Showing True Colors Quotes

When someone shows you their true colors, believe them.

The road of life is strewn with the bodies of promising people. People who show promise, yet lack the confidence to act. People who make promises they are unable to keep. People who promise to do tomorrow what they could do today. Promising young stars, athletes, entrepreneurs who wait for promises to come true. Promise without a goal and a plan is like a barren cow. You know what she could do if she could do it, but she can't. Turn your promise into a plan. Make no promise for tomorrow if you are able to keep it today. And if someone calls you promising, know that you are not doing enough today.

The best leaders are the ones who show their true colors not during the banner years but during times of struggle.

It must be October, the trees are falling away and showing their true colors.

Friends show their true colors in times of need; and not in times of happiness.

Once you show someone your true colors it is impossible to paint over them.

A rainbow is not afraid of showing its true colors because it knows it is beautiful inside out.

When we are in a wrong environment, we feel so paranoid, yet unwilling to move out. There's no need for pussyfooting, we got to release our poisonous fluid and scream aloud, storming  out of the show like a radical.

Would you believe I devise my entire show based upon a single one of these jewels? It's true I choose a color from my collection (...) and with it I can imagine a whole world.

When you first meet a person, sometimes they'll pretend to be all that you like. Deception is hard to predict instantly at times, but if you hang with them for a while their true colors will eventually begin to show.

I just showed my true colors by hoe-bagging it around with my baby daddy.

Show us your true colors, who you used to be.

Then the great hour struck, and every man showed himself in his true colors.

Walt Whitman (1819–1892). Leaves of Grass. 1900. To You WHOEVER you are, I fear you are walking the walks of dreams, I fear these supposed realities are to melt from under your feet and hands; Even now, your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you, Your true Soul and Body appear before me, They stand forth out of affairs—out of commerce, shops, law, science, work, forms, clothes, the house, medicine, print, buying, selling, eating, drinking, suffering, dying. Whoever you are, now I place my hand upon you, that you be my poem; I whisper with my lips close to your ear, I have loved many women and men, but I love none better than you. O I have been dilatory and dumb; I should have made my way straight to you long ago; I should have blabb’d nothing but you, I should have chanted nothing but you. I will leave all, and come and make the hymns of you; None have understood you, but I understand you; None have done justice to you—you have not done justice to yourself; None but have found you imperfect—I only find no imperfection in you; None but would subordinate you—I only am he who will never consent to subordinate you; I only am he who places over you no master, owner, better, God, beyond what waits intrinsically in yourself. Painters have painted their swarming groups, and the centre figure of all; From the head of the centre figure spreading a nimbus of gold-color’d light; But I paint myriads of heads, but paint no head without its nimbus of gold-color’d light; From my hand, from the brain of every man and woman it streams, effulgently flowing forever. O I could sing such grandeurs and glories about you! You have not known what you are—you have slumber’d upon yourself all your life; Your eye-lids have been the same as closed most of the time; What you have done returns already in mockeries; (Your thrift, knowledge, prayers, if they do not return in mockeries, what is their return?) The mockeries are not you; Underneath them, and within them, I see you lurk; I pursue you where none else has pursued you; Silence, the desk, the flippant expression, the night, the accustom’d routine, if these conceal you from others, or from yourself, they do not conceal you from me; The shaved face, the unsteady eye, the impure complexion, if these balk others, they do not balk me, The pert apparel, the deform’d attitude, drunkenness, greed, premature death, all these I part aside. There is no endowment in man or woman that is not tallied in you; There is no virtue, no beauty, in man or woman, but as good is in you; No pluck, no endurance in others, but as good is in you; No pleasure waiting for others, but an equal pleasure waits for you. As for me, I give nothing to any one, except I give the like carefully to you; I sing the songs of the glory of none, not God, sooner than I sing the songs of the glory of you. Whoever you are! claim your own at any hazard! These shows of the east and west are tame, compared to you; These immense meadows—these interminable rivers—you are immense and interminable as they; These furies, elements, storms, motions of Nature, throes of apparent dissolution—you are he or she who is master or mistress over them, Master or mistress in your own right over Nature, elements, pain, passion, dissolution. The hopples fall from your ankles—you find an unfailing sufficiency; Old or young, male or female, rude, low, rejected by the rest, whatever you are promulges itself; Through birth, life, death, burial, the means are provided, nothing is scanted; Through angers, losses, ambition, ignorance, ennui, what you are picks its way.

Wine is a dangerous thing, and should not be made the exponent of truth, let the truth be good as it may; but it has the merit of forcing a man to show his true colors.

It’s the most damaging consequence associated with sociopaths. You love the person they want you to love, and then you’re left with the aftermath when they finally decide to show their true colors.

Once upon a time, there was a bird. He was adorned with two perfect wings and with glossy, colorful, marvelous feathers. One day, a woman saw this bird and fell in love with him. She invited the bird to fly with her, and the two travelled across the sky in perfect harmony. She admired and venerated and celebrated that bird. But then she thought: He might want to visit far-off mountains! And she was afraid, afraid that she would never feel the same way about any other bird. And she thought: “I’m going to set a trap. The next time the bird appears, he will never leave again.” The bird, who was also in love, returned the following day, fell into the trap and was put in a cage. She looked at the bird every day. There he was, the object of her passion, and she showed him to her friends, who said: “Now you have everything you could possibly want.” However, a strange transformation began to take place: now that she had the bird and no longer needed to woo him, she began to lose interest. The bird, unable to fly and express the true meaning of his life, began to waste away and his feathers to lose their gloss; he grew ugly; and the woman no longer paid him any attention, except by feeding him and cleaning out his cage. One day, the bird died. The woman felt terribly sad and spent all her time thinking about him. But she did not remember the cage, she thought only of the day when she had seen him for the first time, flying contentedly amongst the clouds. If she had looked more deeply into herself, she would have realized that what had thrilled her about the bird was his freedom, the energy of his wings in motion, not his physical body. Without the bird, her life too lost all meaning, and Death came knocking at her door. “Why have you come?” she asked Death. “So that you can fly once more with him across the sky,” Death replied. “If you had allowed him to come and go, you would have loved and admired him ever more; alas, you now need me in order to find him again.

At some point they show their true colors After the break up After the trial After the contract is signed and broken Their true colors stink These days I find it hard to get along with them I want to push them until the colors come out And sometimes I hate them so much, I push and see I do the same to the ones I like The ones I don’t care about I smile at real nice

Faced with the blazing magnificence of the everyday, the artist is both humbled and provoked. There are photographs now of events on an unimaginable scale [...] When we look at these images, there is, yes, legitimate wonderment at our own lengthening reach and grasp. But it would be vain indeed to praise our puny handiwork--the mastery of the Hubble wielders, the computer enhancers, the colorizers, all the true-life-fantasist counterparts of Hollywood's techno-wizards and imagineers--when the universe is putting on so utterly unanswerable a show. Before the majesty of being, what is there to do but hang our heads?

Never take your eyes from your enemy, Imanishaketheto. Never underestimate them. When you think you've won, they will show their true colors and their strength. You must be ready.

People never show their true colors when everything is fine. It’s when everything goes to shit that you see what a person is really made of,

FALLING FOR AUTUMN That time of the year, When September welcomes October, They fall for each other, And then they show their true colors.

In some cases, we first need to disappoint or enrage someone, or to break their heart, for them to finally show us their true colours.

Birds feed; then they nest. Paint them any color you want, send them halfway around the world, but they’ll always find a way back. And eventually they’ll show their true colors again.

Give it time… The weak in character always get tired of pretending. Their true colors will show.

And if someone shows you their true colors, don't make excuses for them or hope that they'll change--listen to your gut.

Here is your law enforcement and media question of the day: Was the TV show COPS real or BS? It might have been real incidents, but it wasn't really all that real. They edited the episodes to make it appear as if black people were committing fewer crimes. That is what the show creator John Langley said in a 2009 interview in response to people who were unhappy his long-running reality show, COPS, was showing too many black people getting arrested. What irritates me sometimes is critics still watch and say, 'Oh look, they misrepresent people of color.' That's absolutely not true. To the contrary, I show more white people than statistically what the truth is in terms of street crime..It's just the reverse. And I do that intentionally, because I do not want to contribute to negative stereotypes, said Langley, the show's producer, in 2009.

Allowing someone that close hadn’t been an option. Not with her home life. The one time she’d allowed someone to cross the barriers to her heart, he’d betrayed her. Devin Wickham. It hadn’t taken him long to show his true colors.

He wants money for nothing, without waiting or working! We’ve grown used to having everything ready made, to walking on crutches, to having our food chewed for us. Then the great hour struck, and every man showed himself in his true colors.

People think that representation doesn't matter, but it does. It makes a difference. The problem is that sometimes people of color in show business- and this is true of women too- think that they just have to eat it. They don't want to hurt anybody's feelings or be an asshole or be looked at as overly sensitive. I was certainly that way during Totally Biased. But now I think, Fuck that. Why am I not naming names? Why am I protecting white men's feelings? They weren't protecting my feelings.

Teenager Me—a teenager? If she suddenly stood, here, now, before me, would I need to treat her as near and dear, although she's strange to me, and distant? Shed a tear, kiss her brow for the simple reason that we share a birthdate? So many dissimilarities between us that only the bones are likely still the same, the cranial vault, the eye sockets. Since her eyes seem a little larger, her eyelashes are longer, she's taller, and the whole body is tightly sheathed in smooth, unblemished skin. Relatives and friends still link us, it is true, but in her world nearly all are living, while in mine almost no one survives from that shared circle. We differ so profoundly, talk and think about completely different things. She knows next to nothing— but with a doggedness deserving better causes. I know much more— but not for sure. She shows me poems, written in a clear and careful script I haven't used for years. I read the poems, read them. Well, maybe that one if it were shorter and touched up in a couple of places. The rest do not bode well. The conversation stumbles. On her pathetic watch time is still cheap and unsteady. On mine it's far more precious and precise. Nothing in parting, a fixed smile and no emotion. Only when she vanishes, leaving her scarf in her haste. A scarf of genuine wool, in colored stripes crocheted for her by our mother. I've still got it.

I’m mesmerized by lipstick prints on coffee cups. By the lines of lips against white pottery. By the color chosen by the woman who sat and sipped and lived life. By the mark she leaves behind. Some people read tea leaves and others can tell your future through the lines on your palm. I think I’d like to read lipstick marks on coffee mugs. To learn how to differentiate yearning from satiation. To know the curve of a deep-rooted joy or the line of bottomless grief. To be able to say, this deep blue red you chose and how firmly you planted your lips, this speaks of love on the horizon. But, darling, you must be sure to stand in your own truth. That barely-there nude that circles the entire rim? You are exploding into lightness and possibilities beyond what you currently know. The way the gloss only shows when the light hits it and the coffee has sloshed all over the saucer? people need to take the time to see you whole but my god, you’re glorious and messy and wonderful and free. The deep purple bruise almost etched in a single spot and most of the cup left unconsumed? Oh love. Let me hold the depth of your ache. It is true. He’s not coming back. I know you already know this, but do you also know this is not the end? Love. This is not the end. I imagine that I can know entire stories by these marks on discarded mugs. Imagine that I know something intimate and true of the woman who left them. That I could take those mugs home one day and an entire novel worth of characters would pour out, just like that.

Of course, it is true that plastic surgeries and sex reassignments are “artificial,” but then again so are the exercise bikes we work out on, the antiwrinkle moisturizers we smear on our faces, the dyes we use to color our hair, the clothes we buy to complement our figures, and the TV shows, movies, magazines, and billboards that bombard us with “ideal” images of gender, size, and beauty that set the standards that we try to live up to in the first place. The class systems based on attractiveness and gender are extraordinarily “artificial”— yet only those practices that seem to subvert those classes (rather than reaffirm them) are ever characterized as such.

Everybody has a favorite color. What color makes you feel good when you see it? What color makes things better?” He put his hands around her face and regarded her steadily, deeply. His thumbs traced the tops of her cheekbones. “Blue. Blue is my favorite color.” “Like sky blue, or navy blue, or—” “Like your eyes.” Show wasn’t a sweet talker or a romantic. He was just…true. Real. Direct. And it made the times he said amazingly sweet, romantic things like that a billion times more amazing, because he simply meant what he said.

WHEN PEOPLE SHOW YOU THEIR TRUE COLORS, DON'T GO COLOR BLIND

Show your true colors. Mine is yellow. — BIG BIRD

fake leather looks great until you use it in demanding situations, and then it shows its true colors and lets you down.

If someone shows their true color, don't try to repaint them..

whatever anyone does or says, I must be what I am and show my true colors.’” —MARCUS AURELIUS, MEDITATIONS, 7.15

Literature is a love that won’t let you down or show its true colors after some time goes by. You know what it’s about from the moment you read it. In a lot of ways it’s a perfect love.

And her mother would pat her hand and say comfortingly, Although it’s not your fault, it’s all your own fault. You were never ready. You showed your true colors when you came between your father and me.

Their mothers did not notice the other moments that made color bloom in their daughters’ cheeks. How Azalea flirted with girls in ruffled dresses. How the thing that first made Estrella fall a little in love with boys or girls was so often their hands, whether they were showing at the edge of a shirt cuff or a lace sleeve. How Gloria blushed when she caught the eye of women in sleek gowns, women who wore their hair in low, smooth chignons and who preferred gray or black or navy. And how she shared her laughter, her true, fluttering laugh, with boys who could more easily be called pretty than handsome.

Eventually they climb sixteen steps into the Gallery of Mineralogy. The guide shows them a gate from Brazil and violet amethysts and a meteorite on a pedestal that he claims is as ancient as the solar system itself. Then he leads them single file down two twisting staircases and along several corridors and stops outside an iron door with a single keyhole. “End of tour,” he says. A girl says, “But what’s through there?” “Behind this door is another locked door, slightly smaller.” “And what’s behind that?” “A third locked door, smaller yet.” “What’s behind that?” “A fourth door, and a fifth, on and on until you reach a thirteenth, a little locked door no bigger than a shoe.” The children lean forward. “And then?” “Behind the thirteenth door”—the guide flourishes one of his impossibly wrinkled hands—“is the Sea of Flames.” Puzzlement. Fidgeting. “Come now. You’ve never heard of the Sea of Flames?” The children shake their heads. Marie-Laure squints up at the naked bulbs strung in three-yard intervals along the ceiling; each sets a rainbow-colored halo rotating in her vision. The guide hangs his cane on his wrist and rubs his hands together. “It’s a long story. Do you want to hear a long story?” They nod. He clears his throat. “Centuries ago, in the place we now call Borneo, a prince plucked a blue stone from a dry riverbed because he thought it was pretty. But on the way back to his palace, the prince was attacked by men on horseback and stabbed in the heart.” “Stabbed in the heart?” “Is this true?” A boy says, “Hush.” “The thieves stole his rings, his horse, everything. But because the little blue stone was clenched in his fist, they did not discover it. And the dying prince managed to crawl home. Then he fell unconscious for ten days. On the tenth day, to the amazement of his nurses, he sat up, opened his hand, and there was the stone. “The sultan’s doctors said it was a miracle, that the prince never should have survived such a violent wound. The nurses said the stone must have healing powers. The sultan’s jewelers said something else: they said the stone was the largest raw diamond anyone had ever seen. Their most gifted stonecutter spent eighty days faceting it, and when he was done, it was a brilliant blue, the blue of tropical seas, but it had a touch of red at its center, like flames inside a drop of water. The sultan had the diamond fitted into a crown for the prince, and it was said that when the young prince sat on his throne and the sun hit him just so, he became so dazzling that visitors could not distinguish his figure from light itself.” “Are you sure this is true?” asks a girl. “Hush,” says the boy. “The stone came to be known as the Sea of Flames. Some believed the prince was a deity, that as long as he kept the stone, he could not be killed. But something strange began to happen: the longer the prince wore his crown, the worse his luck became. In a month, he lost a brother to drowning and a second brother to snakebite. Within six months, his father died of disease. To make matters even worse, the sultan’s scouts announced that a great army was gathering in the east. "The prince called together his father’s advisers. All said he should prepare for war, all but one, a priest, who said he’d had a dream. In the dream the Goddess of the Earth told him she’d made the Sea of Flames as a gift for her lover, the God of the Sea, and was sending the jewel to him through the river. But when the river dried up, and the prince plucked it out, the goddess became enraged. She cursed the stone and whoever kept it.

He smiled like the sunrise, mouth stretching to show his teeth, cheekbones lifting to narrow his brown eyes. Their color made her think of the honey her mother drizzled into a shot of cognac - the Bianco cure-all for head colds and heartache.

There are many that enter into friendships and relationships with unrealistic expectations. God has taught me how to stop having high expectations in people, and instead put expectations in Him. He gives humans choices. No matter how "good", strong, or well-meaning a person may be, it's unrealistic to think that he or she can fulfill our every expectation. We live in a world where humans want power; as you can see, everything requires power from the intangible things to the tangible things. Be careful of who you trust because who they truly are, may not be who you thought they were even if you've known them for years. Sometimes the greatest backstabbers are the ones you trusted after many years and then they eventually show their true colors. Such is life.

In a world where everybody is lost, and nowhere is home, airports are the only places that show their true colors. Airports are honest. They remind us all, once again, that we are, despite occasional illusions of stability, eternally in transit. At least that’s how I feel.

History that is presented only as ink-embalmed data is as a flower pressed in a book. Although the dry petals still hold all the elements of the original flower, they cannot show us how it looked blooming in the field. The color and fragrance - the true reality - or the flowers are gone.

A BRAVE AND STARTLING TRUTH We, this people, on a small and lonely planet Traveling through casual space Past aloof stars, across the way of indifferent suns To a destination where all signs tell us It is possible and imperative that we learn A brave and startling truth And when we come to it To the day of peacemaking When we release our fingers From fists of hostility And allow the pure air to cool our palms When we come to it When the curtain falls on the minstrel show of hate And faces sooted with scorn are scrubbed clean When battlefields and coliseum No longer rake our unique and particular sons and daughters Up with the bruised and bloody grass To lie in identical plots in foreign soil When the rapacious storming of the churches The screaming racket in the temples have ceased When the pennants are waving gaily When the banners of the world tremble Stoutly in the good, clean breeze When we come to it When we let the rifles fall from our shoulders And children dress their dolls in flags of truce When land mines of death have been removed And the aged can walk into evenings of peace When religious ritual is not perfumed By the incense of burning flesh And childhood dreams are not kicked awake By nightmares of abuse When we come to it Then we will confess that not the Pyramids With their stones set in mysterious perfection Nor the Gardens of Babylon Hanging as eternal beauty In our collective memory Not the Grand Canyon Kindled into delicious color By Western sunsets Nor the Danube, flowing its blue soul into Europe Not the sacred peak of Mount Fuji Stretching to the Rising Sun Neither Father Amazon nor Mother Mississippi who, without favor, Nurture all creatures in the depths and on the shores These are not the only wonders of the world When we come to it We, this people, on this minuscule and kithless globe Who reach daily for the bomb, the blade and the dagger Yet who petition in the dark for tokens of peace We, this people on this mote of matter In whose mouths abide cankerous words Which challenge our very existence Yet out of those same mouths Come songs of such exquisite sweetness That the heart falters in its labor And the body is quieted into awe We, this people, on this small and drifting planet Whose hands can strike with such abandon That in a twinkling, life is sapped from the living Yet those same hands can touch with such healing, irresistible tenderness That the haughty neck is happy to bow And the proud back is glad to bend Out of such chaos, of such contradiction We learn that we are neither devils nor divines When we come to it We, this people, on this wayward, floating body Created on this earth, of this earth Have the power to fashion for this earth A climate where every man and every woman Can live freely without sanctimonious piety Without crippling fear When we come to it We must confess that we are the possible We are the miraculous, the true wonder of this world That is when, and only when We come to it.

If you needed to see someone’s true colors before you could love them, you could never love anyone. For love to exist, people must be able to love lies and masks, veneers and artifice. How many people are loved for who they are? Most people are loved for who they are not! People hide their true colors. They are afraid to show them. They don’t find their true colors beautiful. They find them ugly. They are afraid of them. If your true colors are the colors of the rainbow, what are your false colors? They are the colors of the anti-rainbow. People are broken. Who will fix them? Where is the Cosmic Repair Shop? Don’t worry, mathematics is designed to cure every single problem you have.

Jessabelle, I'm sorry to just leave, but I need some time. Time to get my head back on straight. Time to remember who I really am. Time with my Creator, the one who knew before the foundations of the earth what would happen over the last few days. I wish more than anything, that I could process all of this with you, go through all of this together, because I'm coming to understand that, out of all the men in the world, God picked me for you. It's so much more than lineage. It's you. How you've come into your own. How you've blossomed and grown. I'm so privileged to see that secret side of you-the side no one else gets to see. The side where you secretly paint your second toenail a different color because everyone else does the fourth one, but you're not sure my mother would approve so you never wear open-toed shoes to show them off. You only eat M&Ms in odd numbers. You use your right hand to put hair behind your ear, but never your left. You didn't know I knew those things, did you? I've watched you over the last few months and learned more about you than I realized until I tried to put my thoughts on paper. You're sleeping just feet away from me as I write this. Your even breathing brings some peace to my troubled soul. The small smile on your face makes me wonder what your dreaming about and if, in your sleep, you've managed to find happiness instead of the turmoil life always seems to bring. I have to stop myself from wondering if dream-Jessabelle has found happiness with someone besides dream-Malachi, because I've realized something in the last couple of days. I love you. My life didn't really begin until you walked down the aisle into it. I want to be man enough to tell you to your face, to kiss you, to tell you over and over what you've come to mean to me, but I can't. Not yet... You are the only one for me, sweet Mia Belle. I love you with my entire being, in a way I never believed possible to love another person. I didn't know this kind of love truly existed outside of fairy tales. Always, Kai

The charge that Anarchism is destructive, rather than constructive, and that, therefore, Anarchism is opposed to organization, is one of the many falsehoods spread by our opponents. They confound our present social institutions with organization; hence they fail to understand how we can oppose the former, and yet favor the latter. The fact, however, is that the two are not identical. “The State is commonly regarded as the highest form of organization. But is it in reality a true organization? Is it not rather an arbitrary institution, cunningly imposed upon the masses? “Industry, too, is called an organization; yet nothing is farther from the truth. Industry is the ceaseless piracy of the rich against the poor. “We are asked to believe that the Army is an organization, but a close investigation will show that it is nothing else than a cruel instrument of blind force. “The Public School! The colleges and other institutions of learning, are they not models of organization, offering the people fine opportunities for instruction? Far from it. The school, more than any other institution, is a veritable barrack, where the human mind is drilled and manipulated into submission to various social and moral spooks, and thus fitted to continue our system of exploitation and oppression. “Organization, as WE understand it, however, is a different thing. It is based, primarily, on freedom. It is a natural and voluntary grouping of energies to secure results beneficial to humanity. “It is the harmony of organic growth which produces variety of color and form, the complete whole we admire in the flower. Analogously will the organized activity of free human beings, imbued with the spirit of solidarity, result in the perfection of social harmony, which we call Anarchism. In fact, Anarchism alone makes non-authoritarian organization of common interests possible, since it abolishes the existing antagonism between individuals and classes. “Under present conditions the antagonism of economic and social interests results in relentless war among the social units, and creates an insurmountable obstacle in the way of a co-operative commonwealth. “There is a mistaken notion that organization does not foster individual freedom; that, on the contrary, it means the decay of individuality. In reality, however, the true function of organization is to aid the development and growth of personality. “Just as the animal cells, by mutual co-operation, express their latent powers in formation of the complete organism, so does the individual, by co-operative effort with other individuals, attain his highest form of development. “An organization, in the true sense, cannot result from the combination of mere nonentities. It must be composed of self-conscious, intelligent individualities. Indeed, the total of the possibilities and activities of an organization is represented in the expression of individual energies. “It therefore logically follows that the greater the number of strong, self-conscious personalities in an organization, the less danger of stagnation, and the more intense its life element. “Anarchism asserts the possibility of an organization without discipline, fear, or punishment, and without the pressure of poverty: a new social organism which will make an end to the terrible struggle for the means of existence,—the savage struggle which undermines the finest qualities in man, and ever widens the social abyss. In short, Anarchism strives towards a social organization which will establish well-being for all. “The germ of such an organization can be found in that form of trades unionism which has done away with centralization, bureaucracy, and discipline, and which favors independent and direct action on the part of its members.

What do I think was modernism’s subject, then? What was it about? No doubt you can guess my starting point. It was about steam—in both the Malevich and the de Chirico a train still rushes across the landscape. It was about change and power and contingency, in other words, but also control, compression, and captivity—an absurd or oppressive orderliness is haunting the bright new fields and the sunlit squares with their eternally flapping flags. Modernism presents us with a world becoming a realm of appearances—fragments, patchwork quilts of color, dream-tableaux made out of disconnected phantasms. But all of this is still happening in modernism, and still resisted as it is described. The two paintings remain shot through, it seems to me, with the effort to answer back to the flattening and derealizing-the will to put the fragments back into some sort of order. Modernism is agonized, but its agony is not separable from weird levity or whimsy. Pleasure and horror go together in it. Malevich may be desperate, or euphoric. He may be pouring scorn on the idea of collective man, or spelling the idea out with utter childish optimism. We shall never know his real opinions. His picture entertains both. Modernism was certainly about the pathos of dream and desire in twentieth- century circumstances, but, again, the desires were unstoppable, ineradicable. The upright man will not let go of the future. The infinite still exists at the top of the tower. Even in the Picasso the monster flashing up outside the window is my monster, my phantasm, the figure of my unnegotiable desire. The monster is me—the terrible desiring and fearing subject inside me that eludes all form of conditioning, all the barrage of instructions about what it should want and who it should be. This is Picasso’s vestigial utopianism. You think that modernity is a realm of appetite and immediacy! I’ll show you appetite! I’ll show you immediacy! I shall, as a modernist, make the dreams of modernity come true. Modernism was testing, as I said before. It was a kind of internal exile, a retreat into the territory of form; but form was ultimately a crucible, an act of aggression, an abyss into which all the comfortable “givens” of the culture were sucked and then spat out.

She looked at her own image and removed the bandana, shaking down her hair, not fixed in a braid today but with a sticky twistiness still in it. As her voice had come out of her startled mouth younger than she was, she looked younger in this antique, forgiving mirror. It was slightly tipped; she looked up into it, pleased that the flesh beneath her chin did not show. In the bathroom mirror at home she looked terrible, a hag with cracked lips and a dented nose with broken veins in her septum, and when, driving in the Subaru, she stole a peek of herself in the rearview mirror, she looked worse yet, corpselike in color, the eyes wild and a single stray lash laid like a beetle-leg across one lower lid. As a tiny girl Alexandra had imagined that behind every mirror a different person waited to peek back out, a different soul. Like so much of what we fear as a child, it turned out to be in a sense true.

Why not?” I asked, letting my tears spill over. It was easy to cry. All I had to do was look at Alex’s limp body, and the tears came effortlessly. “You were happy enough to do it to me.” There was a beat. Then John said cautiously, “What do you mean?” “The consequences, John?” I let out a bitter laugh. “Persephone wasn’t doomed to stay in the Underworld because she ate a pomegranate. She was doomed to stay there because she did with Hades what we did last night. That’s what the pomegranate symbolizes, right?” John stared, speechless. But I could tell I was right by the color that slowly started to suffuse his cheeks…and the fact that he didn’t try to contradict me. And of course the fact that the whole thing was spelled out right in front of me by the statue Hope was sitting on. I didn’t get why the Rectors were so obsessed by the myth of Persephone that they’d put a statue of it in their mausoleum, but it was clear enough they were involved in an underworld of one kind or another. “Don’t worry,” I said, lowering my voice because I didn’t want Frank to overhear. “I don’t blame you. You asked me if I was sure, despite the consequences. I said I was. But I thought by consequences you meant a baby, and I already knew that could never happen. I guess Mr. Smith must have told you last night that he found out the pomegranate symbolized something completely different than babies or death-“ “Pierce.” John grasped my hand. His fingers were like ice, but his voice and his gaze had an urgency that was anything but cold. “That isn’t why I did it. I love you. I’ve always loved you, because you’re good…you’re so good, you make me want to be good, too. But that’s the problem, Pierce. I’m not good. And I’ve always been afraid that when you find out the truth about me, you’d run away again-“ I sucked in my breath to tell him for the millionth time that this wasn’t true, but he cut me off, not allowing me to speak until he’d had his say. “Then you almost died yesterday,” he went on, “and it was my fault. I wanted to show you how much I loved you, and things…things went further than I expected. But you didn’t stop me”-his silver eyes blazed, as if daring me to deny what he was saying-“even though I told you we could slow down if you wanted to.” “I know,” I said softly, dropping my gaze to look down at our joined fingers. We’d each kept a hand on Alex. “I know you did.” “I don’t want to lose you again,” he said fiercely. “I lost you once and I couldn’t bear it. I won’t go through that again. I…I know I did the wrong thing. But it didn’t feel wrong at the time.” I raised my gaze to his. “You’re right about that, at least,” I said. “So am I forgiven?” he asked. I hesitated, confused by the myriad of emotions I was feeling. John had known. He’d known the whole time we had been together the night before that he was forever sealing my destiny to his. Of course, he’d thought I’d known, too. He’d asked if I was sure it was what I wanted, despite the consequences. I might have misunderstood what those consequences were, but I’d been very adamant in my response. I’d said yes. And I’d meant it. “Excuse me,” called Frank’s voice from the opposite wall of vaults. “But you might want to take a look at the boy.” John and I both glanced down. Beneath the hands we’d left on Alex, he’d come back to life.

Slung on a stage over the gunwale of an old felucca, the Peri. A storm had just passed, rushing away toward the land in a great slope of clouds; already turning yellowish from the desert. The sea there is the color of Damascus plums; and how quiet. Sun was going down; not a beautiful sunset, more a gradual darkening of the air and that storm’s mountainside. The Peri had been damaged, we hove to alongside and hailed her master. No reply. Only the sailor—I never saw his face—one of your fellahin who abandon the land like a restless husband and then grumble for the rest of their term afloat. It’s the strongest marriage in the world. This one wore a kind of loincloth and a rag round his head for the sun which was almost gone. After we’d shouted in every dialect we had among us, he replied in Tuareg: ‘The master is gone, the crew is gone, I am here and I am painting the ship.’ It was true: he was painting the ship. She’d been damaged, not a load line in sight, and a bad list. ‘Come aboard,’ we told him, ‘night is nearly on us and you cannot swim to land.’ He never answered, merely continued dipping the brush in his earthen jar and slapping it smoothly on the Peri’s creaking sides. What color? It looked gray but the air was dark. This felucca would never again see the sun. Finally I told the helmsman to swing our ship round and continue on course. I watched the fellah until it was too dark: becoming smaller, inching closer to the sea with every swell but never slackening his pace. A peasant with all his uptorn roots showing, alone on the sea at nightfall, painting the side of a sinking ship.

The Pretender" I'm going to rent myself a house In the shade of the freeway I'm going to pack my lunch in the morning And go to work each day And when the evening rolls around I'll go on home and lay my body down And when the morning light comes streaming in I'll get up and do it again Amen Say it again Amen I want to know what became of the changes We waited for love to bring Were they only the fitful dreams Of some greater awakening I've been aware of the time going by They say in the end it's the wink of an eye And when the morning light comes streaming in You'll get up and do it again Amen Caught between the longing for love And the struggle for the legal tender Where the sirens sing and the church bells ring And the junk man pounds his fender Where the veterans dream of the fight Fast asleep at the traffic light And the children solemnly wait For the ice cream vendor Out into the cool of the evening Strolls the Pretender He knows that all his hopes and dreams Begin and end there Ah the laughter of the lovers As they run through the night Leaving nothing for the others But to choose off and fight And tear at the world with all their might While the ships bearing their dreams Sail out of sight I'm going to find myself a girl Who can show me what laughter means And we'll fill in the missing colors In each other's paint-by-number dreams And then we'll put our dark glasses on And we'll make love until our strength is gone And when the morning light comes streaming in We'll get up and do it again Get it up again I'm going to be a happy idiot And struggle for the legal tender Where the ads take aim and lay their claim To the heart and the soul of the spender And believe in whatever may lie In those things that money can buy Though true love could have been a contender Are you there? Say a prayer for the Pretender Who started out so young and strong Only to surrender Jackson Browne, The Pretender (1976)

And then there are colors. The truth is that the brain knows far less about colors than one might suppose. It sees more or less clearly what the eyes show it, but when it comes to converting what it has seen into knowledge, it often suffers from one might call difficulties in orientation. Thanks to the unconscious confidence of a lifetime's experience, it unhesitatingly utters the names of the colors it calls elementary and complementary, but it immediately lost, perplexed and uncertain when it tries to formulate words that might serve as labels or explanatory markers for the things that verge on the ineffable, that border on the incommunicable, for the still nascent color which, with the eyes' other bemused approval and complicity, the hands and fingers are in the process of inventing and which will probably never even have its own name. Or perhaps it already does -- a name known only to the hands, because they mixed the paint as if they were dismantling the constituent parts of a note of music, because they became smeared with the color and kept the stain deep inside the dermis, and because only with the invisible knowledge of the fingers will one ever be able to paint the infinite fabric of dreams. Trusting in what the eyes believe they have seen, the brain-in-the-head states that, depending on conditions of light and shade, on the presence or absence of wind, on whether it is wet or dry, the beach is white or yellow or olden or gray or purple or any other shade in between, but then along comes the fingers and, with a gesture of gathering in, as if harvesting a wheat field, they pluck from the ground all the colors of the world. What seemed unique was plural, what is plural will become more so. It is equally true, though, that in the exultant flash of a single tone or shade, or in its musical modulation, all the other tones and shades are also present and alive, both the tones or shades of colors that have already been name, as well as those awaiting names, just as an apparently smooth, flat surface can both conceal and display the traces of everything ever experience in the history of the world. All archaeology of matter is an archaeology of humanity. What this clay hides and shows is the passage of a being through time and space, the marks left by fingers, the scratches left by fingernails, the ashes and the charred logs of burned-out bonfires, our bones and those of others, the endlessly bifurcating paths disappearing off into the distance and merging with each other. This grain on the surface is a memory, this depression the mark left by a recumbent body. The brain asked a question and made a request, the hand answered and acted.

What’s the most frightening thing to a child? The pain of being the outsider, of looking ridiculous to others, of being teased or picked on in school. Every child burns with fear at the prospect. It’s a primal instinct: to belong. McDonald’s has surely figured this out—along with what specific colors appeal to small children, what textures, and what movies or TV shows are likely to attract them to the gray disks of meat. They feel no compunction harnessing the fears and unarticulated yearnings of small children, and nor shall I. “Ronald has cooties,” I say—every time he shows up on television or out the window of the car. “And you know,” I add, lowering my voice, “he smells bad, too. Kind of like … poo!” (I am, I should say, careful to use the word “alleged” each and every time I make such an assertion, mindful that my urgent whisperings to a two-year-old might be wrongfully construed as libelous.) “If you hug Ronald … can you get cooties?” asks my girl, a look of wide-eyed horror on her face. “Some say … yes,” I reply—not wanting to lie—just in case she should encounter the man at a child’s birthday party someday. It’s a lawyerly answer—but effective. “Some people talk about the smell, too… I’m not saying it rubs off on you or anything—if you get too close to him—but…” I let that hang in the air for a while. “Ewwww!!!” says my daughter. We sit in silence as she considers this, then she asks, “Is it true that if you eat a hamburger at McDonald’s it can make you a ree-tard? I laugh wholeheartedly at this one and give her a hug. I kiss her on the forehead reassuringly. “Ha. Ha. Ha. I don’t know where you get these ideas!” I may or may not have planted that little nugget a few weeks ago, allowing her little friend Tiffany at ballet class to “overhear” it as I pretended to talk on my cell phone.

I imagine you not telling me to whisper. I imagine you not saying oh don't say this literally. You want me to evoke as opposed to mere describing. You want me to be an invisible scribe that an octoepoose was hiding. I'm not sure if my facial features are an autograph that your Picasso smile is signing. Infamous for the mirror I shook when my sock puppets were pining? I am not just a fish that you gave wings to! I don't simply flop in the air whenever you brush some mannequinn's hair. There is a reason for the bad timing. Exquisite imbalances. A child enjoying the pink sky. I won't say that is my clue! Playing The Beatles on a kazoo is beautiful oooh ooooh Your laughter is a woman with alot of eyeballs on her stomach that pretends that she doesn't see the colors of all them songs. In the pre dawn hours we dance with delusions and illusions. The eternal seamstress does not care for Frakenstein's dress(she still loves our unique caress ) She loves and laughs despite some so-called scientist. Where is that emperor and his nakedness! Darling, our atoms need never split. We compliment in so many ways that all our night's and days have become one swirling sunrise/sunset that only true lovers can scoff at(those who shhhhh) The flower is not passive or apologetic. It blooms through the fractured net. Floating magnetic(eep eeep) You are not just some seductress. You are the leader of an elite group of intergalactic seductress impersonators who reveal corruption but then choose to love. We embrace conclusions that make the puddle heart awake with ethereal drum beat gongs. You think of a heroic poodle in the dark. We both know that the trapeze artist that followed us was not a cliche. He smelled differently. He had never met a floating lady that showed him how to appreciate a symphony without taking away his love for a good rock n roll melody. I am not sure I can only whisper of such realities. I am not sure I can only whisper of such realities.-

...imagine that you hold in one hand an oddly shaped stone. You keep this hand closed into a fist, but still you can feel the stone’s curvature and the pointed edges, the roughness—of course, you know the relative size and weight and might even have a mental image of the color of this stone, even if you have not yet laid eyes upon it. Imagine that stone in your hand. Imagine what it is like to know everything about the way it feels, but nothing of how it looks. Hold that in mind for a moment. Now, imagine that there is a person standing next to you who tells you that she also holds a stone in her hand. You look down and see the clenched fist and she sees yours and you confess the same. Neither of you, it seems, has yet opened the hand and seen the stone. Still, you can only trust each other’s proclamations. Standing together with your stones in hand, the two of you theorize about whether or not your respective stones are similar to one another. You discuss mundane details about your stones (not the special ones—you hesitate to make mention of the sharp point in the northern hemisphere or the flat area on the bottom). Your neighbor finally notes similarities between her stone and yours and you nod with relief and acknowledge that your stones indeed share reasonable commonalities. Over the course of your discussion, you and your neighbor finally conclude, without bothering to open your hands, that the stones you hold must indeed be quite similar. Are they? It is only suitable to say that they are. At the same time, and in spite of your desire not to offend, there is no doubt in your mind that the stone you hold bespeaks a greater prominence than that of your neighbor. You are not sure how you know this to be true, but it must be so! And I do not mean that this stone simply holds a greater subjective prominence. It has something of the universal, for it is, indeed, an auspicious stone! Silently, you hypothesize in what ways it must be special. It is possibly different in shape, color, weight, size and texture from the other, but you cannot confirm this. Perhaps, it is special by substance? Still, you are unsure. The very fact of your uncertainty begins to bother you and unleashes within you a deep insecurity. What if you are wrong and your stone is actually inferior to the other…or inferior even to some third stone not yet encountered? Meanwhile, your neighbor is silently suffering in the same agony. Both of you tacitly understand that, without comparing the two visually, it is absurd to proclaim the two stones similar. Yet, your fist remains clenched, as does your neighbor’s and so you find yourselves unable to hold out the stones before you and compare them side-by-side. Of course, this is possible, but the mutual curiosity is outstripped by an inveterate pride, and so you both become afraid of showing (and even seeing) what you have, for fear that your respective stones will be different in appearance from the model that you have each conceptualized in mind. Meekly your eyes meet and you smile to one another at your new comradeship, but, all the while, remain paralyzed by a simultaneous shame and vanity.

I encounter forms of this attitude every day. The producers who work at the Ostankino channels might all be liberals in their private lives, holiday in Tuscany, and be completely European in their tastes. When I ask how they marry their professional and personal lives, they look at me as if I were a fool and answer: “Over the last twenty years we’ve lived through a communism we never believed in, democracy and defaults and mafia state and oligarchy, and we’ve realized they are illusions, that everything is PR.” “Everything is PR” has become the favorite phrase of the new Russia; my Moscow peers are filled with a sense that they are both cynical and enlightened. When I ask them about Soviet-era dissidents, like my parents, who fought against communism, they dismiss them as naïve dreamers and my own Western attachment to such vague notions as “human rights” and “freedom” as a blunder. “Can’t you see your own governments are just as bad as ours?” they ask me. I try to protest—but they just smile and pity me. To believe in something and stand by it in this world is derided, the ability to be a shape-shifter celebrated. Vladimir Nabokov once described a species of butterfly that at an early stage in its development had to learn how to change colors to hide from predators. The butterfly’s predators had long died off, but still it changed its colors from the sheer pleasure of transformation. Something similar has happened to the Russian elites: during the Soviet period they learned to dissimulate in order to survive; now there is no need to constantly change their colors, but they continue to do so out of a sort of dark joy, conformism raised to the level of aesthetic act. Surkov himself is the ultimate expression of this psychology. As I watch him give his speech to the students and journalists, he seems to change and transform like mercury, from cherubic smile to demonic stare, from a woolly liberal preaching “modernization” to a finger-wagging nationalist, spitting out willfully contradictory ideas: “managed democracy,” “conservative modernization.” Then he steps back, smiling, and says: “We need a new political party, and we should help it happen, no need to wait and make it form by itself.” And when you look closely at the party men in the political reality show Surkov directs, the spitting nationalists and beetroot-faced communists, you notice how they all seem to perform their roles with a little ironic twinkle.

Presently my attention would wander still further, and it was then perhaps that the rare purity of her rhythmic voice accomplished its true purpose. I looked at a creamy cloud and years later was able to visualize its exact shape. The gardener was pottering among the peonies. A wagtail took a few steps, remembered something, and then strutted on. Coming from nowhere, a comma butterfly settled on the threshold, basked in the sun with its fulvous wings spread, suddenly closed them just to show the tiny initial chalked on the under side, and as suddenly darted away. But the most constant source of enchantment was the rhomboids of colored glass inset harlequinwise in the crisscross panes of the side windows. The garden when viewed through these magic panes grew strangely still and aloof. If one looked through the blue glass the sand turned to cinders while inky-black trees swam in a tropical sky. The yellow one led to Cathay and tea-colored vistas. The red made the foliage drip ruby dark upon a pink-flushed footpath. The green soaked greenery in a greener green. And when after such richness one turned to a little square of normal savorless glass with its lone mosquito or lame daddy longlegs, it was like taking a draught of water when one is not thirsty, and one saw the first withered leaf lying on yonder bench and the blandly familiar birch trees. But of all the windows this is the pane through which parched nostalgia would long to peer now.

The last slide is Main Street at night, with the castle lit silver blue in the background. In the sky, fireworks are going off, cresting, cracking open the darkness, shooting long tendrils of colored light down to the buildings, way longer than I’ve ever seen for fireworks… I linger on this slide. I study that blue castle and those fireworks and realize that this is the image I’ve had in my head of Disneyland for all these years. Just like the beginning of the Wonderful World of Disney TV show. Maybe that’s why I wanted to head here this time. I know it’s ridiculous, but part of me wants to think that the world after this one could look like that. Like I said before, I stopped having notions about religion and heaven long ago—angels and harps and clouds and all that malarkey. Yet some silly, childish side of me still wants to believe in something like this. A gleaming world of energy and light, where nothing is quite the same color as it is on earth—everything bluer, greener, redder. Or maybe we just become the colors, that light spilling from the sky over the castle. Perhaps it would be somewhere we’ve already been, the place we were before we were born, so dying is simply a return. I guess is that were true then somehow we’d remember it. Maybe that’s what I’m doing with this whole trip—looking for somewhere that I remember, deep in some crevice of my soul. Who knows? Maybe Disneyland is heaven. Isn’t that the damnedest, craziest thing you’ve ever heard? Must be the dope talking. (pp.253-254)

January 31 The Holy Spirit – Our Helper “And I will ask the Father, and He will give you another Counselor to be with you forever—the Spirit of truth. The world cannot accept Him, because it neither sees Him nor knows Him. But you know Him, for He lives with you and will be in you.”—John 14:16-17 My son played basketball in high school. I enjoyed watching, and could understand the game fairly well. But when my husband said, “He’s got to pick and roll”, I couldn’t understand. I was not fitted with the innate capacity to see it. In decorating, using color I say, “That red is not right. It has yellow in it. We need one with more blue.” My husband stares and says, “What do you mean? Red is red.” Of course, that’s not true! He is not fitted to see it. When Jesus left the earth, God the Father sent His Holy Spirit to be our Counselor. He was the One designated to walk along beside us to help us, show us the way, and reveal truth. As we study scripture, the Holy Spirit is the One who makes us fitted to understand it. He opens our spiritual eyes to see the truth. Jesus said the world (those without Christ) would not see or know Him. They are not able to understand spiritual truths—they are not fitted to see. That’s why they often don’t understand Christians. What a wonderful gift the Holy Spirit is. He is our helper. We don’t have to make it on our own. We have His presence to help us, enable us, and work through us. If you are a believer, you have the Holy Spirit living in you. Thank God today for His fitting you with this blessed gift.

Wife's Letter (excerpt) It was not the mask that died among the boots, but you. The girl with the yoyo was not the only one to know about your masked play. From the very first instant, when, elated with pride, you talked about the distortion of the magnetic field, I too saw through you completely. Please don’t insult me any more by asking how I did it. Of course, I was flustered, confused, and frightened to death. Under any circumstances, it was an unimaginably drastic way of acting, so different from your ordinary self. It was hallucinatory, seeing you so full of self-confidence. Even you knew very well that I had seen through you. You knew and yet demanded that we go on with the play in silence. ... But you went from one misunderstanding to the next, didn’t you? You write that I rejected you, but that’s not true. Didn’t you reject yourself all by yourself?.. In a happy frame of mind, I reflected that love strips the mask from each of us, and we must endeavor for those we love to put the mask on so that it can be taken off again. For if there is no mask to start with, there is no pleasure in removing it, is there? ... Is what you think to be the mask in reality your real face, or is what you think to be your real face really a mask? Yes, you do understand. Anyone who is seduced is seduced realizing this. ... At first you were apparently trying to get your own self back by means of the mask, but before you knew it you had come to think of it only as your magician’s cloak for escaping from yourself. So it was not a mask, but somewhat the same as another real face, wasn’t it? You finally revealed your true colors. It was not the mask, but you yourself. It is meaningful to put a mask on, precisely because one makes others realize it is a mask. Even with cosmetics, which you abominate so, we never try to conceal the fact that it is make-up. After all, it was not that the mask was bad, but that you were too unaware of how to treat it. Even though you put the mask on, you could not do a thing while you were wearing it. Good or bad, you could not do a thing. All you could manage was to wander through the streets and write long, never-ending confessions, like a snake with its tail in its mouth. It was all the same to you whether you burned your face or didn’t, whether you put on a mask or didn’t. You were incapable of calling the mask back. Since the mask will not come back, there is no reason for me to return either. ... While you spoke of the face as being some kind of roadway between fellow human beings, you were like a snail that thinks only of its own doorway. You were showing off. Even though you had forced me into a compound where I had already been, you set up a fuss as if I had scaled a prison wall, as if I had absconded with money. And so, when you began to focus on my face you were flustered and confused, and without a word you at once nailed up the door of the mask. Indeed, as you said, perhaps death filled the world. I wonder if scattering the seeds of death is not the deed of men who think only of themselves, as you do. You don’t need me. What you really need is a mirror. Because any stranger is for you simply a mirror in which to reflect yourself.

Before their chaise drew to a complete halt in front of the house a door was already being flung open, and a tall, stocky man was bouncing down the steps. “It would appear that our greeting here is going to be far more enthusiastic than the one we received at our last stop,” Elizabeth said in a resolute voice that still shook with nerves as she drew on her gloves, bravely preparing to meet and defy the next obstacle to her happiness and independence. The door of their chaise was wrenched open with enough force to pull it from its hinges, and a masculine face poked inside. “Lady Elizabeth!” boomed Lord Marchman, his face flushed with eagerness-or drink; Elizabeth wasn’t certain. “This is indeed a long-awaited surprise,” and then, as if dumbstruck by his inane remark, he shook his large head and hastily said, “A long-awaited pleasure, that is! The surprise is that you’ve arrived early.” Elizabeth firmly repressed a surge of compassion for his obvious embarrassment, along with the thought that he might be rather likeable. “I hope we haven’t inconvenienced you overmuch,” she said. “Not overmuch. That is,” he corrected, gazing into her wide eyes and feeling himself drowning, “not at all.” Elizabeth smiled and introduced “Aunt Berta,” then allowed their exuberant host to escort them up the steps. Beside her Berta whispered with some satisfaction, “I think he’s as nervous as I am.” The interior of the house seemed drab and rather gloomy after the sunny splendor outside. As their host led her forward Elizabeth glimpsed the furnishings in the salon and drawing room-all of which were upholstered in dark leathers that appeared to have once been maroon and brown. Lord Marchman, who was watching her closely and hopefully, glanced about and suddenly saw his home as she must be seeing it. Trying to explain away the inadequacies of his furnishings, he said hastily, “This home is in need of a woman’s touch. I’m an old bachelor, you see, as was my father.” Berta’s eyes snapped to his face. “Well, I never!” she exclaimed in outraged reaction to his apparent admission of being a bastard.” “I didn’t mean,” Lord Marchman hastily assured, “that my father was never married. I meant”-he paused to nervously tug on his neckcloth, as if trying to loosen it-“that my mother died when I was very young, and my father never remarried. We lived here together.” At the juncture of two hallways and the stairs Lord Marchman turned and looked at Berta and Elizabeth. “Would you care for refreshment, or would you rather go straight to bed?” Elizabeth wanted a rest, and she particularly wanted to spend as little time in his company as was possible. “The latter, if you please.” “In that case,” he said with a sweeping gesture of his arm toward the staircase, “let’s go.” Berta let out a gasp of indignant outrage at what she perceived to be a clear indication that he was no better than Sir Francis. “Now see here, milord! I’ve been putting her in bed for nigh onto two score, and I don’t need help from the likes of you!” And then, as if she realized her true station, she ruined the whole magnificent effect by curtsying and adding in a servile whisper, “if you don’t mind, sir.” “Mind? No, I-“ It finally occurred to John Marchmen what she thought, and he colored up clear to the roots of his hair. “I-I only meant to show you how,” he began, and then he leaned his head back and briefly closed his eyes as if praying for deliverance from his own tongue. “How to find the way,” he finished with a gusty sigh of relief. Elizabeth was secretly touched by his sincerity and his awkwardness, and were the situation less threatening, she would have gone out of her way to put him at his ease.

You never really know a person until they show you their true colors.

Difficult people are like dying trees. When the tree is rotten at the root, the fruit begins to die. Difficult people can put on a show for a while, but eventually, their true colors come to light.

You need to be careful to stay out of Charlie’s line of sight,” Steve said to me. “I want Charlie focusing only on me. If he changes focus and starts attacking you, it’s going to be too difficult for me to control the situation.” Right. Steve got no argument from me. Getting anywhere near those bone-crushing jaws was the furthest thing from my mind. I wasn’t keen on being down on the water with a huge saltwater crocodile trying to get me. I would have to totally rely on Steve to keep me safe. We stepped into the dinghy, which was moored in Charlie’s enclosure, secured front and back with ropes. Charlie came over immediately to investigate. It didn’t take much to encourage him to have a go at Steve. Steve grabbed a top-jaw rope. He worked on roping Charlie while the cameras rolled. Time and time again, Charlie hurled himself straight at Steve, a half ton of reptile flesh exploding up out of the water a few feet away from me. I tried to hang on precariously and keep the boat counterbalanced. I didn’t want Steve to lose his footing and topple in. Charlie was one angry crocodile. He would have loved nothing more than to get his teeth into Steve. As Charlie used his powerful tail to propel himself out of the water, he arched his neck and opened his jaws wide, whipping his head back and forth, snapping and gnashing. Steve carefully threw the top-jaw rope, but he didn’t actually want to snag Charlie. Then he would have had to get the rope off without stressing the croc, and that would have been tricky. The cameras rolled. Charlie lunged. I cowered. Steve continued to deftly toss the rope. Then, all of a sudden, Charlie swung at the rope instead of Steve, and the rope went right over Charlie’s top jaw. A perfect toss, provided that had been what Steve was trying to do. But it wasn’t. We had a roped croc on our hands that we really didn’t want. Steve immediately let the rope go slack. Charlie had it snagged in his teeth. Because of Steve’s quick thinking and prompt maneuvering, the rope came clear. We breathed a collective sigh of relief. Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element. With the live-croc footage behind us, the insurance people came on board, and we were finally able to sign a contract with MGM. We were to start filming in earnest. First stop: the Simpson Desert, with perentie lizards and fierce snakes.

Steve looked up at the cameras. “I think you’ve got it.” John agreed. “I think we do, mate.” The crew cheered. The shoot lasted several minutes, but in the boat, I wasn’t sure if it had been seconds or hours. Watching Steve work Charlie up close had been amazing--a huge, unpredictable animal with a complicated thought process, able to outwit its prey, an animal that had been on the planet for millions of years, yet Steve knew how to manipulate him and got some fantastic footage. To the applause of the crew, Steve got us both out of the boat. He gave me a big hug. He was happy. This was what he loved best, being able to interact and work with wildlife. Never before had anything like it been filmed in any format, much less on thirty-five-millimeter film for a movie theater. We accomplished the shot with the insurance underwriters none the wiser. Steve wanted to portray crocs as the powerful apex predators that they were, keeping everyone safe while he did it. Never once did he want it to appear as though he were dominating the crocodile, or showing off by being in close proximity to it. He wished for the crocodile to be the star of the show, not himself. I was proud of him that day. The shoot represented Steve Irwin at his best, his true colors, and his desire to make people understand how amazing these animals are, to be witnessed by audiences in movie theaters all over the world. We filmed many more sequences with crocs, and each time Steve performed professionally and perfected the shots. He was definitely in his element.

Sandra felt for her but she had no clue her daughter was Raquel. At one point, Sandra defended Raquel. She loved her like another daughter. When she started showing her true colors, Sandra saw her in a different light.

As Christians we are tempted to make unnecessary concessions to those outside the faith. We give in too much. Now, I don't mean that we should run the risk of making a nuisance of ourselves by witnessing at improper times, but there comes a time when we must show that we disagree. We must show our Christian colors, if we are to be true to Christ. We cannot remain silent or concede everything away. The Grand Miracle > Cross-Examination

Yet biologists feel that animals are no strangers to aesthetic expression. The New Guinean bowerbird's nest decorations are as good an example as any. The thatched nests can be so large and well-constructed that they once were mistaken for the huts of timid people, who never showed up. The nests often have a doorway with carefully arranged colorful objects, such as berries, flowers, or iridescent beetle wings. The male who built the bower keeps flying in new ornaments, shifting everything around with a critical eye, fussing over the arrangement, moving back to look at the whole from a distant anglelike a human painter with his painting-and then continuing the rearrangement. He is very sensitive to the fading of his flowers, replacing them with fresh ones as soon as necessary. Young males build crude "practice" bowers, tearing them down, then starting over again, until the construction holds up as it should. They also frequently visit the completed bowers of adult males in the neighborhood and see how the ornaments are laid out. There are ample learning opportunities here, and it has been noted that bower decorations differ in color and arrangement from region to region, which suggests culturally transmitted styles. Is this art? One could counter that it isn't: howerbird males are genetically programmed to engage in this activity just to attract females. Yet, while it is true that females select mates on nest quality and their equivalent of a stamp collection, the argument is not nearly as good as it sounds. To contrast these birds with our species requires that one demonstrates that human art does not rest on an inborn aesthetic sense and is produced purely for its own sake, not to impress anyone else. Both are unlikely. In fact, Geoffrey Miller argues in a recent book that impressing others, especially members of the opposite sex, may be the whole point of human art! What if our artistic impulse is ancient, antedating modern humanity, and perhaps even our species? What if it rests on a delight in self-created visual effects and a penchant for certain color combinations, shapes, and visual equilibriums that we share with other animals? Would admission in any of these areas diminish the significance of and pleasure derived from human art? Isn't it possible that our basic distinctions in art, our musical scales, and our preference for symmetrical compositions, go deeper than culture, and relate to basic features of our perceptual systems?

believe the first step is simple: end our isolation. Drop our masks, reach out to others, dare to show our true colors and share our real stories. We have the capacity for great compassion and great positive change. I believe if we connect over the vast global net, change will come as we realize we are all just people,

Believe half of what a mothafucka says. Watch how they move. People always show their true colors when shit gets tough.

Being a hero isn't about showing off and fighting battles. It's about being true to yourself and being honest about who you are.

Looks are a depreciating asset, and the older you get, the more your inner beauty matters. How you act (and make people feel) impacts the way people see you. Beauty is a running tally influenced by a woman’s choices, and many outwardly beautiful females make themselves ugly by acting catty, vindictive, or mean. They start as a ten on the beauty scale and fall to a seven as their true colors show. Then there are females with so much character and inner light that they rise from a seven to a ten. Once you know them, a deeper beauty shines through: God’s presence inside of them. Your beauty quotient grows by simply being kind. And you can feel more attractive by using your heart, brain, and talent, all of which can appreciate and get better with time. Appearance is a starting point, and what makes people crave your company runs deeper than the eye can see.

Luther called his tractate An Admonition to Peace on the Twelve Articles of the Peasantry in The manuscript survives, and the editors of the Weimar edition note with some asperity that its punctuation conforms to no rules-perhaps an indication that Luther wrote in white-hot temper. The tone of the opening is surprisingly mild given Luther's penchant for fury when things did not go his way. He was obviously trying to be diplomatic. In their twelfth article the peasants expressed a desire to be instructed if their interpretations of scripture and fairness were incorrect. Luther was happy to give them the instruction they sought. The mildest of peasants could not have been pleased with his detailed response to their grievances. Luther began at the heart of the matter. Without doubt, he said, some among the peasants expressed their fine Christian sentiments only for "paint and show," since "it is not possible in such a great host that all should be true Christians and have good intentions."30 His abiding conviction that true Christians formed a tiny minority among those who professed faith would seemingly force him to conclude that even among his own disciples, most were damned. If true Christians were always an unknown few, no political order was possible that assumed all nominal Christians to be equal. The majority of professing Christians would always live by selfish principles, and any program with specific details that claimed to be Christian could be only be "color and shine," pretense and appearance.

This is Pride Month, and in this life, you’ve got to be your own hero. Forget waiting for a caped crusader—grab your own cape and strut your stuff. Embrace your true colors, wave that rainbow flag like it’s your superpower, and remember: the best hero is the one staring back at you in the mirror. Be bold, be fierce, and let your pride shine brighter than any bat signal. So, suit up and show the world that the greatest superhero of all is you, living your truth unapologetically!

I’m mesmerized by lipstick prints on coffee cups. By the lines of lips against white pottery. By the color chosen by the woman who sat and sipped and lived life. By the mark she leaves behind. Some people read tea leaves, and others can tell your future through the lines on your palm. I think I’d like to read lipstick marks on coffee mugs. To learn how to differentiate yearning from satiation. To know the curve of deep-rooted joy or the line of bottomless grief. To be able to say this deep blue-red you chose and how firmly you planted your lips, speaks of love on the horizon. But, darling, you must be sure to stand in your own truth. That barely-there nude that circles the entire rim? You are exploding into lightness and possibilities beyond what you currently know. The way the gloss only shows when the light hits it, and the coffee has sloshed all over the saucer? People need to take the time to see you whole but my god, you’re glorious and messy and wonderful and free. The deep purple bruise was almost etched in a single spot, and most of the cup left unconsumed. Oh, love. Let me hold the depth of your ache. It is true. He’s not coming back. I know you already know this, but do you also know this is not the end? Love. This is not the end. I imagine that I can know entire stories by these marks on discarded mugs. I imagine that I know something intimate and true about the woman who left them. I imagine that I could take those mugs home one day, and an entire novel worth of characters would pour out, just like that.

They will like you till the time you agree with them. The moment you disagree with them, they will show their true colors.

No matter who we are or what we do, we should never be afraid to stand up, speak the truth, or show our true colors. Though the costs are great at times, and we find ourselves forced to let go of what's considered safe, it's denial that hurts us so much more in the end.

Dad Higgins always said to assume the best of people but if they showed their true colors, believe them.

Kaleidoscope Yoga: The universal heart and the individual self. We, as humanity, make up together a mosaic of beautiful colors and shapes that can harmoniously play together in endless combinations. We are an ever-changing play of shape and form. A kaleidoscope consists of a tube (or container), mirrors, pieces of glass (or beads or precious stones), sunlight, and someone to turn it and observe and enjoy the forms. Metaphorically, perhaps the sun represents the divine light, or spark of life, within all of us. The mirrors represent our ability to serve as mirrors for one another and each other’s alignment, reflecting sides of ourselves that we may not have been aware of. The tube (or container) is the practice of community yoga. We, as human beings, are the glass, the beads, the precious stones. The facilitator is the person turning the Kaleidoscope, initiating the changing patterns. And the resulting beauty of the shapes? Well, that’s for everyone to enjoy... Coming into a practice and an energy field of community yoga over and over, is a practice of returning, again and again, to the present moment, to the person in front of you, to the people around you, to your body, to others’ bodies, to your energy, to others’ energy, to your breath, to others’ breath. [...] community yoga practice can help us, in a very real, practical, grounded, felt, somatic way, to identify and be in harmony with all that is around us, which includes all of our fellow human beings.
 We are all multiple selves. We are all infinite. We are all universal selves. We are all unique expressions of the universal heart and universal energy. We are all the universal self. We are all one another. And we are all also unique specific individuals. And to the extent that we practice this, somatically, we become more and more comfortable and fluid with this larger, more cosmic, more inter-related reality. We see and feel and breathe ourselves, more and more, as the open movement of energy, as open somatic possibility. As energy and breath. This is one of the many benefits of a community yoga practice. Kaleidoscope shows us, in a very practical way, how to allow universal patterns of wisdom and interconnectedness to filter through us. [...] One of the most interesting paradoxes I have encountered during my involvement with the community yoga project (and it is one that I have felt again and again, too many times to count) is the paradox that many of the most infinite, universal forms have come to me in a place of absolute solitude, silence, deep aloneness or meditation. And, similarly, conversely and complimentarily, (best not to get stuck on the words) I have often found myself in the midst of a huge crowd or group of people of seamlessly flowing forms, and felt simultaneously, in addition to the group energy, the group shape, and the group awareness, myself as a very cleanly and clearly defined, very particular, individual self. These moments and discoveries and journeys of group awareness, in addition to the sense of cosmic expansion, have also clarified more strongly my sense of a very specific, rooted, personal self. The more deeply I dive into the universal heart, the more clearly I see my own place in it. And the more deeply I tune in and connect with my own true personal self, the more open and available I am to a larger, more universal self. We are both, universal heart and universal self. Individual heart and individual self. We are, or have the capacity for, or however you choose to put it, simultaneous layers of awareness. Learning to feel and navigate and mediate between these different kinds and layers of awareness is one of the great joys of Kaleidoscope Community Yoga, and of life in general. Come join us, and see what that feels like, in your body, again and again. From the Preface of Kaleidoscope Community Yoga: The Art of Connecting: The First 108 Poses

Redd didn’t show his true colors until much later. But I was gullible, young and naïve.

The best leaders are the ones who show their true colors not during the banner years, but during such times of struggle.

How you treat an animal often shows your true color.

And these fancies affect not only dogmas, but also simple notions. 46. The human understanding when it has once adopted an opinion (either as being the received opinion or as being agreeable to itself) draws all other things to support and agree with it. And though there is a greater number and weight of instances to be found on the other side, yet it either neglects and despises these, or else by some distinction sets aside and rejects, in order that by this great and pernicious predetermination the authority of its former conclusions may remain inviolate. And therefore it was a good answer that was made by one who, when they showed him hanging in a temple a picture of those who had paid their vows as having escaped shipwreck, and would have him say whether he did not now acknowledge the power of the gods; “Yes,” he asked again, “but where are the pictures of those who were drowned after their vows?” And such is the way of all superstition, whether in astrology, dreams, omens, divine judgments, or the like, in which men, having a delight in such vanities, notice the events where they are fulfilled, but where they fail, though this happens much more often, neglect and pass them by. But this mischief insinuates itself with much more subtlety into philosophy and the sciences, in which the first conclusion colors and brings into conformity with itself all that come after, though far sounder and better. Besides, independently of that delight and vanity which I have described, it is the peculiar and perpetual error of the human intellect to be more moved and excited by affirmatives than by negatives, whereas it ought properly to hold itself indifferently disposed towards both alike. Indeed, in the establishment of any true axiom, the negative instance is the more forcible of the two.

Brittany has been wary this whole week. She’s waiting for me to play a joke on her, to get her back for tossing my keys into the woods. After school, as I’m at my locker picking books to take home, she storms up to me wearing her sexy pom uniform. “Meet me in the wrestling gym,” she orders. Now I can do two things: meet her like she told me to or leave the school. I take my books and enter the small gym. Brittany is standing, holding out her keychain without keys dangling from it. “Where have my keys magically disappeared to?” she asks. “I’m going to be late for the game if you don’t tell me. Ms. Small will kick me off the squad if I’m not at the game.” “I tossed them somewhere. You know, you should really get a purse that has a zipper. You never know when someone will reach in and grab somethin’.” “Glad to know you’re a klepto. Wanna give me a hint as to where you’ve hidden them?” I lean against the wall of the wrestling gym, thinking about what people would think if they caught us in here together. “It’s in a place that’s wet. Really, really wet,” I say, giving her a clue. “The pool?” I nod. “Creative, huh?” She tries to push me into the wall. “Oh, I’m going to kill you. You better go get them.” If I didn’t know her better, I’d think she was flirting with me. I think she likes this game we have going on. “Mamacita, you should know me better than that. You’re all on your own, like I was when you left me in the library parking lot.” She cocks her head, gives me sad eyes, and pouts. I shouldn’t concentrate on her pouty lips, it’s dangerous. But I can’t help it. “Show me where they are, Alex. Please.” I let her sweat it out a minute before I give in. By now most of the school is deserted. Half of the students are on their way to the football game. The other half is glad they’re not on their way to the football game. We walk to the pool. The lights are off, but sunlight is still shining through the windows. Brittany’s keys are where I threw ‘em--in the middle of the deep end. I point to the shiny pieces of silver under the water. “There they are. Have at it.” Brittany stands with her hands on her short skirt, contemplating how she’s going to get them. She struts over to the long stick hanging on the wall that’s used to pull drowning people from the water. “Piece of cake,” she tells me. But as she sticks the pole into the water, she finds out it’s not a piece of cake. I suppress a laugh as I stand at the edge of the pool and watch her attempt the impossible. “You can always strip and go in naked. I’ll watch to make sure nobody comes in.” She walks up to me, the pole gripped firmly in her fingers. “You’d like that, wouldn’t you?” “Uh, yeah,” I say, stating the obvious. “I have to warn you, though. If you have granny undies on, you’ll blow my fantasy.” “For your information, they’re pink satin. As long as we’re sharing personal info, are you a boxers or briefs guy?” “Neither. My boys go free, if you know what I mean.” Okay, I don’t let my boys go free. She’ll just have to figure that out herself. “Gross, Alex.” “Don’t knock it till you try it,” I tell her, then walk toward the door. “You’re leaving?” “Uh…yeah.” “Aren’t you going to help me get the keys?” “Uh…nope.” If I stay, I’ll be tempted to ask her to ditch the football game to be with me. I’m definitely not ready to hear the answer to that question. Toying with her I can handle. Showing my true colors like I did the other day made me take my guard down. I’m not about to do that again. I push the door open after taking one last glance at Brittany, wondering if leaving her right now makes me an idiot, a jerk, a coward, or all of the above.

It was said that the world is a stage, and if that's true… the show must go on no matter what happens. With that being true, we're all actors playing our parts… and what is acting in its core, but reacting… perceiving and reacting to what's been served?

Kestrel set her cup on its saucer. “I didn’t ask to see you,” she said. “Too bad.” Arin claimed the chair across from her table in the library in a manner unbearably familiar to her. It was as if the chair had always been his. He slouched in his seat, tipped his head back, and looked at her from beneath lowered lids. The morning light fired his profile. “Worried, Lady Kestrel?” He spoke in Valorian, his accent roughening his voice. He always pronounced his r’s too low in his throat, so that when he spoke in her tongue everything came across as a soft growl. “Dreading what I’ll say…or do?” He smiled a grim little smile. “No need. I’ll be the perfect gentleman.” He tugged at his cuffs. It was only then that Kestrel noticed that they came too short on his arms and showed his wrists. It pained her to see his self-consciousness, the way it had suddenly revealed itself. In this light, his gray eyes were too clear. His posture had been confident. His words had had an edge. But his eyes were uncertain. Arin fidgeted again with his cuffs as if there was something wrong with them--with him. No, she would have said. You’re perfect, she wanted to say. She imagined it: how she would reach out to touch Arin’s bare wrist. That could lead nowhere good. She was nervous, she was cold. Her stomach was a flurry of snow. She dropped her hands to her lap. “No one’s here anyway,” Arin said, “and the librarians are in the stacks. You’re safe enough.” It was too early for courtiers to be in the library. Kestrel had counted on this, and on the fact that if anyone did turn up and saw her with the Herrani minister of agriculture, such a meeting would excite little interest. One with Arin, however, was an entirely different story. It was frustrating: his uncanny ability to unsettle her plans--and her very sense of self. She said, “Pressing where you’re not invited seems to be a habit with you.” “And yours is to put people in their place. But people aren’t gaming pieces. You can’t arrange them to suit yourself.” A librarian coughed. “Lower your voice,” Kestrel hissed at Arin. “Stop being so--” “Inconvenient?” “Frankly, yes.” His smile came: quick, true, surprised by itself. Then changing, and slow. “I could be worse.” “I am sure.” “I could tell you how.” “Arin, how is it for you here, in the capital?” He held her gaze. “I would rather talk about what we were talking about.” “Arin, how is it for you here, in the capital?” He held her gaze. “I would rather talk about what we were talking about.” She arranged her fingers along the studs that pinned green leather to the tabletop. She felt each cool, small, hard nail. The silence inside her was like those nails. What it held down was something sheer: a feeling like fragile silk, billowing up at the sound of his voice. If she and Arin were to talk about what they had been talking about, that silk could tear free. It would float up. It would catch the light, and cast a colored shadow. What color would it be, Kestrel wondered, the silk of what she felt? What would it be like to let it go, let it canopy above her?

Scientists have offered the illustration of a rapidly moving wheel, top, or cylinder, to show the effects of increasing rates of vibration. The illustration supposes a wheel, top, or revolving cylinder, running at a low rate of speed — we will call this revolving thing "the object" in following out the illustration. Let us suppose the object moving slowly. It may be seen readily, but no sound of its movement reaches the ear. The speed is gradually increased. In a few moments its movement becomes so rapid that a deep growl or low note may be heard. Then as the rate is increased the note rises one in the musical scale. Then, the motion being still further increased, the next highest note is distinguished. Then, one after another, all the notes of the musical scale appear, rising higher and higher as the motion is increased. Finally when the motions have reached a certain rate the final note perceptible to human ears is reached and the shrill, piercing shriek dies away, and silence follows. No sound is heard from the revolving object, the rate of motion being so high that the human ear cannot register the vibrations. Then comes the perception of rising degrees of Heat. Then after quite a time the eye catches a glimpse of the object becoming a dull dark reddish color. As the rate increases, the red becomes brighter. Then as the speed is increased, the red melts into an orange. Then the orange melts into a yellow. Then follow, successively, the shades of green, blue, indigo, and finally violet, as the rate of speed increases. Then the violet shades away, and all color disappears, the human eye not being able to register them. But there are invisible rays emanating from the revolving object, the rays that are used in photographing, and other subtle rays of light. Then begin to manifest the peculiar rays known as the "X Rays," etc., as the constitution of the object changes. Electricity and Magnetism are emitted when tile appropriate rate of vibration is attained. When the object reaches a certain rate of vibration its molecules disintegrate, and resolve themselves into the original elements or atoms. Then the atoms, following the Principle of Vibration, are separated into the countless corpuscles of which they are composed. And finally, even the corpuscles disappear and the object may be said to be composed of The Ethereal Substance. Science does not dare to follow the illustration further, but the Hermetists teach that if the vibrations be continually increased the object would mount up the successive states of manifestation and would in turn manifest the various mental stages, and then on Spiritward, until it would finally re-enter THE ALL, which is Absolute Spirit. The "object," however, would have ceased to be an "object" long before the stage of Ethereal Substance was reached, but otherwise the illustration is correct inasmuch as it shows the effect of constantly increased rates and modes of vibration. It must be remembered, in the above illustration, that at the stages at which the "object" throws off vibrations of light, heat, etc., it is not actually "resolved" into those forms of energy (which are much higher in the scale), but simply that it reaches a degree of vibration in which those forms of energy are liberated, in a degree, from the confining influences of its molecules, atoms and corpuscles, as the case may be. These forms of energy, although much higher in the scale than matter, are imprisoned and confined in the material combinations, by reason of the energies manifesting through, and using material forms, but thus becoming entangled and confined in their creations of material forms, which, to an extent, is true of all creations, the creating force becoming involved in its creation.

Accustom yourselves to holy thoughts. Serious meditation represents everything in its true color. It shows the evil of sin, and the luster of grace. By holy thoughts, the head grows clearer and the heart better: "I thought on my ways, and turned my feet unto your testimonies" (Psalm 119:59). If men would step aside a little out of the noise and hurry of business, and spend only half-an-hour every day thinking about their souls and eternity, it would produce a wonderful alteration in them!

Consider it a sheer gift, friends, when tests and challenges come at you from all sides. You know that under pressure, your faith-life is forced into the open and shows its true colors

Don’t fear to be unique and reveal your own color.

Just as with sound waves, light waves emitted by a moving source show the Doppler effect. What we observe instead of the sound pitch is the color of the light: Red light has a lower frequency than blue light. If the light source is moving toward the observer, the light appears bluer; as it moves away, it will appear red. Likewise, an observer moving inside the blackbody volume will register the radiation coming from the direction opposite to his motion as being blue, that which comes from behind as red. The difference between the two frequencies can tell him his velocity of motion with respect to the blackbody radiation. This difference, however, will decrease as the temperature is lowered; it will vanish altogether at absolute zero. Regardless of an observer's velocity of motion, the radiation meeting him at zero temperature is the same from every direction. The observer therefore has no way of finding out from the radiation alone in which direction he is moving, or whether he is moving at all. Once we accept this scenario, we have already fixed the spectrum (that is, the amount of radiation as a function of its frequency) within some constant factor. However, the result obtained in this way does not appear to make sense: It implies that a blackbody at zero temperature has an infinite supply of energy in the form of zero temperature radiation. The same astonishing result can be derived by means of the quantum theory of electromagnetic radiation, which we call quantum electrodynamics. This theory, the implications of which have been verified in many instances with remarkable precision, tells us that the true vacuum at zero temperature still has an infinite supply of radiation energy. As we proceed, we will see that electromagnetic radiation is in fact only one component, albeit infinite in quantity, of the unfathomable energy supply of the vacuum.

Show me yo true colors one time? I ain’t fucking with you a second time.

Shopping Dana Gioia I enter the temple of my people but do not pray. I pass the altars of the gods but do not kneel Or offer sacrifices proper to the season. Strolling the hushed aisles of the department store, I see visions shining under glass, Divinities of leather, gold, and porcelain, Shrines of cut crystal, stainless steel, and silicon. But I wander the arcades of abundance, Empty of desire, no credit to my people, Envying the acolytes their passionate faith. Blessed are the acquisitive, For theirs is the kingdom of commerce. Redeem me, gods of the mall and marketplace. Mercury, protector of cell phones and fax machines, Venus, patroness of bath and bedroom chains, Tantalus, guardian of the food court. Beguile me with the aromas of coffee, musk, and cinnamon. Surround me with delicately colored soaps and moisturizing creams. Comfort me with posters of children with perfect smiles And pouting teenage models clad in lingerie. I am not made of stone. Show me satins, linen, crepe de chine, and silk, Heaped like cumuli in the morning sky, As if all caravans and argosies ended in this parking lot To fill these stockrooms and loading docks. Sing me the hymns of no cash down and the installment plan, Of custom fit, remote control, and priced to move. Whisper the blessing of Egyptian cotton, polyester, and cashmere. Tell me in what department my desire shall be found. Because I would buy happiness if I could find it, Spend all that I possessed or could borrow. But what can I bring you from these sad emporia? Where in this splendid clutter Shall I discover the one true thing? Nothing to carry, I should stroll easily Among the crowded countertops and eager cashiers, Bypassing the sullen lines and footsore customers, Spending only my time, discounting all I see. Instead I look for you among the pressing crowds, But they know nothing of you, turning away, Carrying their brightly packaged burdens. There is no angel among the vending stalls and signage. Where are you, my fugitive? Without you There is nothing but the getting and the spending Of things that have a price. Why else have I stalked the leased arcades Searching the kiosks and the cash machines? Where are you, my errant soul and innermost companion? Are you outside amid the potted palm trees, Bumming a cigarette or joking with the guards, Or are you wandering the parking lot Lost among the rows of Subarus and Audis? Or is it you I catch a sudden glimpse of Smiling behind the greasy window of the bus As it disappears into the evening rush?

In the Bible, the word hypocrite shows up 33 times. Interestingly, hypocrite was a common Greek term for an actor who worked behind a mask. Stage players in antiquity wore masks to hide their true identity as they played the part of their characters. We live in a society today where people are paid millions of dollars to be hypocrites. A friend of mine, before he passed away, built movie sets for a living. Many movies are filmed on studio lots, but these designed sets are not the reality you might think they are when watching a movie. Actors and actresses play the part of someone they really are not. The better they are at pretending or lying, the more convincing they will be as an actor, and typically, the more money they make. I rarely darken the door of a movie theatre because I don’t want to give those liars my money, and I don’t want to support the totally ungodly world of Hollywood. This is also why I don’t own a television. I don’t want my cable or satellite fees funding that wicked industry. In the time of the Greeks, it was easy to figure out the real identity of the actors. You could walk up to them, take off their masks, and see their faces. Jesus is doing the same here. He is unmasking the Pharisees. He is showing us their real character. He is revealing their true colors. Don’t live a lie. Don’t be a hypocrite. It is not a healthy way to go through life, and you will have regrets when the time of unmasking comes.

Some people are like chameleons, changing their colors to blend in with their surroundings. They shower you with love and affection when no one is watching, but as soon as their family and friends appear, they transform into strangers, leaving you feeling invisible and ignored. Remember, true love and friendship are consistent and unconditional, not situational and convenient." This quote highlights the inconsistency and hypocrisy of people who only show love and care when it's convenient for them, but abandon and ignore you when it's no longer beneficial to their social status or relationships with others.