Rust Color Quotes

A relationship that is truly genuine does not keep changing its colors. Real gold never rusts. If a relationship is really solid and golden, it will be unbreakable. Not even Time can destroy its shine.

It is not pleasant to experience decay, to find yourself exposed to the ravages of an almost daily rain, and to know that you are turning into something feeble, that more and more of you will blow off with the first strong wind, making you less and less. Some people accumulate more emotional rust than others. Depression starts out insipid, fogs the days into a dull color, weakens ordinary actions until their clear shapes are obscured by the effort they require, leaves you tired and bored and self-obsessed- but you can get through all that. No happily, perhaps, but you can get through. No one has ever been able to define the collapse point that marks major depression, but when you get there, there’s not much mistaking it.

Ruby, what does the future look like?” Nico asked. “I can’t picture it. I try all the time, but I can’t imagine it. Jude said it looked like an open road just after a rainstorm.” I turned back toward the board, eyes tracing those eight letters, trying to take their power away; change them from a place, a name, to just another word. Certain memories trap you; you relive their thousand tiny details. The damp, cool spring air, swinging between snow flurries and light rain. The hum of the electric fence. The way Sam used to let out a small sigh each morning we left the cabin. I remembered the path to the Factory the way you never forgot the story behind a scar. The black mud would splatter over my shoes, momentarily hiding the numbers written there. 3285. Not a name. You learned to look up, craning your neck back to gaze over the razor wire curled around the top of the fence. Otherwise, it was too easy to forget that there was a world beyond the rusting metal pen they’d thrown all of us animals into. “I see it in colors,” I said. “A deep blue, fading into golds and reds—like fire on a horizon. Afterlight. It’s a sky that wants you to guess if the sun is about to rise or set.” Nico shook his head. “I think I like Jude’s better.” “Me too,” I said softly. “Me too.

An incomplete list: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take pictures of concert states. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one's hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position – but no, this wasn't true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

INELUCTABLE MODALITY OF THE VISIBLE: AT LEAST THAT IF NO MORE, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it, it is a gate, if not a door. Shut your eyes and see. Stephen closed his eyes to hear his boots crush crackling wrack and shells. You are walking through it howsomever. I am, a stride at a time. A very short space of time through very short times of space. Five, six: the nacheinander. Exactly: and that is the ineluctable modality of the audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles o'er his base, fell through the nebeneinander ineluctably. I am getting on nicely in the dark. My ash sword hangs at my side. Tap with it: they do. My two feet in his boots are at the end of his legs, nebeneinander. Sounds solid: made by the mallet of Los Demiurgos. Am I walking into eternity along Sandymount strand? Crush, crack, crick, crick. Wild sea money. Dominie Deasy kens them a'. Won't you come to Sandymount, Madeline the mare? Rhythm begins, you see. I hear. A catalectic tetrameter of iambs marching. No, agallop: deline the mare. Open your eyes now. I will. One moment. Has all vanished since? If I open and am for ever in the black adiaphane. Basta! I will see if I can see. See now. There all the time without you: and ever shall be, world without end.

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lambsquarter, cutgrass, saw brier, nutgrass, jimson-weed, wild mint, dandelion, foxtail, spinecabbage, goldenrod, creeping Charlie, butterprint, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads nodding in a soft morning breeze like a mother’s hand on your check. An arrow of starlings fired from the windbreak’s thatch. The glitter of dew that stays where it is and steams all day. A Sunflower, four more one bowed, and horses in the distance standing rigid as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers.

Justin wandered over to the big fir between the coach house and his studio, and began freeing the new growth from their rust colored casings. “Why do you do that?” I walked around kitten’s nose, and came up behind him. “So they have a few more days in the sun.” “Is that why you keep trying to save me? So I have a few more days in the sun?” He shook his head and glanced back at me. “No. You still don’t understand do you? You are my sun.

The gold and scarlet leaves that littered the countryside in great drifts whispered and chuckled among themselves, or took experimental runs from place to place, rolling like coloured hoops among the trees. It was as if they were practising something, preparing for something, and they would discuss it excitedly in rustly voices as they crowded round the tree trunks.

Looking to the mountains around us, I saw that the mysterious artist who comes at night had paid us a visit. I wondered how he could paint so many different colors in one night; red, wine, yellow, and rust.

That night, I wash myself. The silky suds between my legs are the color and scent of rust, but I am newer than I have ever been.

Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, MAESTRO DI COLOR CHE SANNO. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

Past the flannel plains and blacktop graphs and skylines of canted rust, and past the tobacco-brown river overhung with weeping trees and coins of sunlight through them on the water downriver, to the place beyond the windbreak, where untilled fields simmer shrilly in the A.M. heat: shattercane, lamb's-quarter, cutgrass, sawbrier, nutgrass, jimsonweed, wild mint, dandelion, foxtail, muscadine, spinecabbage, goldenrod, creeping charlie, butter-print, nightshade, ragweed, wild oat, vetch, butcher grass, invaginate volunteer beans, all heads gently nodding in a morning breeze like a mother's soft hand on your cheek. An arrow of starlings fired from the windbreak's thatch. The glitter of dew that stays where it is and steams all day. A sunflower, four more, one bowed, and horses in the distance standing rigid and still as toys. All nodding. Electric sounds of insects at their business. Ale-colored sunshine and pale sky and whorls of cirrus so high they cast no shadow. Insects all business all the time. Quartz and chert and schist and chondrite iron scabs in granite. Very old land. Look around you. The horizon trembling, shapeless. We are all of us brothers. Some crows come overhead then, three or four, not a murder, on the wing, silent with intent, corn-bound for the pasture's wire beyond which one horse smells at the other's behind, the lead horse's tail obligingly lifted. Your shoes' brand incised in the dew. An alfalfa breeze. Socks' burrs. Dry scratching inside a culvert. Rusted wire and tilted posts more a symbol of restraint than a fence per se. NO HUNTING. The shush of the interstate off past the windbreak. The pasture's crows standing at angles, turning up patties to get at the worms underneath, the shapes of the worms incised in the overturned dung and baked by the sun all day until hardened, there to stay, tiny vacant lines in rows and inset curls that do not close because head never quite touches tail. Read these.

Title: Blue Light Lounge Sutra For The Performance Poets At Harold Park Hotel the need gotta be so deep words can't answer simple questions all night long notes stumble off the tongue & color the air indigo so deep fragments of gut & flesh cling to the song you gotta get into it so deep salt crystalizes on eyelashes the need gotta be so deep you can vomit up ghosts & not feel broken till you are no more than a half ounce of gold in painful brightness you gotta get into it blow that saxophone so deep all the sex & dope in this world can't erase your need to howl against the sky the need gotta be so deep you can't just wiggle your hips & rise up out of it chaos in the cosmos modern man in the pepperpot you gotta get hooked into every hungry groove so deep the bomb locked in rust opens like a fist into it into it so deep rhythm is pre-memory the need gotta be basic animal need to see & know the terror we are made of honey cause if you wanna dance this boogie be ready to let the devil use your head for a drum

Mars is a barren wasteland and I am completely alone here. I already knew that, of course. But there’s a difference between knowing it and really experiencing it. All around me there was nothing but dust, rocks, and endless empty desert in all directions. The planet’s famous red color is from iron oxide coating everything. So it’s not just a desert. It’s a desert so old it’s literally rusting.

It would be a greater pity to prostitute lessons of wisdom to rascals incapable of understanding and appreciating them; there is no file that can clean iron of its rust after the rust has eaten through.

With my naked eye, on nights the moon climbs slowly, sometimes so dusted with rust and rose, brown, and gold tones that it nearly drips earth colors and seems intimately braided with Earth, it feels close, part of this world, a friend. But through the telescope, the moon seems- ironically- farther away…the gray-white moon in a sea of black, its surface in crisp relief, brighter than ever before. I am struck too, by the scene’s absolute silence.

He is slippery like the cold side of a cliff. And layered, like striated bands of erosion, green and white and rust-colored lash-marks of the sea. Each time she thinks she knows him, the water level lowers, and another shade is revealed.

He was bald-headed except for a little fringe of rust-colored hair and his face was nearly the same color as the unpaved roads and washed like them with ruts and gullys.

Even when I encountered racism outside Salmon Creek, it usually rolled off me. The worst of it often came from rednecks whipping past in rusted pickups. I looked at them and I looked at me-class leader, track star, straight-A student- and their slurs about dirty Indians and drunk Indians and dumb Indians were laughable. Mom says crap like that comes from people who´ve accomplished so little in lifethat they feel the need to lift themselves above someone, anyone. So they pick skin color or religion or sexual orientation and say, "Well, I might not be much, but at least I´m not a ..." I´d look at those guys, and see the truth of her words.

All around me there was nothing but dust, rocks, and endless empty desert in all directions. The planet’s famous red color is from iron oxide coating everything. So it’s not just a desert. It’s a desert so old it’s literally rusting.

Yorkshire's autumn was as great a gift as Yorkshire's summer. I loved watching the rusting of the leaves while the dales mellowed to shades of ochre, and rose hips and blackberries grew deliciously fat on their branches. The morning mists were mystical and magical to me, and the rose-glow of the evening sun lent the sky a hypnotic light that matched any Cape Town sunset.

The wheels of the cars stormed underneath. Woods and pastures ran up and receded, the rails of sidings sheathed in rust, the dipping racing wires, and on the right the blue of the Sound, deeper, stronger than before. Then the enameled shells of the commuters' cars, and the heaped bodies of junk cars, the shapes of old New England mills, with narrow, austere windows; villages, convents; tugboats moving in the swelling fabric-like water; and then plantations of pine, the needles on the ground of a life-giving russet color. So, thought Herzog, acknowledging that his imagination of the universe was elementary, the novae bursting and the worlds coming into being, the invisible magnetic spokes by means of which bodies kept one another in orbit. Astronomers made it all sound as though the gases were shaken up inside a flask. Then after many billions of years, light-years, this childlike but far from innocent creature, a straw hat on his head, and a heart in his breast, part pure, part wicked, who would try to form his own shaky picture of this magnificent web.

Perfect knowledge is hallowed ground. It caresses you, cradles you with the barbed wire of truth. It grazes and tears at your flesh as though it ever really mattered- as if there were anything you could have done to stop it from penetrating you so completely. Revenge in the hand of your enemies is a loaded gun. You can beg them for mercy, wave the white flag of surrender, but the only true elixir for the vitriol they bestow is a measure of hatred dispensed of you own. Never lie down for the enemy. Never hand them the knife with which to slaughter you. The truth is a labyrinth. Secrets are the truths as sharp as razors ready to spread like a virus- ready to saw your existence in half. My truths came to light. They took shape in the form of my enemies until all of the color bled out from my world. It lacked the beauty and majesty of a black and white portrait. The landscape had glazed over in rusted tones of sepia-rancid-tarnished- with urine colored sky. My world glittered from the fragmented glass it had become. This is what I know. These are my truths.

As before, the shack stood unpainted on the outside, the weathered pine boards and tin roof rich in gray and rust colors, brushed by Spanish moss from the overhanging oak. Less rickety, but still woven into the weft of the marsh. Kya continued sleeping on the porch, except in the coldest of winter. But now she had a bed.

Goosebumps on his skin coalesced into reptilian-like scales the color of rust. The scales rippled up his arms, in and out of existence, as the shimmer of the faerie realm faded, and her world was thrust into complete darkness. Chloe tried to swallow, but burning cinders coated her throat. “Oh God!” she choked. “You’re one of them!

The sky was a deep gray-blue, banded with the colors of rust seen under water.

A brick is a rust-colored blur of movement, caught in a moment, and transformed from motion into a physical object. Studying this brick would give scientists an insight into how fast I run.


I got up and took the cake out from under its cake-shaped cover. I had made it at three o'clock in the morning in a desperate attempt to comfort myself. And it was an enormous comfort, standing alone in the kitchen in my nightgown, sifting fresh ground nutmeg with allspice and cloves by the little light over the sink. I peeled the apples with ridiculous care, taking the skins off in long, even ribbons that spiraled down to the floor without breaking. I didn't think of any of them while I peeled those apples. I didn't work anything out in my mind. I just relaxed into the creaming of butter and sugar, the sweet expansion of every egg. I had hoped the mixer wouldn't wake anyone up.The last thing I had wanted was company. I cut off big, hulking slices and slid them onto dessert plates. The apples were soft and golden, the cake was a rust color.

now would be great exercise.” But Kennie wasn’t listening. She ping-ponged over to the sectional couch with the rust-colored, cabin-in-the-woods pattern, where she fell face down into the nappy cloth. She twitched and wriggled

The rust-colored dog was named Pepper, I soon gathered, and as we walked we stopped at more places and soon had a brown female dog named Sally and a hairy, stocky male dog named Beevis, all on leashes in a most unnatural dog family.

There was an inner redoubt of dark blue glass--it was a color Jake associated with the bottles fountain-pen ink came in--and a rust-hued wall-walk between the redoubt and the outer wall. That color made Susannah think of the bottles Hires root-beer had come in when she was a little girl.

She had us with a man she had been afraid of, although she would not tell us why. There were months when she spoke little, only wanted to often be holding us, ordered takeaways, had baths that lasted all afternoon. There were months when she told us she was living in a sadness the color of rust and leather.

As he reached the river, Oswald suddenly felt as if he were walking around in a painting. Then it dawned on him. Everywhere he looked was a painting! Everything was alive with color: the water, the sky, the boathouses that lined the rivermwith red tin roofs, silver tin roofs, and rusted orange tin roofs. Red boat in a yellow boathouse. Green, pink, blue, tan, yellow, and white boathouses. The wooden pilings sticking out of the water were a thousand different shades of graym and each individual piling was encrusted with hundreds of chalk-white barnacles and black woodpecker holes. Even the grain of the wood and the knots on each post differed from inch to inch and pole to pole.

Come on out, beautiful girl. I was getting worried about you!” There was a loud, pitiful meow, and then the most bedraggled ship’s cat I had ever seen emerged. A skinny, rust-brown thing the color of a tool left in the sea air, its fur stuck up in clumps and it was missing an ear. Tinbu rushed to collect the cat, cuddling it close to his chest.

My feet stopped their churning only once they realized the dirt beneath them had turned to laid-over grasses. I found myself in a lonely, overgrown field beneath a sky so blue it reminded me of the tiles my father brought back from Persia: a majestic, world-swallowing blue you could fall into. Tall, rust-colored grasses rolled beneath it, and a few scattered cedars spiraled up toward it. Something in the shape of the scene- the rich smell of dry cedar in the sun, the grass swaying against the sky like a tigress in orange and blue- made me want to curl into the dry stems like a fawn waiting for her mother. I waded deeper, wandering, letting my hands trail through the frilled tops of wild grains.

The last clear thought I have is of my grandmother’s rust-colored wall clock ticking away in the darkness of my apartment—my sanctuary where I dreamed and desired and hoped for goodness and love. I wonder how long that clock will tick without anyone around to hear it. I wonder if maybe I should have taken my grandmother’s silverware or jewelry instead. I wonder – if I knew then what I know now – if I still would have approached Jade that first night and invited her into my life, only to watch as she took it from me and fed it to some Godless thing, as my mother had called it. Would I still have given myself over to her, knowing it would end the same way, with the barbaric flicker of hope that this time she could love me?

Like true country people, they loved watching the countryside change with the seasons. They savored the trees turning green in the spring. They saw the summer flowers blossom, fade, and drop. They exclaimed over the autumn colors, gold and red and rust. They watched the leaves fall, and the fields turn sere, to be purified by winter. The wheel of the year turned once, twice, three times.

I looked up at the ivory towers above us all. Nowhere else equals the feral design of this city. Tall skyscrapers that act as gorges hollowing out between flat cement dancing into narrow alleyways like bottomless pits. Building walls rusted the color of blood. Sometimes when you look down the horizon from afar the city looks wider than it is, like a thin field of magical lights gleaming with the hopes of children and idealists; a light on at midnight in one of the penthouses or the changing hues of the Empire State Building. Most of the time though, the city is covered with a layer of honking cars and greed, sirens and the war cry of solicitors, all full of brambles and impenetrable conscience; garbage, steaming manholes, and heat waves twirling smog and pollution through your lungs like mirages as you walk breathlessly through a boiling desert.

Mumtaz has six moles. Two are black: behind her ear and on her hip, in the trough of the wave that crests at her pelvis. Three are the color of rust: knuckle, corner of jaw, behind knee. And one is red, fiery, at the base of her spine, where a tail might grow. I touch them and know them because I watch her like a man in a field stares up at the stars, and I love her constellation because it contains her story and our story, and I wonder which mole is the beginning and which is the end.

Marriage is a very serious undertaking, after all. We are talking here about embarking upon a life together,” he says, attempting a smile. “Teaming up, you know? And so on. We are talking about nothing less than love, my dear! The universal lifeblood. Eternal, undying love!” His attention is back on the invisible thing in the middle distance. The creature tears up a little. “Ah, but love itself is not enough.” He sighs. “So fragile! So fleeting if left untended. I’m sure you’d agree, my dear, that we must never take this love of ours for granted?” The creature does agree. “It must be nurtured. Cultivated. Tell me, do you feel the same way?” It does. A single, rust colored tear carves out a path over the rugged and somewhat jaundiced terrain of its cheek. “And with what shall we nurture it, my dear? Hm? How to give it the strength it will need to thrive?” It doesn’t know. A belch from its lips releases a cloud of gas that makes Seiler’s vision blur. He takes a moment to steady himself. “With trust, my dear! We must have complete trust in one another!

She went again and bought this car, too, from an antique dealer. He almost gave it away, saying it will never run again. It has the old days’ engine, the kind you don’t find in this era. A change of engines and batteries, a new set of all-terrain-tires, some safety trackers, sensors, and, well, a whole list of other things with 300% luck to make it run again through the Junk Land—the land outside the cities where it’s only ruins and rubble. Needs hard work, yes. But Kusha instantly liked the color of its body, the moment she saw it—a sort of green with greyish tint, and a good load of rust.

Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

As he reached the river, Oswald suddenly felt as if he were walking around in a painting. Then it dawned on him. Everywhere he looked was a painting! Everything was alive with color: the water, the sky, the boathouses that lined the river with red tin roofs, silver tin roofs, and rusted orange tin roofs. Red boat in a yellow boathouse. Green, pink, blue, tan, yellow, and white boathouses. The wooden pilings sticking out of the water were a thousand different shades of gray and each individual piling was encrusted with hundreds of chalk-white barnacles and black woodpecker holes. Even the grain of the wood and the knots on each post differed from inch to inch and pole to pole.

Nothing to - oh! Payasam!" Tinbu dropped to his knees, recent wounds be damned, to peer through a stack of crates. He rubbed his fingers together, making a soothing sound. "Come on out, beautiful girl. I was getting worried about you!" There was a loud, pitiful meow, and then the most bedraggled ship's cat I had ever seen emerged. A skinny, rust-brown thing the color of a tool left in the sea air, its fur stuck up in clumps and it was missing an ear. Tinbu rushed to collect the cat, cuddling it close to his chest. "Did those nasty soldiers scare you?" he asked in a singsong voice. The cat made a sound between a death rattle and a wheeze in response, knocking its head so hard into Tinbu's chin it had to hurt.

AN INCOMPLETE LIST: No more diving into pools of chlorinated water lit green from below. No more ball games played out under floodlights. No more porch lights with moths fluttering on summer nights. No more trains running under the surface of cities on the dazzling power of the electric third rail. No more cities. No more films, except rarely, except with a generator drowning out half the dialogue, and only then for the first little while until the fuel for the generators ran out, because automobile gas goes stale after two or three years. Aviation gas lasts longer, but it was difficult to come by. No more screens shining in the half-light as people raise their phones above the crowd to take photographs of concert stages. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars. No more pharmaceuticals. No more certainty of surviving a scratch on one’s hand, a cut on a finger while chopping vegetables for dinner, a dog bite. No more flight. No more towns glimpsed from the sky through airplane windows, points of glimmering light; no more looking down from thirty thousand feet and imagining the lives lit up by those lights at that moment. No more airplanes, no more requests to put your tray table in its upright and locked position—but no, this wasn’t true, there were still airplanes here and there. They stood dormant on runways and in hangars. They collected snow on their wings. In the cold months, they were ideal for food storage. In summer the ones near orchards were filled with trays of fruit that dehydrated in the heat. Teenagers snuck into them to have sex. Rust blossomed and streaked. No more countries, all borders unmanned. No more fire departments, no more police. No more road maintenance or garbage pickup. No more spacecraft rising up from Cape Canaveral, from the Baikonur Cosmodrome, from Vandenburg, Plesetsk, Tanegashima, burning paths through the atmosphere into space. No more Internet. No more social media, no more scrolling through litanies of dreams and nervous hopes and photographs of lunches, cries for help and expressions of contentment and relationship-status updates with heart icons whole or broken, plans to meet up later, pleas, complaints, desires, pictures of babies dressed as bears or peppers for Halloween. No more reading and commenting on the lives of others, and in so doing, feeling slightly less alone in the room. No more avatars.

The tulips are too excitable, it is winter here. Look how white everything is, how quiet, how snowed-in. I am learning peacefulness, lying by myself quietly As the light lies on these white walls, this bed, these hands. I am nobody; I have nothing to do with explosions. I have given my name and my day-clothes up to the nurses And my history to the anesthetist and my body to surgeons. They have propped my head between the pillow and the sheet-cuff Like an eye between two white lids that will not shut. Stupid pupil, it has to take everything in. The nurses pass and pass, they are no trouble, They pass the way gulls pass inland in their white caps, Doing things with their hands, one just the same as another, So it is impossible to tell how many there are. My body is a pebble to them, they tend it as water Tends to the pebbles it must run over, smoothing them gently. They bring me numbness in their bright needles, they bring me sleep. Now I have lost myself I am sick of baggage—— My patent leather overnight case like a black pillbox, My husband and child smiling out of the family photo; Their smiles catch onto my skin, little smiling hooks. I have let things slip, a thirty-year-old cargo boat stubbornly hanging on to my name and address. They have swabbed me clear of my loving associations. Scared and bare on the green plastic-pillowed trolley I watched my teaset, my bureaus of linen, my books Sink out of sight, and the water went over my head. I am a nun now, I have never been so pure. I didn’t want any flowers, I only wanted To lie with my hands turned up and be utterly empty. How free it is, you have no idea how free—— The peacefulness is so big it dazes you, And it asks nothing, a name tag, a few trinkets. It is what the dead close on, finally; I imagine them Shutting their mouths on it, like a Communion tablet. The tulips are too red in the first place, they hurt me. Even through the gift paper I could hear them breathe Lightly, through their white swaddlings, like an awful baby. Their redness talks to my wound, it corresponds. They are subtle : they seem to float, though they weigh me down, Upsetting me with their sudden tongues and their color, A dozen red lead sinkers round my neck. Nobody watched me before, now I am watched. The tulips turn to me, and the window behind me Where once a day the light slowly widens and slowly thins, And I see myself, flat, ridiculous, a cut-paper shadow Between the eye of the sun and the eyes of the tulips, And I have no face, I have wanted to efface myself. The vivid tulips eat my oxygen. Before they came the air was calm enough, Coming and going, breath by breath, without any fuss. Then the tulips filled it up like a loud noise. Now the air snags and eddies round them the way a river Snags and eddies round a sunken rust-red engine. They concentrate my attention, that was happy Playing and resting without committing itself. The walls, also, seem to be warming themselves. The tulips should be behind bars like dangerous animals; They are opening like the mouth of some great African cat, And I am aware of my heart: it opens and closes Its bowl of red blooms out of sheer love of me. The water I taste is warm and salt, like the sea, And comes from a country far away as health. --"Tulips", written 18 March 1961

The wheels of the cars stormed underneath. Woods and pastures ran up and receded, the rails of sidings sheathed in rust, the dipping racing wires, and on the right the blue of the Sound, deeper, stronger than before. Then the enameled shells of the commuters’ cars, and the heaped bodies of junk cars, the shapes of old New England mills with narrow, austere windows; villages, convents; tugboats moving in the swelling fabric-like water; and then plantations of pine, the needles on the ground of a life-giving russet color. So, thought Herzog, acknowledging that his imagination of the universe was elementary, the novae bursting and the worlds coming into being, the invisible magnetic spokes by means of which bodies kept one another in orbit. Astronomers made it all sound as though the gases were shaken up inside a flask. Then after many billions of years, light-years, this childlike but far from innocent creature, a straw hat on his head, and a heart in his breast, part pure, part wicked, who would try to form his own shaky picture of this magnificent web.

He never approves of anything I do,” Kusha says from the garage, hiding her frown. She gets all her old cars and tools from places you don’t want your daughters to visit. And Rashad Gaumont certainly doesn’t want her to visit Magic Mama, the not-enough-evolved, middle-aged man from the Old City. “He’s not a citizen! He lives in a bus! So what if he made it himself? So what if he teaches you about machines? Don’t meet him.” “Why?” Kusha used to ask Rashad, and she’d always get the same answer: “The unevolved kind brings chaos and wars.” Kusha didn’t listen. She went again and bought this car, too, from an antique dealer. He almost gave it away, saying it will never run again. It has the old days’ engine, the kind you don’t find in this era. A change of engines and batteries, a new set of all-terrain-tires, some safety trackers, sensors, and, well, a whole list of other things with 300% luck to make it run again through the Junk Land—the land outside the cities where it’s only ruins and rubble. Needs hard work, yes. But Kusha instantly liked the color of its body, the moment she saw it—a sort of green with greyish tint, and a good load of rust.

As the men rode they saw for the first time the full grandeur of Hawaii, for they were to work on one of the fairest islands in the Pacific. To the left rose jagged and soaring mountains, clothed in perpetual green. Born millions of years before the other mountains of Hawaii, these had eroded first and now possessed unique forms that pleased the eye. At one point the wind had cut a complete tunnel through the highest mountain; at others the erosion of softer rock had left isolated spires of basalt standing like monitors. To the right unfolded a majestic shore, cut by deep bays and highlighted by a rolling surf that broke endlessly upon dark rocks and brilliant white sand. Each mile disclosed to Kamejiro and his companions some striking new scene. But most memorable of all he saw that day was the red earth. Down millions of years the volcanic eruptions of Kauai had spewed forth layers of iron-rich rocks, and for subsequent millions of years this iron had slowly, imperceptibly disintegrated until it now stood like gigantic piles of scintillating rust, the famous red earth of Kauai. Sometimes a green-clad mountain would show a gaping scar where the side of a cliff had fallen away, disclosing earth as red as new blood. At other times the fields along which the men rode would be an unblemished furnace-red, as if flame had just left it. Again in some deep valley where small amounts of black earth had intruded, the resulting red nearly resembled a brick color. But always the soil was red. It shone in a hundred different hues, but it was loveliest when it stood out against the rich green verdure of the island, for then the two colors complemented each other, and Kauai seemed to merit the name by which it was affectionately known: the Garden Island.

Outside the snapdragons, cords of light. Today is easy as weeds & winds & early. Green hills shift green. Cardinals peck at feeders—an air seed salted. A power line across the road blows blue bolts. Crickets make crickets in the grass. We are made & remade together. An ant circles the sugar cube. Our shadow’s a blown sail running blue over cracked tiles. Cool glistening pours from the tap, even on the edges. A red wire, a live red wire, a temperature. Time, in balanced soil, grows inside the snapdragons. In the sizzling cast iron, a cut skin, a sunny side runs yellow across the pan. Silver pots throw a blue shadow across the range. We must carry this the length of our lives. Tall stones lining the garden flower at once. Tin stars burst bold & celestial from the fridge; blue applause. Morning winds crash the columbines; the turf nods. Two reeling petal-whorls gleam & break. Cartoon sheep are wool & want. Happy birthday oak; perfect in another ring. Branch shadows fall across the window in perfect accident without weight. Orange sponge a thousand suds to a squeeze, know your water. School bus, may you never rust, always catching scraps of children’s laughter. Add a few phrases to the sunrise, and the pinks pop. Garlic, ginger, and mangoes hang in tiers in a cradle of red wire. That paw at the door is a soft complaint. Corolla of petals, lean a little toward the light. Everything the worms do for the hills is a secret & enough. Floating sheep turn to wonder. Cracking typewriter, send forth your fire. Watched too long, tin stars throw a tantrum. In the closet in the dust the untouched accordion grows unclean along the white bone of keys. Wrapped in a branch, a canvas balloon, a piece of punctuation signaling the end. Holy honeysuckle, stand in your favorite position, beside the sandbox. The stripes on the couch are running out of color. Perfect in their polished silver, knives in the drawer are still asleep. A May of buzz, a stinger of hot honey, a drip of candy building inside a hive & picking up the pace. Sweetness completes each cell. In the fridge, the juice of a plucked pear. In another month, another set of moths. A mosquito is a moment. Sketched sheep are rather invincible, a destiny trimmed with flouncy ribbon. A basset hound, a paw flick bitching at black fleas. Tonight, maybe we could circle the floodwaters, find some perfect stones to skip across the light or we can float in the swimming pool on our backs—the stars shooting cells of light at each other (cosmic tag)—and watch this little opera, faults & all.

In Hiding - coming summer of 2020 WAYNE ANTHONY SEEKS REDEMPTION FROM A BAD DAY - Although warned about getting the stitches wet, he believed a hot shower was the only road to his redemption. Experienced taught him the best way to relieve the tightness in his lower back was by standing beneath the near-scalding water. Dropping the rest of his clothing, he turned the shower on full blast. The hot water rushed from the showerhead filling the tiny room with steam, instantly the small mirror on the medicine cabinet fogged up. The man quietly pulled the shower curtain back and entered the shower stall without a sound. Years of acting as another’s shadow had trained him to live soundlessly. The hot water cascaded over his body as the echo from the pounding water deadened slightly. Grabbing the sample sized soap, he pulled the paper off and tossed the wrapper over the curtain rail. Wayne rubbed the clean smelling block until his large hands disappeared beneath the lather. He ignored the folded washcloth, opting to use his hands across his body. Gently he cleaned the injury allowing the slime of bacterial soap to remove the residual of the rust-colored betadine. All that remained when he finished was the pale orange smear from the antiseptic. This scar was not the only mar to his body. The water cascaded down hard muscles making rivulets throughout the thatches of dark hair. He raised his arms gingerly as he washed beneath them; the tight muscles of his abdomen glistened beneath the torrent of water. Opening a bottle of shampoo-slash-conditioner, he applied a dab then ran his hands across his scalp. Finally, the tension in his square jaw had eased, making his handsome face more inviting. The cords of his neck stood out as he rinsed the shampoo from his hair. It coursed down his chest leading down to his groin where the scented wash caught in his pelvic hair. Wayne's body was one of perfection for any woman; if that was, she could ignore the mutilations. Knife injuries left their mark with jagged white lines. Most of these, he had doctored himself; his lack of skill resulted in crude scars. The deepest one, undulated along the left side of his abdomen, that one had required the art of a surgeon. Dropping his arms, he surrenders himself to the pelting deluge from the shower. The steamy water cascaded down his body, pulling the soap toward the drain. Across his back, it slid down several small indiscernible pockmarks left by gunshot wounds, the true extent of their damage far beneath his skin. Slowly the suds left his body, snaking down his muscular legs. It slithered down the scars on his left knee, the result of replacement surgery after a thug took a bat to it. Wayne stood until the hot water cooled, and ran translucent over his body. Finally, he washes the impact of the long day from his mind and spirit.

Solo held the railing with one hand and looked down past the rust-colored stain of old blood beneath his feet, looked past that memory and into the receding waters far below. He reached for the radio on his hip. Juliette would be the most excited to know.

We hear them often in the night. Their wild yelping makes the hair on my neck rise, even as I am always compelled to go to the nearest window and fling it open to listen, despite the cold. You can hear them moving: nearer, nearer up the frozen creek bed, until they are just beyond the edge of the porch light, the moon a grinning wedge above the trees. And then they’re gone, racing up the valley into the dark. I can feel how they’re close now, beyond the meadow’s edge, somewhere in the woods there, maybe asleep or watching us with yellow eyes, alerted by our footsteps and the sharp, ringing singsong of my son’s eager voice. This is always the case: The line between us and the wild is slender, like the bit of thread I find coiled in my pocket. My fingers tease it, wanting to know how it’s wound. This is always the way. I always want to know. The thread is yellow and snarled and comes from the windowsill of the bedroom above the garage. I stuck it in my pocket this morning while tidying, meaning to throw it away. It was from tha same window that I saw the foxes last week. The ruckus of the chickens alerted me, and when I looked down, one was right below me in the snowy driveway, looking up. I pounded my fist on the glass and began to yell, but it didn’t run. Instead it just stared at me, not moving a muscle until I ran down and out into the snow without a hat or gloves or jacket, boots unlaced, shrieking like a madwoman. Of course it ran then, though not far at first—just to the top of the nearest field—and when I followed after, another joined it. They’d staked the chicken house out for sure. And even though they were a threat to our unwitting hens, I was sad when they disappeared among the white trunks of a stand of birches, and I can still feel the way my heart was hammering hard and raw in my chest after running through the snow, hair flyaway, clapping my hands. Their fur was rust-colored, and when they ran

constantly urging them to ever greater speed. All the villagers had survived such storms before. They could taste the friction on their tongues, feel the hair standing away from their bodies, as if the earth were quarreling with the sky. The storm lasted two and a half days. Below them in the valley, the sand boiled and rushed, like a nightmare river. The Valley of Megiddo was filled from one end to the other, north to south, east to west. The sand was the color of old rust, and the noise was fierce. A howling dominated the world and did not stop, not to draw breath nor to let them sleep. Sand rattled against the doors, fistfuls of grit tossed upward like froth from a crashing wave. The dust settled everywhere. Abigail bathed Dorcas, and before the child was dressed again she would be covered with sand as fine as milled flour. It was in their food and in their water. It clogged their nostrils and filled their ears. They took to wearing their shawls wrapped around their faces even when indoors.

The tramp steamer entered my field of vision as slowly as a wounded saurian. I could not believe my eyes. With the wondrous splendor of Saint Petersburg in the background, the poor ship intruded on the scene, its sides covered with dirty streaks of rust and refuse that reached all the way to the waterline. The captain's bridge, and the row of cabins on the deck for crew members and occasional passengers, had been painted white a long time before. Now a coat of grime, oil, and urine gave them an indefinite color, the color of misery, of irreparable decadence, of desperate, incessant use. The chimerical freighter slipped through the water to the agonized gasp of its machinery and the irregular rhythm of driving rods that threatened at any moment to fall silent forever. Now it occupied the foreground of the serene, dreamlike spectacle that had held all my attention, and my astonished wonder turned into something extremely difficult to define. This nomadic piece of sea trash bore a kind of witness to our destiny on earth, a pulvis eris that seemed truer and more eloquent in these polished metal waters with the gold and white vision of the capital of the last czars behind them. The sleek outline of the buildings and wharves on the Finnish coast rose at my side. At that moment I felt the stirrings of a warm solidarity for the tramp steamer, as if it were an unfortunate brother, a victim of human neglect and greed to which it responded with a stubborn determination to keep tracing the dreary wake of its miseries on all the world's seas. I watched it move toward the interior of the bay, searching for some discreet dock where it could anchor without too many maneuvers and, perhaps, for as little money as possible. The Honduran flag hung at the stern. The final letters of the name that had almost been erased by the waves were barely visible:... cyon. In what seemed too mocking an irony, the name of this old freighter was probably the Halcyon.

He took a stool two away from Enid. She didn’t look up from her drink or glance his way. On the other side of him a guy wearing a porkpie hat was bouncing his head up and down as though to music but no music was playing and he wasn’t wearing earphones. A rainbow of rusted license plates took up most of the back wall—probably plates representing all fifty states, but Simon wasn’t really up for checking. There were neon signs for Miller High Life and Schlitz. An oddly ornate chandelier hung from the ceiling. This place, like the inn, was all dark wood, but that was the only similarity, like this was the poorest of poor cousins of the inn’s rich dark wood. “What’ll you have?” The barmaid’s hair was the color and texture of the hay on that hayride and done in a quasi mullet that reminded Simon of an ’80s hockey player. She was either a hard forty-five or a soft sixty-five, and there was little question she had seen it all at least twice. “What kind of beer do you have?” he asked. “We have Pabst. And Pabst.” “You choose for me.

I am a mechanic, I repair and service hearts, I am a diversity certified, I repair and service every color heart, I am God's authorized dealer, I repair and service chosen hearts, I am equal heart treatment service provider, I repair and service every human hearts, I am a restorer, I clean dents, rusts, blockages and dead hearts, I am the ignitor, I put the spark of light within the hearts, I am too was dead heart once, Found a divine channel partner, Who repaired my dead heart, I am now the franchise owner of that shop that repairs those hearts.

His control started to waver in round two with her witch's cauldron, a Black Forest gâteau that spilled out sinuous curls of smoke, teasing the taste buds with an elusive hint of... toffee? No, bourbon. Honey? "Caramel brandy." Dominic severed the speculation of the other judges. He was correct. She had infused the dry ice mechanism with caramel brandy. Bending in a very limber motion for a man with those shoulders, he examined the exterior of the cauldron, breaking off a tiny piece with a satisfying snap. She'd meticulously assembled the structure from white chocolate that she'd hand-painted to mimic rusted iron, using a customized pigment of a powdered food coloring mixed with-- "The chocolate has a bitter aftertaste." Again, he cut short her explanation, rising to his feet. "Did you taste-test the pigment first?

was not a blue stream with white rapids. The water in the slower stretches was opaque, and the color of rust. In the rapids and waterfalls it foamed bright shades of pink. Classic Martian tones, caused, Diana said, by the fines that were suspended in the water like glacial silt—also by the reflected color of the sky, which was today a kind of hazy mauve, going lavender around the veiled sun, as yellow as the iris of a tiger’s eye. But no matter the color of the water—it was a running river, in an obviously riverine valley, placid in some places, agitated in others, with gravel fords, sandbars, braided sections, crumbling lemniscate islands, there a big deep lazy oxbow, frequent rapids, and far upstream, a couple of small falls.

ornate centerpieces nickel-and-rust-colored metalwork hearts,

Do you know why people eventually stop marrying? Stop seeking companionship altogether? Hmmmm, do you?” “Because they grow cranky?” “No. If only it were that simple. It is because of trust. Trust, my dear, is like a fine piece of silver. It erodes over time and loses its luster. What was once precious and unique begins to rust and all at once becomes plain and tawdry, a thing to be ashamed of. Losing the ability to trust takes its toll on you. It is the heart rusting.

The dormouse was a jolly plump old fellow, clad in a rust-colored jerkin, his white beard curled and trimmed neatly. An infant mole, who could not sleep because of the onset of spring, sat beside him on a mossy beechlog in the orchard. Together they shared an early breakfast of oatcakes, hot from the kitchens, and two of last autumn’s russet apples. Dawn was touching the earth with its rosy paws, promising sunny spring days as a compensation for the long winter Redwall Abbey had endured. Soft white clouds with golden underbellies hung on the still air, dewdrops glistened on new green grass, budding narcissus and snowdrop awaited the coming of the sun-warmed day. The dormouse nodded sagely. “Soon be pickin’ a Nameday for this good season, aye, soon.” The small mole chewed slowly at his oatcake, wrinkling a black button snout as he gazed up at the elder. “You’m said you’m tell oi a story, zurr.

I keep this my dirty little secret for years, he was my true first, yet it was not the most romantic yet it was something, now looking back now how is the loser, it did it long before, yet it was with him so it was not cool, I never- ever said this to anyone, that he took me. Yet play around like that with a boy that was me, he wanted to know so I said okay. It was the first time seeing all that- you know, at least mine was real, and not like time two at a party. This thing is so high- I get sick of feeling so short at like four-foot, on top that I can see the world by looking down, and they are looking up at me, my mom and grandmother were all the same size also, if not shorter, or so they say. The car is old and dusty and looks like no one has been in it for years on the outside, it is just blacked and crusty, the only car other than the coal car behind the locomotive, and it too is rusted reddish orange. They used to have tripped over this thing and park it on the bridge, and you spent the night up in the stars, and so that is what we did on a big full moon night. In the big bed looking out the one side of all those old windows. The car and train sit here for there was a fire or something on that line, and this becomes the new home of the serving remanences about half a mile in, the train was going over and was near the end on the one said when the wind took it all down, and all the cars but one fall all the many feet to the ground below, yet it never steamed over again. There sits the old Pullman car. It's red and has black, with yellow writing on it, up till now I am not sure what it says. It was a custom car made just for spending the night on top of the linked- mountains. The train is all the same color for what I can make out, dating around the 1800s or so, that what my dad said anyway we and he were up here, oh so long ago. We both walked up to her and me on the left, tacking him on the right hand-woven tight. The grass tall the track worn, and feet sore, from the journey there. Over smaller yet high crossings that have known side rails. Inside you can see it is in touch, and all dark wood, I light one of the old lanterns, I thought down a towel, and we had juice pouches and P-P and J. Romantic- No! It’s all good, he tried. It wasn’t about that anyway. The bed is off to the back and looks like a five-star hotel room to us, there is a living room spot, where ass naked in the big old sofas… or next to it, we were playing house, and loving it. We were young but we feel- we were on the bed all night long. Looking out over… see the tree sway below. it was cold in the car, yet he keeps me warm, I was fogging up the windows, with my breath Moan it out in a sweet- yet sensual way, I was pressed upon it looking out as I was on top, he was looking up at me, yet I was looking out and at his eyes, at definite times. I even kissed the glass to leave something behind, I wonder if it’s still there, and my name is covered in the old wood, next to his.

In America, communities of color have always put our "economic anxieties" second to placate the economic anxieties of "real Americans" from the "Rust Belt." We just pray and hope they will do the right thing and vote for a qualified candidate who doesn't want to put babies in camps. Sometimes it works, and other times we get Trump. If we are to be honest with ourselves, the group that has historically always played identity politics is white voters, and the rest of us have been hijacked by their rage, fear, and anxiety. Theirs are the grievances of "regular Americans from the heartland." When we voice our concerns, we are "playing the race card," engaging in victimhood, not pulling ourselves up by our bootstraps, abusing political correctness, and enforcing cancel culture and affirmative action.

It is exactly as I have heard it described: large, white turning to orange trumpet flowers with deep rust-colored stamens, and a sweet scent.' Elizabeth had found herself able to breathe more easily. She was certain that he had not found the Devil's Trumpet. She knew this plant of which Chegwidden spoke--- her father had described it as the 'fiery trumpet', a glorious tree that featured bushels of pendulous trumpet-shaped flowers, hanging downwards, 'as if musical instruments left behind by a fairy orchestra' he had said.

Does my brother, Connor Holstrom, remain in the Bone Quarter, or has his soul passed through the Dead Gate?” The Astronomer whispered, “Luna above.” He fiddled with one of the faintly glowing rings atop his hand. “This question requires a … riskier method of contact than usual. One that borders on the illegal. It will cost you.” Bryce said, “How much?” Scam-artist bullshit. “Another hundred gold marks.” Bryce started, but Ithan said, “Done.” She turned to warn him not to spend one more coin of the considerable inheritance his parents had left him, but the Astronomer hobbled toward a metal cabinet beneath the dials and opened its small doors. He pulled out a bundle wrapped in canvas. Bryce stiffened at the moldy, rotten earth scent that crept from the bundle as he unfolded the fabric to reveal a handful of rust-colored salt. “What the fuck is that?” Ithan asked. “Bloodsalt,” Bryce breathed. Tharion looked to her in question, but she didn’t bother to explain more. Blood for life, blood for death—it was summoning salt infused with the blood from a laboring mother’s sex and blood from a dying male’s throat. The two great transitions of a soul in and out of this world. But to use it here … “You can’t mean to add that to their water,” Bryce said to the Astronomer. The old male hobbled back down the ramp. “Their tanks already contain white salts. The bloodsalt will merely pinpoint their search.

niggled

She didn't look like she would hold up to much. She was petite---thin, really, except for the store-bought breasts; attractive, but in a way that didn't appeal to him. It wasn't any one thing. She was dressed well in camel slacks and a rust-colored silk blouse. She was nicely made-up. But there was something about her that made him think cheap. Something in the gaunt hollows of her long face, the shape and set of her eyes, the limp blond hair shagged off at shoulder length. Or maybe it was just that Kovac had taken an instant hatred to her because he had it in his head that this was the woman David Moore had been screwing while his wife was lying in a hospital bed.

I feel fine considering I killed at least one person today and my arm burns like hell.

His body never held a bruise for very long; the patchwork map of color would fade quickly from his skin, like lamplight spreading outward, shades of ink and violet and rust and egg yolk

fall out of a pocket or a fold of towels. In her heart, the bit of colorful yarn her husband had tied around her finger more than replaced it. Love, after all, was often made not of shiny things but practical ones. Ones that grew old and rusted only to be repaired and polished. Things that got lost and had to be replaced on a regular basis.

The figure was probably seven feet tall and humanoid, with unnaturally long, gangly limbs. Its clothes were ragged and torn, blotchy rust-colored stains covering the front of what was once a band T-shirt. It had long, greasy brown hair that hung partway over a skeletal face, the skin hanging loose over the bones. Where the lips should have been was nothing but ragged, red flesh and gnashing, jagged teeth behind it.

The lumps of granite look like friendly gnomes; powdery bark curls off the birches’ trunks, heavy rich paper engraved with rust-colored lines like a wedding invitation; the ferns are comical, elegant hairdos on invisible heads. So I’m lost in the woods, oh well.

According to some accounts of the bible, ravens were released by Noah after the flood but didn’t return because they were out feasting on the dead. I look down at the men’s blood soaking into the hard rust-colored dirt and breathe a sigh of relief that this whole thing hasn’t made me hungry.

- Sabersythes The dragons that live in The Burn. They are large boxy creatures with scales, spikes, and heavily tusked faces. They come in many different colors, such as rust, bronze, red, brown, black, and gold. They are heat-loving creatures and cannot survive for long in the fierce cold of The Shade. They can be very boisterous and aggressive and are almost as hard to charm or steal an egg from as the Moonplumes are.

As cadets, we constantly hammered, scraped and wire brushed rusting steel, before applying red lead paint. Most of the paint we used was Navy surplus or a concoction made up of fish oil, lampblack and china dryer. We found that by mixing all different color paints, we would wind up with a paint we called “Shit Brindle Brown.” Inventiveness was key as we repaired, replaced, and painted the “TS State of Maine” from stem to stern. This work, being in addition to our studies, consumed all of our time. How we managed to fit all of this into the time we had, is still a mystery. The conversion of the ship was labor intensive and expensive, but the U.S. Maritime Commission contributed to the Academy’s financial needs where possible. The mounting expenses remained a challenge but we didn’t give up. We never did finish the entire conversion prior to our first cruise, but one thing we managed to do was paint over the name “USS Comfort” and hand letter in her new name “TS State of Maine.” If you looked carefully, you could still see her previous name outlined by a welded bead, but this was a minor detail that would eventually be taken care of. Perhaps because of my experience… the task of lettering her name and her new homeport on the stern became mine.

Will they achieve a uniformity in censorship methods among the various regimes?” “Not uniformity. They will create a system in which the methods support and balance one another in turn....” The Director General invites you to examine the planisphere hanging on the wall. The varied color scheme indicates: the countries where all books are systematically confiscated; the countries where only books published or approved by the State may circulate; the countries where existing censorship is crude, approximate, and unpredictable; the countries where the censorship is subtle, informed, sensitive to implications and allusions, managed by meticulous and sly intellectuals; the countries where there are two networks of dissemination: one legal and one clandestine; the countries where there is no censorship because there are no books, but there are many potential readers; the countries where there are no books and nobody complains about their absence; the countries, finally, in which every day books are produced for all tastes and all ideas, amid general indifference. “Nobody these days holds the written word in such high esteem as police states do,” Arkadian Porphyrich says. “What statistic allows one to identify the nations where literature enjoys true consideration better than the sums appropriated for controlling it and suppressing it? Where it is the object of such attentions, literature gains an extraordinary authority, inconceivable in countries where it is allowed to vegetate as an innocuous pastime, without risks. To be sure, repression must also allow an occasional breathing space, must close an eye every now and then, alternate indulgence with abuse, with a certain unpredictability in its caprices; otherwise, if nothing more remains to be repressed, the whole system rusts and wears down. Let’s be frank: every regime, even the most authoritarian, survives in a situation of unstable equilibrium, whereby it needs to justify constantly the existence of its repressive apparatus, therefore of something to repress. The wish to write things that irk the established authorities is one of the elements necessary to maintain this equilibrium. Therefore, by a secret treaty with the countries whose social regime is opposed to ours, we have created a common organization, with which you have intelligently agreed to collaborate, to export the books banned here and import the books banned there.” “This would seem to imply that the books banned here are allowed there, and vice versa....” “Not on your life. The books banned here are superbanned there, and the books banned there are ultrabanned here. But from exporting to the adversary regime one’s own banned books and from importing theirs, each regime derives at least two important advantages: it encourages the opponents of the hostile regime and it establishes a useful exchange of experience between the police services.” “The

The day, with all its pain ahead, is yours. The ceaseless creasing of the morning sea, the fluttering gamboge cedar leaves allegro, the rods of the yawning branches trolling the breeze, the rusted meadows, the wind-whitened grass, the coos of the stone-colored ground doves on the road, the echo of benediction on a house – its rooms of pain, its verandah of remorse when joy lanced through its open-hearted doors like a hummingbird out to the garden and the pool in which the sky has fallen. These are all yours, and pain has made them brighter as absence does after a death, as the light heals the grass.

Shara met me at the airport in London, dressed in her old familiar blue woolen overcoat that I loved so much. She was bouncing like a little girl with excitement. Everest was nothing compared to seeing her. I was skinny, long-haired, and wearing some very suspect flowery Nepalese trousers. I short, I looked a mess, but I was so happy. I had been warned by Henry at base camp not to rush into anything “silly” when I saw Shara again. He had told me it was a classic mountaineers’ error to propose as soon as you get home. High altitude apparently clouds people’s good judgment, he had said. In the end, I waited twelve months. But during this time I knew that this was the girl I wanted to marry. We had so much fun together that year. I persuaded Shara, almost daily, to skip off work early from her publishing job (she needed little persuading, mind), and we would go on endless, fun adventures. I remember taking her roller-skating through a park in central London and going too fast down a hill. I ended up headfirst in the lake, fully clothed. She thought it funny. Another time, I lost a wheel while roller-skating down a steep busy London street. (Cursed skates!) I found myself screeching along at breakneck speed on only one skate. She thought that one scary. We drank tea, had afternoon snoozes, and drove around in “Dolly,” my old London black cab that I had bought for a song. Shara was the only girl I knew who would be willing to sit with me for hours on the motorway--broken down--waiting for roadside recovery to tow me to yet another garage to fix Dolly. Again. We were (are!) in love. I put a wooden board and mattress in the backseat so I could sleep in the taxi, and Charlie Mackesy painted funny cartoons inside. (Ironically, these are now the most valuable part of Dolly, which sits majestically outside our home.) Our boys love playing in Dolly nowadays. Shara says I should get rid of her, as the taxi is rusting away, but Dolly was the car that I will forever associate with our early days together. How could I send her to the scrapyard? In fact, this spring, we are going to paint Dolly in the colors of the rainbow, put decent seat belts in the backseat, and go on a road trip as a family. Heaven. We must never stop doing these sorts of things. They are what brought us together, and what will keep us having fun. Spontaneity has to be exercised every day, or we lose it. Shara, lovingly, rolls her eyes.

Here, dear, let’s try some of this blush to bring up those cheekbones. It’s called American Rust, it emulates the color of a ’63 Rambler that has been driven on salted roads. Very winter.

People by Maisie Aletha Smikle Annatto top Rust top Cotton top Butter top Night top Tight curls Loose curls No curls Tail length Ear length Lambs’ wool Goat strands Cotton ball Fur ball Spongy tall Donkey eyes Monkey eyes Triangle nose Square nose Pear nose Fat lip Flat lip Colorful tone Colorless tone People atone down to the bone

There was an unpleasant metallic noise, a ringing coming from somewhere. He saw everything in a flash. The cliff behind him was in fact made of grey metal. Xie’s latent memory had allowed him to see this as real nature. But the truth was much different. Metal the dull color of lead, iron reddened with rust, all piled together…

I thought about that, copper bodies and silver wings. Eventually both would oxidize, but neither would rust. The copper would turn green and the silver black. Absentmindedly, I said “Unless they’re polished, their colors will fade”. “Like a person” “Pardon?” I returned my gaze to her profile. “People need to be polished, stroked, touched,” her tone was abstract, “and when they are not polished, their colors fade. They change, warp, become something different”.

he region is stark and hostile, but in the early morning and late afternoon light, when the basalt rocks turn to the color of rust, and the distant mountains to soft shades of purple and blue, it can also be breathtakingly beautiful.

This is not just a moral lapse; it is also an educational one. Rust’s “students of color” profoundly misinterpreted the dynamics of the classroom, seeing racial animus where none existed. Not only did the education school not correct the students’ misperceptions, it celebrated those students as heroes. The administration and complicit faculty have thus all but guaranteed that the protesters and their supporters will go through life lodging similar complaints against equally phantom racism and expecting a similarly laudatory response.

Being accused of microaggression can be a harrowing experience. Manhattan Institute Fellow Heather Mac Donald relates in City Journal how an incident got out of hand at the University of California, Los Angeles, in 2013. Professor Emeritus Val Rust taught a dissertation preparation seminar in which arguments often erupted among students, such as over which victim ideologies deserved precedence. In one such discussion, white feminists were criticized for making "testimonial-style" claims of oppression to which Chicana feminists felt they were not entitled. In another, arguments over the political implications of word capitalization got out of hand. In a paper he returned to a student, Rust had changed the capitalization of "indigenous" to lowercase as called for in the Chicago Manual Style. The student felt this showed disrespect for her point of view. During the heated discussion that followed, Professor Rust leaned over and touched an agitated student's arm in a manner, Rust claims, that was meant to reassure and calm him down. It ignited a firestorm instead. The student, Kenjus Watston, jerked his arm away from Rust as if highly offended. Later, he and other "students of color", accompanied by reporters and photographers from UCLA's campus newspaper, made a surprise visit to Rust's classroom and confronted him with a "collective statement of Resistance by Graduate Students of Color". Then the college administration got involved. Dean Marcelo Suarez-Orozco sent out an e-mail citing "a series of troubling racial climate incidents" on campus, "most recently associated with [Rust's class]". Administrative justice was swift. Professor Rust was forced to teach the remainder of his class with three other professors, signaling that he was no longer trusted to teach "students of color". When Rust tried to smooth things over with another student who had criticized him for not apologizing to Watson, he reached out and touched him in a gesture of reconciliation. Again it backfired. That student filed criminal charges against Rust, who was suspended for the remainder of the academic year. As if to punctuate the students' victory and seal the professor's humiliation, UCLA appointed Watson as a "student researcher" to the committee investigating the incident. Watson turned the publicity from these events into a career, going on to codirect the Intergroup Dialogue Program at Occidental College in Los Angeles. As for the committee report, it recommended that UCLA create a new associate dean for equity and enhance the faculty's diversity training program. It was a total victory for the few students who had acted like bullies and the humiliating end of a career for a highly respected professor. It happened because the university could not appear to be unsympathetic to students who were, in the administration's worldview, merely following the university's official policies of diversity and multiculturalism.

As cadets, we constantly hammered, scraped and wire brushed rusting steel, before applying red lead paint. Most of the paint we used was Navy surplus or a concoction made up of fish oil, lampblack and china dryer. We found that by mixing all different color paints, we would wind up with a paint we called “Sh-t Grindle Brown.” Inventiveness was key as we repaired, replaced, and painted the State of Maine from stem to stern. This work, being in addition to our studies, consumed all of our time. How we managed to fit all of this into the time we had, is still a mystery. The conversion of the ship was labor intensive and expensive, but the U.S. Maritime Commission contributed to the Academy’s financial needs where possible. The mounting expenses remained a challenge but we didn’t give up. We never did finish the entire conversion prior to our first cruise, but one thing we managed to do was paint over the name “USS Comfort” and hand letter in her new name “State of Maine.” If you looked carefully, you could still see her previous name outlined by a welded bead, but this was a minor detail that would eventually be taken care of. Perhaps because of my experience with the letters on the front of “Richardson Hall,” the task of lettering her name and her new homeport on the stern became mine. Much of the ship’s superstructure was still covered with a sticky preservative made up of paint and crank case oil, which never really dried and indelibly got onto our working uniforms. However, from a distance, you couldn’t tell the difference and it looked all right, but more importantly it prevented further rusting. One bulkhead at a time, using a mixture of gasoline and paint remover, we scraped the gunk off and repainted it. The engineers had been busy rebuilding the pumps and generators, as well as repacking steam pipes with asbestos wrapping. We finally got the ship to where we could sail her to Portland under her own power. The twin Babcock and Wilcox heater-type boilers had to be repaired and re-bricked there. After this, we would continue on to the dry dock in Boston for additional work and the hull inspection that was required below the water line.

I noticed that he was an Irish setter, rust-colored. He noticed that I was a Welsh sculptor, buff-colored (no, really, what did he notice? how does he think?) I reflected that he was probably a nice dog from a good home (bourgeois dog) but with certain unfortunate habits like jumping on people from high windows (rationalization: he is a member of the television generation and thus -)

If, for example, you and I were anteaters, rather than two people sitting in the corner of a bar, I might feel more comfortable with your silence, with your motionless hands holding your glass, with your glazed fish eyes fixing now on my balding head and now on my navel, we might be able to understand each other better in a meeting of restless snouts sniffing halfheartedly at the concrete for nonexistent insects, we might come together, under cover of darkness, in acts of sexual coitus as sad as Lisbon nights, when the Neptunes in the lakes slough off the mud and slime and scan the deserted squares with blank, eager, rust-colored eyes. Perhaps you would finally tell me about yourself. Perhaps behind your Cranach brow there lies sleeping a secret fondness for rhinoceroses. Perhaps, if you felt my body, you would discover that I had been suddenly transformed into a unicorn, and I would embrace you, and you would flap startled arms, like a butterfly transfixed by a pin, your voice grown husky with desire. We would buy tickets for the train that travels around the zoo, from creature to creature, with its clockwork engine, an escapee from some provincial haunted castle, and we would wave, as we passed, at the grotto-cum-crib of those recycled carpets—the polar bears. We would observe with an ophthalmological eye the baboons' anal conjunctivitis, like eyelids inflamed with combustible hemorrhoids. We would kiss outside the lions' den, where the lions—moth-eaten old overcoats—would curl their lips to reveal toothless gums. I would stroke your breasts in the oblique shade cast by the foxes, you would buy me an ice cream on a stick from the clowns' enclosure, where they, eyebrows permanently arched, exchanged blows to the tragic accompaniment of a saxophone. And that way we would have recovered a little of the childhood that belongs to neither of us and that insists on whizzing down the children's slide with a laugh that reaches us now as an occasional faint, almost angry echo.

This was the far western end of the frontier, which is marked by a tall, rust-colored, iron-slatted fence—paralleling an older, lower fence—blistered with corrosion, which extends below the tidemark, its end sunk in the Pacific Ocean.

MARBLE’S RUSTIC TOMATO SAUCE Sauté diced onions, sliced garlic, and anchovy fillets in olive oil until aromatics are soft and fillets have melted in the pan. Add tomato paste in center of pan and fry, stirring, until rust-colored. Add chopped ripe tomatoes, crushed dried oregano, peperoncino, and a chiffonade of fresh basil leaves. Season to taste. Reduce sauce until thick, add a splash of balsamic vinegar to finish. Garnish with fresh, torn basil leaves and serve over pasta or meatballs.

Sunrise, Grand Canyon We stand on the edge, the fall Into depth, the ascent Of light revelatory, the canyon walls moving Up out of Shadow, lit Colors of the layers cutting Down through darkness, sunrise as it Passes a Precipitate of the river, its burnt tangerine Flare brief, jagged Bleeding above the far rim for a split Second I have imagined You here with me, watching day’s onslaught Standing in your bones-they seem Implied in the record almost By chance- fossil remains held In abundance in the walls, exposed By freeze and thaw, beautiful like a theory stating Who we are is Carried forward by the x Chromosome down the matrilineal line Recessive and riverine, you like Me aberrant and bittersweet... Riding the high Colorado Plateau as the opposing Continental plates force it over A mile upward without buckling, smooth Tensed, muscular fundament, your bones Yet to be wrapped around mine- This will come later, when I return To your place and time... The geologic cross section Of the canyon Dropping From where I stand, hundreds millions of shades of terra cotta, of copper Manganese and rust, the many varieties of stone- Silt, sand, and slate, even “green River rock...”my body voicing its immense Genetic imperatives, human geology falling away Into a Depth i am still unprepared for The canyon cutting down to The great unconformity, a layer So named by the lack Of any fossil evidence to hypothesize About and date such A remote time by, at last no possible Retrospective certainties... John Barton