as possible, announcing that they would make the perfect pet bowls. The mugs were set on the kitchen floor and remained there until the cat chipped a tooth and went on a hunger strike.

I want my life to be like—like making pottery. I want to enjoy it while it’s happening, not just for where it might get me eventually.

There is really only one way to restore a world that is dying and in disrepair: to make beauty where ugliness has set in. By beauty, I don’t mean a superficial attractiveness, though the word is commonly used in this way. Beauty is a loveliness admired in its entirety, not just at face value. The beauty I’m referring to is metabolized grief. It includes brokenness and fallibility, and in so doing, conveys for us something deliciously real. Like kintsukuroi, the Japanese art of repairing broken pottery with powdered gold, what is normally seen as a fatal flaw is distinguished with value. When we come into contact with this kind of beauty, it serves as a medicine for the brokenness in ourselves, which then gives us the courage to live in greater intimacy with the world’s wounds.

During those times, they'd stand there watching me watching them. I'd pray, please. Put a pillow to my face. Clench a hand around my throat. Stab me. Shoot me. Put me out of everyone's misery. Why did you give birth to such a loser? Why didn't you admit I was hopeless and fat and stop trying to make me fit in? This world wasn't meant for me. I was born too soon or too late. Too defective. I wish I could tell my parents, "If you want to help me, help me die." I wonder, Are they required to fill out a 24-hour suicide watch form? Is the Defect at home? Check. Is It alive? Check. Why did they bother with the constructive surgery on my throat anyway? Waste of money. They threw away or hid from me everything with sharp edges or breakables. Picture frames. Pottery. Did they think they could suicide-proof this place? I want to tell them, "Chip, Kim, there is no way to suicide-proof a person

Once he told me that the hard part is finding the clay, the raw material of the story. It takes work to harvest clay. You have to go to a stream and grab a bucket of mud, mix it with water, sift out the rougher sediment, pour off the water, allow the moisture to seep through a cloth for days. That’s your first draft. After that you get to flop the clay onto the pottery wheel and turn it into something better than mud, hopefully something both useful and beautiful. That’s revision. Whether you’re writing a song or a story, you have to shape it and reshape it, scrap it and start over, always working it as close as it can get to the thing it wants to become. But first you need that muddy lump, the first draft.

But I knew I wanted to be with him, and he wanted to be with me, too, and also knew what he wanted to do with his life. So, we compromised. He took the job in Des Moines, and it was my responsibility to get a job that would make enough money for what we needed, and that I enjoyed enough. I didn’t have to love it, but it didn’t matter whether I did, either, because I had him. I kept trying new things, too, and eventually discovered pottery. It’s fun, of course, but the most important part is that I didn’t feel like my job had to be my everything.” This is what I have to keep reminding myself. Sometimes a job can just be a job. We aren’t all going to win the rat race. “I know.

How is Life Full of Choices? When we eat too much, we make a choice to be overweight. When we drink too much, we make a choice to have a headache the next day. If we drink and drive, we choose to risk being killed or killing someone in an accident. When we ill-treat people, we choose to be ill-treated in return. When we don’t care about other people, we choose not to be cared for by them. When we light up a cigarette, we choose to invite cancer. Choices have consequences. The most important thing to understand is that we are all free to the point of making choices. but, after we make a choice, the choice controls the chooser. We have no more choices. What is success? Series of positive choices is called success and series of negative choices is called failure. We have an equal opportunity to be unequal. The choice is ours. Life can be compared to a pottery maker who shapes clay in any form he wants. Similarly we can mould our lives into any shape we want.

In the specially Christian case we have to react against the heavy bias of fatigue. It is almost impossible to make the facts vivid, because the facts are familiar; and for fallen men it is often true that familiarity is fatigue. I am convinced that if we could tell the supernatural story of Christ word for word as of a Chinese hero, call him the Son of Heaven instead of the Son of God, and trace his rayed nimbus in the gold thread of Chinese embroideries or the gold lacquer of Chinese pottery, instead of in the gold leaf of our own old Catholic paintings, there would be a unanimous testimony to the spiritual purity of the story. We should hear nothing then of the injustice of substitution or the illogicality of atonement, of the superstitious exaggeration of the burden of sin or the impossible insolence of an invasion of the laws of nature. We should admire the chivalry of the Chinese conception of a god who fell from the sky to fight the dragons and save the wicked from being devoured by their own fault and folly. We should admire the subtlety of the Chinese view of life, which perceives that all human imperfection is in very truth a crying imperfection. We should admire the Chinese esoteric and superior wisdom, which said there are higher cosmic laws than the laws we know.

The stream and the broken pottery: what was any art but an effort to make a sheath, a mould in which to imprison for a moment the shining, elusive element which is life itself,—life hurrying past us and running away, too strong to stop, too sweet to lose? The Indian women had held it in their jars. In the sculpture she had seen in the Art Institute, it had been caught in a flash of arrested motion. In singing, one made a vessel of one's throat and nostrils and held it on one's breath, caught the stream in a scale of natural intervals. IV

Dad comes around first. He starts sending me articles about the mental benefits of making pottery, and texts about a new TV competition between ceramists.

The German economic historian Fanz Oertel in the 1950s points to another drastic consequence of a slave economy. A slave economy initially allowed an increase of productivity through the invention and use of new machinery. Roman products remained at a simple level and could be reproduced by handicraft. By the fourth century, for example, the robust pottery industry of Greece was in sharp decline because other parts of the empire also learned to make pottery. "The decline in international trade in the Mediterranean in the fourth century was partly due to increasing piracy, but it was also due to lack of industrial innovation and of need for exchange of manufactured goods.

Here,” said Autolycus, “is a settlement of curly-bearded, long-robed Assyrians, exiles from their country; and beyond stretches the land of the Chalybeans, a savage tribe famous as iron-workers, with whom I have lately traded. Soon we shall sight an islet, called the Isle of Barter, close to the Chalybean shore, where we of Sinope come in our dug-out canoes, and lay out on the rocks painted Minyan pottery and linen cloth from Colchis and sheepskin coats dyed red with madder or yellow with heather, such as the Chalybeans prize, and spear-shafts painted with vermilion. Then we row away out of sight behind rocks. As soon as we are gone, the Chalybeans venture across to the islet on rafts; they lay down beside our goods broad-bladed, well-tempered spear-heads and axe-heads, also awls and knives and sail-needles, and go away again. If on our return we are satisfied with their goods, we take them up and make for home; but if we are not satisfied, we remove apart from the rest of our merchandise whatever we think is not covered by their payment. The Chalybeans then return again and pay for this extra heap with a few more iron implements. In the end the barter is complete, unless the Chalybeans in a huff take away all their iron goods and let us sail off empty-handed; for they are a capricious race.

Forever, Tom thought. Maybe he’d never go back to the States. It was not so much Europe itself as the evenings he had spent alone, here and in Rome, that made him feel that way. Evenings by himself simply looking at maps, or lying around on sofas thumbing through guidebooks. Evenings looking at his clothes - his clothes and Dickie’s - and feeling Dickie’s rings between his palms, and running his fingers over the antelope suitcase he had bought at Gucci’s. He had polished the suitcase with a special English leather dressing, not that it needed polishing because he took such good care of it, but for its protection. He loved possessions, not masses of them, but a select few that he did not part with. They gave a man self-respect. Not ostentation but quality, and the love that cherished the quality. Possessions reminded him that he existed, and made him enjoy his existence. It was as simple as that. And wasn’t that worth something? He existed. Not many people in the world knew how to, even if they had the money. It really didn’t take money, masses of money, it took a certain security. He had been on the road to it, even with Marc Priminger. He had appreciated Marc’s possessions, and they were what had attracted him to the house, but they were not his own, and it had been impossible to make a beginning at acquiring anything of his own on forty dollars a week. It would have taken him the best years of his life, even if he had economised stringently, to buy the things he wanted. Dickie’s money had given him only an added momentum on the road he had been travelling. The money gave him the leisure to see Greece, to collect Etruscan pottery if he wanted (he had recently read an interesting book on that subject by an American living in Rome), to join art societies if he cared to and to donate to their work. It gave him the leisure, for instance, to read his Malraux tonight as late as he pleased, because he did not have to go to a job in the morning. He had just bought a two-volume edition of Malraux’s Psychologic de I’art which he was now reading, with great pleasure, in French with the aid of a dictionary.

I always had the impression it was just a job for you.” I hesitate. “I want to do it for Robert. It feels like a chance for me to give back a little.” “Give back?” Davis repeats. “You work there. You don’t owe them your virginity.” This makes me laugh. “Right. Unless they have a time turner and can go back to 2008 and Eric Mordito’s basement, I think that ship has sailed.” It takes him a few seconds to compute and then, “Gross, Holls. Mordito? Eric and I shared a pottery wheel my sophomore year.” “It’s possible you’re missing the point

You know what else I haven’t seen? Home stores. I’ve not passed the equivalent of Restoration Hardware or Crate and Barrel or Pottery Barn, so I get the feeling that no one’s killing themselves working double shifts so they can consume stuff to make their homes Pinterest-perfect. Maybe the Roman message is to not let your stuff own you.

Finn didn’t even seem to care that he was dying,” I said. And it was true. Finn was as calm as ever right up to the very last time I saw him. “Don’t you know? That’s the secret. If you always make sure you’re exactly the person you hoped to be, if you always make sure you know only the very best people, then you won’t care if you die tomorrow.” “That doesn’t make any sense. If you were so happy, then you’d want to stay alive, wouldn’t you? You’d want to be alive forever, so you could keep being happy.” I reached over and tapped my ash into a pretty pottery dish that Toby was using for an ashtray. “No, no. It’s the most unhappy people who want to stay alive, because they think they haven’t done everything they want to do. They think they haven’t had enough time. They feel like they’ve been shortchanged.

The figure, made by the woman standing in front of him, had not been manufactured by modifying—carving or shaping or polishing—a material that occurred naturally. It was made of ceramic, fired clay, and it was the first material ever created by human hand and human intelligence. The heating chamber was not a cooking oven, it was a kiln. And the first kiln ever devised was not invented for the purpose of making useful waterproof containers. Long before pottery, small ceramic sculptures were fired into impermeable hardness. The figures they had seen on the shelves resembled animals and humans, but the images of women—no men were made, only women—and other living creatures were not considered actual portrayals. They were symbols, metaphors, meant to represent more than they showed, to suggest an analogy, a spiritual similarity. They were art; art came before utility.

When it comes to childhood, therefore, it was reasonable to suggest that a prolonged period before independence was required once humans began to perform difficult tasks, like hunting or making pottery and baskets. Children could spend their time practicing these skills, which would better prepare them for success as adults in a hunter-gatherer society. In effect, this idea would mean that children are schooling themselves, and were doing so long before formal education was invented.

I have a theory that every time you make an important choice, the part of you left behind continues the other life you could have had. Some people’s emanations are very strong, some people create themselves afresh outside of their own body. This is not fancy. If a potter has an idea, she makes it into a pot, and it exists beyond her, in its own separate life. She uses a physical substance to display her thoughts. If I use a metaphysical substance to display my thoughts, I might be anywhere at one time, influencing a number of different things, just as the potter and her pottery can exert influence in different places. There’s a chance that I’m not here at all, that all the parts of me, running along all the choices I did and didn’t make, for a moment brush against each other. That I am still an evangelist in the North, as well as the person who ran away. Perhaps for a while these two selves have become confused. I have not gone forward or back in time, but across in time, to something I might have been, playing itself out.

Everything I value about him seems to be physical: the rest is either unknown, disagreeable or ridiculous. I don’t care much for his temperament, which alternates between surliness and gloom, or for the overgrown pots he throws so skillfully on the wheel and then mutilates, cutting holes in them, strangling them, slashing them open. That’s unfair, he never uses a knife, only his fingers, and a lot of the time he only bends them, doubles them over; even so they have a disagreeable mutant quality. Nobody else admires them either: the aspiring housewives he teaches two evenings a week, Pottery and Ceramics 432-A, want to make ashtrays and plates with cheerful daisies on them instead, and the things don’t sell at all in the few handicraft shops that will even stock them. So they accumulate in our already cluttered basement apartment like fragmentary memories or murder victims. I can’t even put flowers in them, the water would run out through the rips. Their only function is to uphold Joe’s unvoiced claim to superior artistic seriousness: every time I sell a poster design or get a new commission he mangles another pot.

By 5500 BCE, we were making cheese. Sieves and pottery colanders resembling modern cheese strainers had been found in Poland, and in 2012, again, telltale residues were scraped off these ancient dishes. The suboptimal washing-up skills of the people who owned this crockery again revealed fat from milk. Cheese, of course, is a strange thing in itself, and odd that we should eat it. It’s milk that has gone bad, probably the first processed food, but it may have been a useful way of storing the nutrient-rich milk in solid form, possibly more like a glob of mozzarella than a wheel of Stilton.

If one single invention was necessary to make this larger mechanism operative for constructive tasks as well as for coercion, it was probably the invention of writing. This method of translating speech into graphic record not merely made it possible to transmit impulses and messages throughout the system, but to fix accountability when written orders were not carried out. Accountability and the written word both went along historically with the control of large numbers; and it is no accident that the earliest uses of writing were not to convey ideas, religious or otherwise, but to keep temple records of grain, cattle, pottery, fabricated goods, stored and disbursed. This happened early, for a pre-dynastic Narmer mace in the Ashmolean Museum at Oxford records the taking of 120,000 prisoners, 400,000 oxen, and 1,422,000 goats. The arithmetical reckoning was an even greater feat than the capture.

Then the carpenters return to making more tables—tables on which to spread our pottery, a drawing-table for Mac, a table off which to dine, a table for my typewriter. ... Mac draws out a towel-horse and the carpenters start upon it. The old man brings it proudly to my room on completion. It looks different from Mac's drawing, and when the carpenter sets it down I see why. It has colossal feet, great curved scrolls of feet. They stick out so that, wherever you put it, you invariable trip over them. Ask him, I say to Max, why he has made these feet instead of sticking to the design he was given? The old man looks at us with dignity. "I made them this way," he says, "so that they should be beautiful. I wanted this that I have made to be a thing of beauty!" To this cry of the artist there could be no response. I bow my head, and resign myself to tripping up over those hideous feet for the rest of the season!

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

I left Brookstone and went to the Pottery Barn. When I was a kid and everything inside our house was familiar, cheap, and ruined, walking into the Pottery Barn was like entering heaven. If they really wanted people to enjoy church, I thought back then, they should make everything in church look and smell like the Pottery Barn. My dream was to surround myself one day with everything in the store, with the wicker baskets and scented candles, the brushed-silver picture frames. But that was a long time ago. I had already gone through a period of buying everything there was to buy at the Pottery Barn and decorating my apartment like a Pottery Barn outlet, and then getting rid of it all during a massive upgrade. Now everything at the Pottery Barn looked ersatz and mass-produced. To buy any of it now would be to regress in aspiration and selfhood. I didn’t want to buy anything at the Pottery Barn so much as I wanted to recapture the feeling of wanting to buy everything from the Pottery Barn. Something similar happened at the music store. I should try to find some new music, I thought, because there was a time when new music could lift me out of a funk like nothing else. But I wasn’t past the Bs when I saw the only thing I really cared to buy. It was the Beatles’ Rubber Soul, which had been released in 1965. I already owned Rubber Soul. I had owned Rubber Soul on vinyl, then on cassette, and now on CD, and of course on my iPod, iPod mini, and iPhone. If I wanted to, I could have pulled out my iPhone and played Rubber Soul from start to finish right there, on speaker, for the sake of the whole store. But that wasn’t what I wanted. I wanted to buy Rubber Soul for the first time all over again. I wanted to return the needle from the run-out groove to the opening chords of “Drive My Car” and make everything new again. That wasn’t going to happen. But, I thought, I could buy it for somebody else. I could buy somebody else the new experience of listening to Rubber Soul for the first time. So I took the CD up to the register and paid for it and, walking out, felt renewed and excited. But the first kid I offered it to, a rotund teenager in a wheelchair looking longingly into a GameStop window, declined on the principle that he would rather have cash. A couple of other kids didn’t have CD players. I ended up leaving Rubber Soul on a bench beside a decommissioned ashtray where someone had discarded an unhealthy gob of human hair. I wandered, as everyone in the mall sooner or later does, into the Best Friends Pet Store. Many best friends—impossibly small beagles and corgis and German shepherds—were locked away for display in white cages where they spent their days dozing with depression, stirring only long enough to ponder the psychic hurdles of licking their paws. Could there be anything better to lift your spirits than a new puppy?

To understand how shame is influenced by culture, we need to think back to when we were children or young adults, and we first learned how important it is to be liked, to fit in, and to please others. The lessons were often taught by shame; sometimes overtly, other times covertly. Regardless of how they happened, we can all recall experiences of feeling rejected, diminished and ridiculed. Eventually, we learned to fear these feelings. We learned how to change our behaviors, thinking and feelings to avoid feeling shame. In the process, we changed who we were and, in many instances, who we are now. Our culture teaches us about shame—it dictates what is acceptable and what is not. We weren’t born craving perfect bodies. We weren’t born afraid to tell our stories. We weren’t born with a fear of getting too old to feel valuable. We weren’t born with a Pottery Barn catalog in one hand and heartbreaking debt in the other. Shame comes from outside of us—from the messages and expectations of our culture. What comes from the inside of us is a very human need to belong, to relate. We are wired for connection. It’s in our biology. As infants, our need for connection is about survival. As we grow older, connection means thriving—emotionally, physically, spiritually and intellectually. Connection is critical because we all have the basic need to feel accepted and to believe that we belong and are valued for who we are. Shame unravels our connection to others. In fact, I often refer to shame as the fear of disconnection—the fear of being perceived as flawed and unworthy of acceptance or belonging. Shame keeps us from telling our own stories and prevents us from listening to others tell their stories. We silence our voices and keep our secrets out of the fear of disconnection. When we hear others talk about their shame, we often blame them as a way to protect ourselves from feeling uncomfortable. Hearing someone talk about a shaming experience can sometimes be as painful as actually experiencing it for ourselves. Like courage, empathy and compassion are critical components of shame resilience. Practicing compassion allows us to hear shame. Empathy, the most powerful tool of compassion, is an emotional skill that allows us to respond to others in a meaningful, caring way. Empathy is the ability to put ourselves in someone else’s shoes—to understand what someone is experiencing and to reflect back that understanding. When we share a difficult experience with someone, and that person responds in an open, deeply connected way—that’s empathy. Developing empathy can enrich the relationships we have with our partners, colleagues, family members and children. In Chapter 2, I’ll discuss the concept of empathy in great detail. You’ll learn how it works, how we can learn to be empathic and why the opposite of experiencing shame is experiencing empathy. The prerequisite for empathy is compassion. We can only respond empathically if we are willing to hear someone’s pain. We sometimes think of compassion as a saintlike virtue. It’s not. In fact, compassion is possible for anyone who can accept the struggles that make us human—our fears, imperfections, losses and shame. We can only respond compassionately to someone telling her story if we have embraced our own story—shame and all. Compassion is not a virtue—it is a commitment.

She could draw well. She helped her mother keep the house clean. She had pretty curls. She made people happy. She was great at making pottery.

February 17 Broken Pieces I am forgotten by them as though I were dead; I have become like broken pottery. But I trust in You, O lord; I say, “You are my God.” My times are in your hands.—Psalm 31:12, 14-15a I have a friend who does beautiful work with pieces of broken china and pottery. She gave me a lovely blue and white frame as a gift. She took the china and broke it into small enough pieces to fit the frame. She covered a plain frame with a white mortar and fit the broken pieces of blue and white china around the frame in a way that covered most of the area and filled in the spaces in between with more of the mortar. What a work of art! Not only is it beautiful, but it is custom made to fit my taste and home. But even more beautiful is the note that came with the gift. She wrote: my life has been full of broken pieces. Some of them are a result of my own manipulation and control and some are through no one’s fault, but a result of living in a fallen world. Regardless of what I give the Lord, He takes those pieces and adds them to a beautiful work of art. I hope this constantly reminds you of the Great Planner and Master Creator. We surely can make a mess of our lives, can’t we? But regardless of the mess we’ve made, no matter how fragmented we become, if we offer ourselves to God and trust in Him, He can take all the broken pieces of our life and make them into his work of art. And His work is so beautiful! His plan is custom made for each individual. Our times are in His Hands.

It's very hard to reach people in Greymouth with pottery or any form of art because they're allergic to it. Allergic to it ever since they began really because they've taken from the ground in the mining spirit without making or creating, and therefore anything that is creative they do not understand.

But who are you, O man, to talk back to God? "Shall what is formed say to him who formed it, 'Why did you make me like this?'" Does not the potter have the right to make out of the same lump of clay some pottery for noble purposes and some for common use?

English potter Michael Cardew speaks incisively of this when he says, “And this is something of a paradox, because, in becoming more skillful and more expert, you think you should be making pots more successfully and more safely, but as soon as you rest content with being safe and successful, your pots begin to be static and begin to be dead. They will only stay alive if they are always being brought to birth dangerously.”5

I feel machines can make pots faster and more economical than I, what I strive for in my pots, is to give what the machine cannot, the mark of the human hand.” Donn Buchfinck

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DOING SOMETHING It is so much easier to not do something than to do something. Even the smallest task, like filling out a Scholastic Books order form or putting away the butter, requires time, focus, and follow-through. It’s astounding, actually, that anything gets done at all, by anyone. But then, let’s say you finally are prepared and determined to do that thing, whatever it is, but you wake up to find that your basement has flooded and you must spend your day making phone calls to the contractor, plumber, and carpet people. Or not that but something else—perhaps you must stand before a committee for approval, a committee that neither grasps your intent nor appreciates your ingenuity, and anyway, they are in a bit of a hurry to break for lunch. Yet. Still. Somehow. I am encouraged to see that despite the colossal effort, despite the odds against one, despite the mere constraints of time and schedules and sore throats, houses do get built, pottery gets glazed, e-mails get sent, trees get planted, shoes get reheeled, manifestos get Xeroxed, films get shot, highways get repaved, cakes get frosted, stories get told.

People who don’t read science fiction, but who have at least given it a fair shot, often say they’ve found it inhuman, elitist, and escapist. Since its characters, they say, are both conventionalized and extraordinary, all geniuses, space heroes, superhackers, androgynous aliens, it evades what ordinary people really have to deal with in life, and so fails an essential function of fiction. However remote Jane Austen’s England is, the people in it are immediately relevant and revelatory—reading about them we learn about ourselves. Has science fiction anything to offer but escape from ourselves? The cardboard-character syndrome was largely true of early science fiction, but for decades writers have been using the form to explore character and human relationships. I’m one of them. An imagined setting may be the most appropriate in which to work out certain traits and destinies. But it’s also true that a great deal of contemporary fiction isn’t a fiction of character. This end of the century isn’t an age of individuality as the Elizabethan and the Victorian ages were. Our stories, realistic or otherwise, with their unreliable narrators, dissolving points of view, multiple perceptions and perspectives, often don’t have depth of character as their central value. Science fiction, with its tremendous freedom of metaphor, has sent many writers far ahead in this exploration beyond the confines of individuality—Sherpas on the slopes of the postmodern. As for elitism, the problem may be scientism: technological edge mistaken for moral superiority. The imperialism of high technocracy equals the old racist imperialism in its arrogance; to the technophile, people who aren’t in the know/in the net, who don’t have the right artifacts, don’t count. They’re proles, masses, faceless nonentities. Whether it’s fiction or history, the story isn’t about them. The story’s about the kids with the really neat, really expensive toys. So “people” comes to be operationally defined as those who have access to an extremely elaborate fast-growth industrial technology. And “technology” itself is restricted to that type. I have heard a man say perfectly seriously that the Native Americans before the Conquest had no technology. As we know, kiln-fired pottery is a naturally occurring substance, baskets ripen in the summer, and Machu Picchu just grew there. Limiting humanity to the producer-consumers of a complex industrial growth technology is a really weird idea, on a par with defining humanity as Greeks, or Chinese, or the upper-middle-class British. It leaves out a little too much. All fiction, however, has to leave out most people. A fiction interested in complex technology may legitimately leave out the (shall we say) differently technologized, as a fiction about suburban adulteries may ignore the city poor, and a fiction centered on the male psyche may omit women. Such omission may, however, be read as a statement that advantage is superiority, or that the white middle class is the whole society, or that only men are worth writing about. Moral and political statements by omission are legitimated by the consciousness of making them, insofar as the writer’s culture permits that consciousness. It comes down to a matter of taking responsibility. A denial of authorial responsibility, a willed unconsciousness, is elitist, and it does impoverish much of our fiction in every genre, including realism.

It was at Korea’s expense that the great pottery-making traditions of Japan developed and flourished.

Along with a career, four children and a husband, she bakes and cooks, sews, preserves, sings, embroiders, gardens, arranges flowers, decorates cakes, and makes kayaks and pottery.

Industries such as weaving, pottery, brick making, and glass and metalwork continued to develop as well.

I wish I’d fallen softly. Light and graceful like a feather drifting slowly to the earth on a warm and dreamy summer’s day. I wish that I’d landed softly too. But there is nothing soft or graceful about that devastating moment when the worst has come to pass. The unavoidable truth is that it is hard, cold and brutal. All that you know to be true and good in life shatters in an instant. You feel like a delicate pottery bowl violently tossed from your place of rest, watching yourself crash and scatter across the hostile dark earth. The sound is deafening. Time stops. Inside, the quiet ache of shock and heartbreak slowly makes its grip known. They cut deep, these jagged edges of broken sherds. You gasp for air hungrily, yet somehow forget how to breathe.

The Mongols made no technological breakthroughs, founded no new religions, wrote few books or dramas, and gave the world no new crops or methods of agriculture. Their own craftsmen could not weave cloth, cast metal, make pottery, or even bake bread. They manufactured neither porcelain nor pottery, painted no pictures, and built no buildings. Yet, as their army conquered culture after culture, they collected and passed all of these skills from one civilization to the next.

Final cause is cause based on purpose or design: a wheel is round because that shape makes transportation possible. Physical cause is mechanical: the earth is round because gravity pulls a spinning fluid into a spheroid. The distinction is not always so obvious. A drinking glass is round because that is the most comfortable shape to hold or drink from. A drinking glass is round because that is the shape naturally assumed by spun pottery or blown glass.

I said, ‘I’m not going to be here for long.’ ‘The lending desk closes in five,’ she said. And she wheeled on towards a door with a poster on it saying Enter a World Of Adventure, and disappeared through it. For a while I couldn’t locate the Poetry shelves at all. I walked past Pottery and Ceramics, past Parenting Skills, Personal Development, Philosophy, Psychology and Pet Care, but there was no Poetry. I walked past an old man sitting beside a shelf that said Withdrawn Fiction: 10p, and a big woman in Scholl sandals and beige socks, reading a book called Bring Me My Arrows of Desire. I walked past a carousel displaying off-the-peg reading glasses – See Clearly Again for only £3.99! said a sign – a claim which seemed improbable to me, like one of Jesus’s miracles. Pinned to a cork noticeboard beside the carousel was another poster I hadn’t noticed the last time I’d gone there. It said: THE WORLD ENDS TOMORROW! (according to Nostradamus) So please make sure you return your overdue books

Like a shepherd and sheep, its principle is simple, redirection towards the obligatory path, and speaking of Ozcan, he is the most proficient in this game. Watch the professionals do it in the reorientation of functional organizations. There is no need to recruit them all, it is enough for them to do what a shepherd does with a flock of sheep; blocking the roads in front of them, putting a dog in one place, standing and waving his stick in another place, to force them to take the path he wants, towards the barn. And if you spoke to one of them, it would swear to you that it is going the way it wants, which it chose with its full will, or chosen for them by their leader at the forefront of the herd, who knows the secrets of the ways, believing that they go the way they want. He decided that he should play the game according to its laws since they are sheep, so do not try to address them or convince them, but rather direct them to where you want. He did not know anything about deterministic algorithms at the time, his decision was based on his innate, something inside him. He succeeded, however, by making a butterfly flutter, far away. Some straying out of the Shepherd’s path, then another artificial flutter associated with the first to accelerate the process, and then a third, and a fourth, then the chaos ensued, and the hurricanes blew up all the inevitable of Alpha Headquarters. A butterfly fluttered where no one was watching, he studied and planned it carefully. Words by a revolutionary Palestinian poet, Mahmoud Darwish, summarized the whole story… Throw a stone into the stagnant water, rivers will break out Ring your bells in the kingdom of silence and sing your anthem And let the wall of fear break into dust like pottery

For this was Jingdezhen, porcelain capital of China, where the pottery made from local clay was shaped, painted, glazed, and fired in the town’s kilns—of which, if one counted even the smallest, there were more than nine thousand. The potters of Jingdezhen had been making porcelain since the Han dynasty, more than fifteen hundred years ago. There were many varieties, but the most famous was the blue and white.

Pottery?” Dad sounds like I just pitched him a multi-level marketing scheme selling methamphetamine for dogs. “You don’t even make pottery,” Mom says. “I do,” I say. “But it’s not good. And I know that won’t look very impressive on the Christmas card, but that’s what I’m spending my time doing right now.” “Then why are you wasting your time doing it?” Dad says. “Because it makes me happy,” I say. “And I don’t consider anything that does that a waste of time.

The Pottery Barn forager had commissioned Bob to make an envelope generator module to shape sounds in four discreet stages—what he called, “attack,” “decay,” “sustain,” and “release,” or ADSR. Ussachevsky had no clue that his idea would someday become the industry standard; at the moment he simply figured it was the most efficient way to plot the contour of a sound.

Just as how making something for someone else blesses both the giver and receiver, so does praising God.

My goal is to reveal all the beautifully hidden symbols of God's love through creativity and art making.

We used art as a crutch instead of as a vitamin. we should take a dose of creativity every day! If it makes us more joyful in the experience, then why are we choosing to be joyless?

We live in a fallen world. We make mistakes. Recipes are misleading. Winging it can be dangerous if you don't know how to fly. Whatever the reason, some things just don't turn out for us because we simply aren't God.

Just like the glazes, everyone is created for a purpose. Just because someone else has different talents than us does not make either of us more important.

As God's creation, my job is to point back to Him. I should praise Him for making me instead of complaining to Him about how He chose to make me.

want my life to be like—like making pottery. I want to enjoy it while it’s happening, not just for where it might get me eventually.

They passed the Confluence sometime that afternoon, where the Little Colorado River emerged from its own canyon on the left and bent around its delta to join the Colorado. The waves turned choppy and coffee-brown where the two rivers met. Tumbled stones, rounded by water, lay on the delta: azure and mauve, taupe and terracotta, some white and cracked like eggs ready to open, others like blunt black knives. The Confluence is a sacred place to the region’s tribes. Zuni send spiritual offerings down the Little Colorado to the Grand Canyon, the home of their ancestors. Hopis say nearby is the place of emergence, where all humankind climbed into this world, the Fourth World, through the hollow stem of a reed, and spread over the Earth, leaving footprints and broken pottery to mark their journeys. Hopi youth make a sacred pilgrimage to the Confluence to gather the salt that seeps out of the sandstone, pressed from an ancient sea and crystallized into gleaming stalagmites. They bring the salt back to the mesas east of the Grand Canyon, where, they say, their people settled at the center of the earth.

And suddenly for no reason, a remembrance of that three thousand year old coarse pottery bowl mended with bitumen flashed across Victoria's mind. Surely those were the things that mattered—the little everyday things, the family to be cooked for, the four walls that enclosed the home, the one or two cherished possessions. All the thousands of ordinary people on the earth, minding their own business and tilling the earth and making pots and bringing up families and laughing and crying, and getting up in the morning and going to bed at night. They were the people who mattered, not these Angels with wicked faces who wanted to make a new world and who didn't care whom they hurt to do it.

I want my life to be like--like making pottery. I want to enjoy it while it's happening, not just for where it might get me eventually.

A sign in a pottery store in England announced, “Please let us know if you break any item, so we can forgive you.

There is a Japanese art called kintsukuroi. Each time a piece of pottery cracks, it is lacquered back together with gold. All those golden threads make the piece what it is, extraordinary. I like to think of my heart like that. That each time it breaks, it gets more valuable and beautiful with the mending. It is a collage of gold.

But who are you, O man, to talk back to God? "Shall what is formed say to him who formed it, 'Why did you make me like this?'" Does not the potter have the right to make out of the same lump of clay some pottery for noble purposes and some for common use?   What if God, choosing to show his wrath and make his power known, bore with great patience the objects of his wrath – prepared for destruction? What if he did this to make the riches of his glory known to the objects of his mercy, whom he prepared in advance for glory – even us, whom he also called, not only from the Jews but also from the Gentiles? (Romans 9:20-24)[28]

Dogfish Head makes a cacao beer called Theobroma that is intended to be a modern recreation of an ancient Olmec recipe. Based on residue analysis of pottery dating to 1400 BC, plus some hints from the reports of Spanish explorers, their recipe includes honey; chili pepper; vanilla; and annatto, a reddish spice derived from the achiote tree,

The Way of Kings ‘Life before death. Strength before weakness. Journey before destination.’ “I feel each of the things you mention, Sadeas,” Dalinar said, eyes forward. “But I don’t always let them out. A man’s emotions are what define him, and control is the hallmark of true strength. To lack feeling is to be dead, but to act on every feeling is to be a child.” "But expectations were like fine pottery. The harder you held them, the more likely they were to crack." "Bitterness is repaid more often than kindness." "Sometimes we find it hardest to accept in others that which we cling to in ourselves." "Beards were like axehound pups. Boys dreamed of the day they’d get one, never realizing how annoying they could be." "Much like the aforementioned knife to the back, a clever gibe is most effective when it is unanticipated." "Each man has his place. Mine is to make insults. Yours is to be in-sluts.” - Wit roasting Sadeas!! "Kaladin was like a moldy crust on a starving man’s plate; not the first bite, but still doomed." "To speak of what might be is forbidden,” the voice said. “To speak of what was depends on perspective." "what is the point? We fight to get Shardblades, then use those Shardblades to fight to get more Shardblades. It’s a circle, round and round we go, chasing our tails so we can be better at chasing our tails." “‘Candle flames,’” Litima continued. The selection was from The Way of Kings, read from the very copy that Gavilar had once owned. “‘A dozen candles burned themselves to death on the shelf before me. Each of my breaths made them tremble. To them, I was a behemoth, to frighten and destroy. And yet, if I strayed too close, they could destroy me. My invisible breath, the pulses of life that flowed in and out, could end them freely, while my fingers could not do the same without being repaid in pain.’” “‘I understood in a moment of stillness,’” Litima read. “‘Those candle flames were like the lives of men. So fragile. So deadly. Left alone, they lit and warmed. Let run rampant, they would destroy the very things they were meant to illuminate. Embryonic bonfires, each bearing a seed of destruction so potent it could tumble cities and dash kings to their knees.'" 'I believe that my own morality—which answers only to my heart—is more sure and true than the morality of those who do right only because they fear retribution." "The purpose of a storyteller is not to tell you how to think, but to give you questions to think upon. Too often, we forget that.

Arguably the most consequential product ever invented was the wheel. What most people don’t realize is that it took over 300 years (and, as Pirate Christopher likes to say, “And a bottle of whiskey Jack and a bag of Mary Jane”) for somebody to tilt the thing on its side and use the wheel for transportation. Before that, the wheel was only used for pottery. So, if the greatest product ever could not speak for itself, then what makes today’s entrepreneurs think their product (in and of itself) will drive its own growth?

Some people were like pottery. They had been tested in a fire just hot enough to make them capable, but perhaps not durable.

MacKenzie still throws clay on the wheel every day, and with effort his skill has improved: “I think back to some of the pots we made when we first started our pottery, and they were pretty awful pots. We thought at the time they were good; they were the best we could make, but our thinking was so elemental that the pots had that quality also, and so they don’t have a richness about them which I look for in my work today.” “The first 10,000 pots are difficult,” he has said, “and then it gets a little bit easier.

The large bedroom was crammed to overflowing with family relics, and examples of the various arts in which Lady Emily had brilliantly dabbled at one time or another. Part of one wall was decorated with a romantic landscape painted on the plaster, the fourpost bed was hung with her own skilful embroidery, watercolour drawings in which a touch of genius fought and worsted an entire want of technique hung on the walls. Pottery, woodcarving, enamels, all bore witness to their owner’s insatiable desire to create. From their earliest days the Leslie children had thought of their mother as doing or making something, handling brush, pencil, needle with equal enthusiasm, coming in late to lunch with clay in her hair, devastating the drawing-room with her far-flung painting materials, taking cumbersome pieces of embroidery on picnics, disgracing everyone by a determination to paint the village cricket pavilion with scenes from the life of St Francis for which she made the gardeners pose. What Mr Leslie thought no one actually knew, for Mr Leslie had his own ways of life and rarely interfered. Once only had he been known to make a protest. In the fever of an enamelling craze, Lady Emily had a furnace put up in the service-room, thus making it extremely difficult for Gudgeon and the footman to get past, and moreover pressing the footman as her assistant when he should have been laying lunch.

It is no wonder that historians trace the birth of Western civilization to these jewels of the Aegean, Ionian, and Mediterranean seas. The Greek Isles are home to wide-ranging and far-reaching cultural traditions and mythic tales, not to mention the colorful history and unforgettable vistas that still draw thousands of tourists to the region every year. Minoan ruins stand alongside Byzantine churches and Crusader fortresses. Terra-cotta pots spilling over with hibiscus flowers adorn blinding-white stucco houses that reflect the sun’s dazzling light. Fishing villages perched upon craggy cliffs overlook clusters of colorful boats in island harbors. Centuries-old citrus and olive groves dot the hillsides. Lush vegetation and rocky shores meet isolated stretches of sand and an azure sea. Masts bob left and right on sailboats moored in secluded inlets. Each island is a world unto itself. Although outsiders and neighbors have inhabited, visited, and invaded these islands throughout the centuries, the islands’ rugged geography and small size have also ensured a certain isolation. In this environment, traditional ways of life thrive. The arts--pottery, glass blowing, gem carving, sculpture, and painting, among others--flourish here today, as contemporary craft artists keep alive techniques begun in antiquity. In the remote hilltop villages of Kárpathos, for example, artisans practice crafts that date back eons, and inhabitants speak a dialect close to ancient Greek. Today, to walk along the pebbled pathways of a traditional Greek mountain village or the marbled streets of an ancient acropolis is to step back in time. To meander at a leisurely pace through these island chains by boat is to be captivated by the same dramatic landscapes and enchanted islets that make the myths of ancient Greece so compelling. To witness the Mediterranean sun setting on the turquoise sea is to receive one of life’s greatest blessings.

Is there anything I can do?" He gave her a tired grin. "Crawl in bed with me." She glared at him, then got up and tossed him a terry-cloth robe she found hanging on the back of the bathroom door. "Meet me in the kitchen. I'll make you a sandwich." "You don't need to make me a sandwich." "But I'm going to." She left the room before he could protest further. In the kitchen, she layered grilled pancetta, tomato and lettuce on toasted thick slabs of sourdough. She added some chopped cornichons, Dijon mustard and fresh snipped tarragon to the mayo, just to show off. Around Bella Vista, her PLT's were legendary. Mac wasn't wearing the robe when he came downstairs. He'd thrown on a pair of lived-in cutoffs, faded in all the right places, and a rumpled but clean T-shirt with a logo from a kiteboarding resort in Australia. She cut the sandwich into quarters and set it on a pottery plate, along with a side of grapes and parmesan chips, and a beer in a frosty mug. He regarded the small feast on the table. "I hope you don't mind if I moan in ecstasy while I eat this." "I'd rather you didn't," she said, helping herself to a quarter of the sandwich. "Cook's tax," she explained.

Does not the potter have the right to make out of the same lump of clay some pottery for noble purposes and some for common use?

Final cause is cause based on purpose or design: a wheel is round because that shape makes transportation possible. Physical cause is mechanical: the earth is round because gravity pulls a spinning fluid into a spheroid. The distinction is not always so obvious. A drinking glass is round because that is the most comfortable shape to hold or drink from. A drinking glass is round because that is the shape naturally assumed by spun pottery or blown glass.

Do it, Zhian urges. Let me out, Zahra. Let me out. Listen to me first, I demand. There are jinn charmers out here—did you hear them? They are playing, filling the hills with their charms. You must not go near the humans, or we will both end up right back where we started. We could take them together, he replies. You and I—working as a team. We would be unstoppable! To that, I only send him an image of the lamp, and he curses. I quickly relay to him the deal I made with Nardukha. Zhian stews in his jar, his impatience hammering through my thoughts. When I finish, he spits, So do it! Let me out! I glance around, making sure we’re alone, then lift the jar high before dashing it against a rock. The pottery shatters, as does the charm that held Zhian captive inside. A burst of smoke fills the air, red and angry. It swells and thunders. “Quiet!” I hiss. “They’ll come!” I do not fear mortals! “Then you’re an idiot. If it weren’t for me, they’d still have you bottled up in their crypts.” My father would not allow it! Zhian swirls around me, his wind pulling at my hair and my black cloak. Dragon heads materialize in the smoke, snapping and hissing dangerously close to my face. He would burn their city for my sake! He would sink their ships and wreck their walls!

After finishing their main course and dessert, she and Cady prepared her extra dish. Sophia had decided to make the girls' favorite dinner- beef tenderloin with peppercorn sauce. Soon enough they were plating and rushing back and forth to the huge banquet table set up in the courtyard. Pouring wine and adjusting garnishes and offering smiles to the judges. The ambience of this meal was Sophia's idea of romance. The table was draped with ivory linen and topped with glass jars of flowers. Bouquets of Rosa rugosa and Queen Anne's lace were nestled among votives and bottles of wine. The local glassblower had provided an assortment of pottery dishes and hand-blown goblets. Strands of white lights dangled from the surrounding trees. She and Elliott and the girls plated together, having reached some sort of exhausted Zen state. Emilia scooped the risotto, Elliott placed the salmon on top, Sophia added the three tiny sides shaped with a round cookie cutter. Elliott drizzled his sauce onto the final product. He brushed his shoulder against Sophia each time, needing that physical connection. The plates looked exquisite, artistic. Perfect. She tried to ignore the overwhelming stress of the moment and focus on the food. Cady and Emilia added garnishes- fresh herbs and flowers. And Cady had a whole sheet of candied violets ready to sprinkle on their dessert. It made Elliott laugh and tease them all about being a family of garden sprites. When they finally got to the head of the table and faced a sea of critics, Sophia felt confident about their choices. They'd prepared a beautiful meal that successfully showcased Elliott's love for Scottish tradition, local Vermont products, and the Brown family's love of fresh vegetables and herbs. All the components meshed together into one cohesive meal.

The origin myth of the Tukano speaks of the time, eons ago, when humans first settled the great rivers of the Amazon basin. It seems that 'supernatural beings' accompanied them on this journey and gifted them the fundamentals upon which to build a civilized life. From the 'Daughter of the Sun' they received the gift of fire and the knowledge of horticulture, pottery-making, and many other crafts. 'The serpent-shaped canoe of the first settlers' was steered by a superhuman 'Helmsman.' Meanwhile other supernaturals 'travelled by canoe over all the rivers and ... explored the remote hill ranges; they pointed out propitious sites for houses or fields, or for hunting and fishing, and they left their lasting imprint on many spots so that future generations would have ineffaceable proof of their earthly days and would forever remember them and their teachings.

She didn't wish to dampen his enthusiasm, yet she wanted him to remove her name and the gratuitous reference to her as an artist. He was an artist - not her. "Could you possibly make a few small changes before moving the sign to the window?" Her question brought him to a halt. "Did I spell something incorrectly?" "No, but if you could paint over my name and the wording below, it would please me." "But why? That is your name, and you are my artist-in-residence. Customers prefer knowing our names when they come into the store." She didn't want to upset him. No doubt he spent hours painting the sign, and he'd done a good job of it. "I suppose you could leave my name, but I don't think it's proper to advertise me as an artist." He waved his hand in a dismissive gesture. "Bah! You are one of the finest artists I've ever seen. Art comes in many forms. Some in sketching, some in painting, some in pottery, and some in your Scherenschnitte.

Of course, being perishable, the textiles themselves are not easy to learn about -- just like most of the rest of women's products (such as food and the recipes for preparing it). Therefore, to recover the reality of women's history, we must develop excellent techniques ... using not just the obvious data but learning to ferret out every helpful detail. Practical experiments like reweaving some of the surviving ancient cloths are a case in point. Among the thousands of archaeologists who have written about pottery or architecture, how many have actually tried to to make a pot or build a building? Precious few; but with so much data available for study in these fields, scholars felt flooded with information already, and such radical steps hardly seemed necessary. Our case is different; we must use every discoverable clue.

And now that it's reached 1660 degrees, I can salt glaze it." "What's that?" Aiden held up the bowl. "Watch." He pinched a small amount of salt between his fingers and deposited it through a hole at the top of the kiln. There were actually many holes along the rim, tiny rectangular openings, and Aiden moved from one to the next, sprinkling fingerfuls of salt through them. "Salt does amazing things to clay," he said. "The crystals actually explode when they hit the heat, and then turn into a vapor. It's the vapor that transforms the look of the clay." "How?" I asked. "What's it do?" "It makes the clay glossy, and the surface gets this sort of orange-peel texture. But the really cool thing about salt glazing is that no two pieces ever look the same. Each one is completely unique, depending on how much or how little salt you use.

the Japanese art of kintsugi, or “golden joinery,” a method of repairing cracked pottery with a vein of lacquer mixed with gold or silver. A plausible origin story dates this art to the fifteenth century, when Japanese shogun Ashikaga Yoshimasa broke his favorite tea bowl and sent it back to China to be repaired. It was returned with ugly metal staples, prompting the shogun to order his craftsmen to find a more aesthetic means of repair. I love the idea that an accident can be an occasion to make something more delightful, not less so.

I'd heard on a podcast once about a Japanese technique for fixing broken pottery, where the artist would mix gold with glue, binding the cracks together and making them glow. I wasn't the distraction, Ellie was saying. The book was, and all the burdens that came with it.

Angua hesitated. Cheri’s axe was making blurred orbits around the golem while its wielder yelled more terrible battle cries. Angua couldn’t make out any words but many dwarf cries didn’t bother with words. They went straight for emotions in sonic form. Chips of pottery ricocheted off the crates as each blow landed. “What did she yell?” Angua said, as she pulled Carrot out of the way. “It’s the most menacing dwarf battle-cry there is! Once it’s been shouted someone has to be killed!” “What’s it mean?” “Today Is A Good Day For Someone Else To Die!