Sketch By Me Quotes

For me, the camera is a sketch book, an instrument of intuition and spontaneity.

Put your soul in the palm of my hand for me to look at, like a crystal jewel. I'll sketch it in words...

What are you working on?" I ask. "The last page." He gestures towards the table, where a pencilled sketch is being turned into inked brushstrokes. It's a drawing of us, in this café, in this moment. I smile up at him "It's beautiful. But what comes next?" "The best part." And he pulls me back into his arms. "The happily ever after.

You could sketch me,” said Emma. She flung herself down onto her seat, leaning her head on her hand. “ ‘Draw me like one of your French girls.’ ” Julian grinned. “I hate that movie,” he said. “You know I do.” Emma sat up indignantly. “The first time we watched Titanic, you cried.” “I had seasonal allergies,” Jules said.

Alone with Rolfe, Celaena raised her sword. “Celaena Sardothien, at your service.” The pirate was still staring at her, his face pale with rage. “How dare you deceive me?” She sketched a bow. “I did nothing of the sort. I told you I was beautiful.

The space that I can call mine.. is so small that my ideas have become small. I am like a caterpillar in a cocoon of paper; all around me are sketches for sculptures, small drawings that seem like moths fluttering against the windows, beating their wings to escape from this tiny space.. Every day the ideas come more reluctantly, as though they know I will starve them and stunt their growth.

For the record, while it's very charming that you keep trying to protect me, I would like to remind you that I actually know how to defend myself." He grimaced. "I know. It's just... instinct." "Well, stop it." He held his hands up. "Won't happen again." He hesitated. I mean, unless I'm pretty sure you're about to die, then I'm absolutely going to rescue you, whether you like it or not.

I'd tried normal and I'd failed at it. Me... a failure. Unlike the ACT, I couldn't retake this part of my life and erase an unpleasant score. There was no blank canvas to start a new painting or sketch pad for a fresh drawing.

I must continue to follow the path I take now. If I do nothing, if I study nothing, if I cease searching, then, woe is me, I am lost. That is how I look at it — keep going, keep going come what may. But what is your final goal, you may ask. That goal will become clearer, will emerge slowly but surely, much as the rough draught turns into a sketch, and the sketch into a painting through the serious work done on it, through the elaboration of the original vague idea and through the consolidation of the first fleeting and passing thought.

He showed me a sketch he'd drawn once during meditation. It was an androgynous human figure, standing up, hands clasped in prayer. But this figure had four legs, and no head. Where the head should have been, there was only a wild foliage of ferns and flowers. There was a small, smiling face drawn over the heart. To find the balance you want," Ketut spoke through his translator, "this is what you must become. You must keep your feet grounded so firmly on the earth that it's like you have four legs, instead of two. That way, you can stay in the world. But you must stop looking at the world through your head. You must look through your heart, instead. That way, you will know God.

For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.

Of whom and of what can I say: "I know that"! This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction. For if I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this upbringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance the gap will never be filled.

Tell me of what plant-birthday a man takes notice, and I shall tell you a good deal about his vocation, his hobbies, his hay fever, and the general level of his ecological education.

I don't even bother looking for words. It flows in me, more or less quickly. I fix nothing, I let it go. Through the lack of attaching myself to words, my thoughts remain nebulous most of the time. They sketch vague, pleasant shapes and then are swallowed up: I forget them almost immediately.

Theodor Geisel (otherwise known as Dr. Seuss) spent his workdays ensconced in his private studio, the walls lined with sketches and drawings, in a bell-tower outside his La Jolla, California, house. Geisel was a much more quiet man than his jocular rhymes suggest. He rarely ventured out in public to meet his young readership, fretting that kids would expect a merry, outspoken, Cat in the Hat–like figure, and would be disappointed with his reserved personality. “In mass, [children] terrify me,” he admitted.

Jeb releases my fingers and cups my face in his hands, barely touching me, like I'm breakable. "It's me I'm losing control of. Hundreds of sketches, and I still can't get enough of your face." He traces the dimple in my chin with his thumb. "Your neck." His palm moves along my throat. "Your..." Both hands find my waist and drag me off the table so we're standing toe to toe. " I'm not wasting another second drawing you," he whispers against my lips, "when I can touch you instead." He presses his mouth to mine.

Simon had drawn three pictures. In the top left corner, like a salutation, was a ghost. The middle had a big sketch of Arnold Schwarzenegger as the Terminator. The third in place of a signature, was a lightning bolt surrounded by fog. Beside the drawing, someone had scrawled in inch-high letters 10 A.M. Tori snatched it from me and turned it over. "So where's the message?" "Right there." I pointed from picture to picture. "It says: Chloe, I'll be back, Simon.

Thinking like a Mountain We reached the old wolf in time to watch a fierce green fire dying in her eyes. I realized then, and have known ever since, that there was something new to me in those eyes - something known only to her and to the mountain. I was young then, and full of trigger-itch; I thought that because fewer wolves meant more deer, that no wolves would mean hunters' paradise. But after seeing the green fire die, I sensed that neither the wolf nor the mountain agreed with such a view.…I now suspect that just as a deer herd lives in mortal fear of its wolves, so does a mountain live in mortal fear of its deer. And perhaps with better cause, for while a buck pulled down by wolves can be replaced in two or three years, a range pulled down by too many deer may fail of replacement in as many decades. So also with cows. The cowman who cleans his range of wolves does not realize that he is taking over the wolf's job of trimming the herd to fit the range. He has not learned to think like a mountain. Hence we have dustbowls, and rivers washing the future into the sea.

'Personally, I do not want to make you a man. Men are so very frail. Men break. Men die. No, I've always wished to make a god.' He smiles mischievously as he does some sketches on a digital pad. He spins it around and shows me the killer I will become. 'So why not carve you to be the god of war?'

I had neglected to provide myself with books, and as we crept along at the dull rate of four miles per hour, I soon felt the foul fiend Ennui coming upon me

The sketch of the summer-house which she had given me on the morning of our farewell, and which had never been separated from me since, was the birthday of our first hope.

the bouquet Between me and the world you are a bay, a sail the faithful ends of a rope you are a fountain, a wind, a shrill childhood cry. Between me and the world you are a picture frame, a window a field covered in wildflowers you are a breath, a bed, a night that keeps the stars company. Between me and the world, you are a calendar, a compass a ray of light that slips through the gloom you are a biographical sketch, a book mark a preface that comes at the end. between me and the world you are a gauze curtain, a mist a lamp shining in my dreams you are a bamboo flute, a song without words a closed eyelid carved in stone. Between me and the world you are a chasm, a pool an abyss plunging down you are a balustrade, a wall a shield’s eternal pattern.

All of which was to say that the sketches I’d written over the years about the absurdity and arbitrariness of beauty standards for women had arisen not from my clear-eyed renunciation of them but from my resentment at their hold on me.

The longer I sit here and sketch, the better my art becomes; and it helps to look at the people around me, instead of seeing who I assume them to be.

Look this is hardly fair. You sold me impure petrol at black-market price and not even one shop could be put to the torch.

From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them, while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie.

You see?" Damien leaned over his desk and spread out half a dozen charcoal sketches. "These are only quick studies of course. But my agent in Florence tells me this artist, Leonardo, is a master and also quite an inventor of mechanical devices--which, as you know, are my passion. Leonardo just completed a portrait of Lisa de Giocondo. He calls it the Mona Lisa. I thought I might commission him to do a portrait of me, and while he's here, I can pick his mind for mechanical secrets. How does that sound?" "Expensive," Gideon murmured.

but I’d die knowing I left something bright behind in this beautiful world sketched in so many shades of ugly.  I also like the idea of being able to fall from the sky and squash somebody if they piss me off.

The hours tick by as I lie in bed. Memories keep surfacing, tormenting me into unbelievable sadness. I can't bring myself to move. I can't fight the memories that keep filling my thoughts. I stay curled in the fetal position as each memory plays out. I can't stop them from coming. I can't make them go away. Nothing can distract me. I can't block the memories, so they continue to come.

For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to "give a meaning" to the world, one has to feel oneself involved in what one frames through the viewfinder. This attitude requires concentration, a discipline of the mind, sensitivity, and a sense of geometry.

. . . reaching toward God has made me more me and not less me. I was always afraid you would erase me. Instead, you are helping me to sketch me in.

And Rhys had given me the best gift I’d ever received. He was right—it wasn’t a fancy purse or diamond jewelry, but I would much rather have one sketch from him than a hundred Tiffany diamonds. Anyone could buy a diamond. No one except him could’ve drawn me the way he did, and it didn’t escape my notice this was the first time he’d ever shared his art with me. “It’s all right.” He shrugged. “It’s not all right, it’s beautiful,” I repeated. “Seriously, thank you. I’ll treasure this forever.” I never thought I’d see the day, but Rhys blushed. Actually blushed. I watched in fascination as the red spread across his neck and cheeks, and the desire to trace its path with my tongue gripped me. But of course, I couldn’t do that.

Graham Chapman, co-author of the "Parrot Sketch", is no more. He has ceased to be. Bereft of life, he rests in peace. He's kicked the bucket, hopped the twig, bit the dust, snuffed it, breathed his last, and gone to meet the great Head of Light Entertainment in the sky. And I guess that we're all thinking how sad it is that a man of such talent, of such capability for kindness, of such unusual intelligence, should now so suddenly be spirited away at the age of only forty-eight, before he'd achieved many of the things of which he was capable, and before he'd had enough fun. Well, I feel that I should say: nonsense. Good riddance to him, the freeloading bastard, I hope he fries. And the reason I feel I should say this is he would never forgive me if I didn't, if I threw away this glorious opportunity to shock you all on his behalf. Anything for him but mindless good taste. (He paused, then claimed that Chapman had whipered in his ear while he was writing the speech): All right, Cleese. You say you're very proud of being the very first person ever to say 'shit' on British television. If this service is really for me, just for starters, I want you to become the first person ever at a British memorial service to say 'fuck'.

Male leads in love stories need to be devoted, need to chase trains, cross continents, give up fortunes and thrones, defy convention, face prosecution, take apart rooms and break the backs of angels, sketch the beloved all over the cement walls of their studios, build sculptures as homages. They don't flirt shamelessly with the likes of me when they have Transylvanian girlfriends. What an effing jerk.

With me, travelling is frankly a vice. The temptation to indulge in it is one which I find almost as hard to resist as the temptation to read promiscuously, omnivorously and without purpose. From time to time, it is true, I make a desperate resolution to mend my ways. I sketch out programmes of useful, serious reading; I try to turn my rambling voyages into systematic tours through the history of art and civilization. But without much success. After a little I relapse into my old bad ways. Deplorable weakness! I try to comfort myself with the hope that even my vices may be of some profit to me.

This heart within me I can feel, and I judge that it exists. This world I can touch, and I likewise judge that it exists. There ends all my knowledge, and the rest is construction. For if I try to seize this self of which I feel sure, if I try to define and to summarize it, it is nothing but water slipping through my fingers. I can sketch one by one all the aspects it is able to assume, all those likewise that have been attributed to it, this up bringing, this origin, this ardor or these silences, this nobility or this vileness. But aspects cannot be added up. This very heart which is mine will forever remain indefinable to me. Between the certainty I have of my existence and the content I try to give to that assurance, the gap will never be filled. Forever I shall be a stranger to myself. In psychology as in logic, there are truths but no truth. Socrates' "Know thyself" has as much value as the "Be virtuous" of our confessionals. They reveal a nostalgia at the same time as an ignorance. They are sterile exercises on great subjects. They are legitimate only in precisely so far as they are approximate.

Call the world, if you please, "the Vale of Soul Making". Then you will find out the use of the world.... There may be intelligences or sparks of the divinity in millions -- but they are not Souls till they acquire identities, till each one is personally itself. Intelligences are atoms of perception -- they know and they see and they are pure, in short they are God. How then are Souls to be made? How then are these sparks which are God to have identity given them -- so as ever to possess a bliss peculiar to each one's individual existence. How, but in the medium of a world like this? This point I sincerely wish to consider, because I think it a grander system of salvation than the Christian religion -- or rather it is a system of Spirit Creation... I can scarcely express what I but dimly perceive -- and yet I think I perceive it -- that you may judge the more clearly I will put it in the most homely form possible. I will call the world a school instituted for the purpose of teaching little children to read. I will call the human heart the hornbook used in that school. And I will call the child able to read, the soul made from that school and its hornbook. Do you not see how necessary a world of pains and troubles is to school an intelligence and make it a soul? A place where the heart must feel and suffer in a thousand diverse ways.... As various as the lives of men are -- so various become their souls, and thus does God make individual beings, souls, identical souls of the sparks of his own essence. This appears to me a faint sketch of a system of salvation which does not affront our reason and humanity...

When I walk into [the studio] I am alone, but I am alone with my body, ambition, ideas, passions, needs, memories, goals, prejudices, distractions, fears. These ten items are at the heart of who I am. Whatever I am going to create will be a reflection of how these have shaped my life, and how I've learned to channel my experiences into them. The last two -- distractions and fears -- are the dangerous ones. They're the habitual demons that invade the launch of any project. No one starts a creative endeavor without a certain amount of fear; the key is to learn how to keep free-floating fears from paralyzing you before you've begun. When I feel that sense of dread, I try to make it as specific as possible. Let me tell you my five big fears: 1. People will laugh at me. 2. Someone has done it before. 3. I have nothing to say. 4. I will upset someone I love. 5. Once executed, the idea will never be as good as it is in my mind. "There are mighty demons, but they're hardly unique to me. You probably share some. If I let them, they'll shut down my impulses ('No, you can't do that') and perhaps turn off the spigots of creativity altogether. So I combat my fears with a staring-down ritual, like a boxer looking his opponent right in the eye before a bout. 1. People will laugh at me? Not the people I respect; they haven't yet, and they're not going to start now.... 2. Someone has done it before? Honey, it's all been done before. Nothing's original. Not Homer or Shakespeare and certainly not you. Get over yourself. 3. I have nothing to say? An irrelevant fear. We all have something to say. 4. I will upset someone I love? A serious worry that is not easily exorcised or stared down because you never know how loved ones will respond to your creation. The best you can do is remind yourself that you're a good person with good intentions. You're trying to create unity, not discord. 5. Once executed, the idea will never be as good as it is in my mind? Toughen up. Leon Battista Alberti, the 15th century architectural theorist, said, 'Errors accumulate in the sketch and compound in the model.' But better an imperfect dome in Florence than cathedrals in the clouds.

For the first time in what seems like eons, my body doesn't feel so clenched, so hot. And suddenly, I realize that the dot out there on my horizon line--the same dot everything in my world points to, like in the one-point perspective sketches Mom taught me how to draw--it's not any old spot, you know. It's not some charcoal smudge. It's peace.

Julia had a friend, a man named Dennys, who was as a boy a tremendously gifted artist. They had been friends since they were small, and she once showed me some of the drawings he made when he was ten or twelve: little sketches of birds pecking at the ground, of his face, round and blank, of his father, the local veterinarian, his hand smoothing the fur of a grimacing terrier. Dennys’s father didn’t see the point of drawing lessons, however, and so he was never formally schooled. But when they were older, and Julia went to university, Dennys went to art school to learn how to draw. For the first week, he said, they were allowed to draw whatever they wanted, and it was always Dennys’s sketches that the professor selected to pin up on the wall for praise and critique. But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.

What one means by integrity, in the case of the novelist, is the conviction that he gives one that this is the truth. Yes, one feels, I should never have thought that this could be so; I have never known people behaving like that. But you have convinced me that so it is, so it happens. One holds every phrase, every scene to the light as one reads—for Nature seems, very oddly, to have provided us with an inner light by which to judge of the novelist’s integrity or disintegrity. Or perhaps it is rather that Nature, in her most irrational mood, has traced in invisible ink on the walls of the mind a premonition which these great artists confirm; a sketch which only needs to be held to the fire of genius to become visible. When one so exposes it and sees it come to life one exclaims in rapture, But this is what I have always felt and known and desired!

On the plane leaving Tokyo I’m sitting alone in back twisting the knobs on Etch-A-Sketch and Roger is next to me singing “Over the Rainbow” straight into my ear, things changing, falling apart, fading, another year, a few more moves, a hard person who doesn’t give a fuck, a boredom so monumental it humbles, arrangements so fleeting made by people you don’t even know that it requires you to lose any sense of reality you might have once acquired, expectations so unreasonable you become superstitious about ever matching them. Roger offers me a joint and I take a drag and stare out the window and I relax for a moment when the lights of Tokyo, which I never realized is an island, vanish from view but this feeling only lasts a moment because Roger is telling me that other lights in other cities, in other countries, on other planets, are coming into view soon.

The first morning I really sat and watched him it was a Tuesday. I know that because Tuesday is trash day for our neighborhood. Unlike me, he leaves gathering up his trash for the morning of pickup instead of doing it the night before. My alarm went off at 6 AM and I went in to start the coffee maker, and as I went about selecting a bit of fruit from the bowl on my kitchen table I looked out the window. It was just a casual glance, and the human eye is attracted to movement.

It’s never been a matter for me to compare really. First hour of the day calls loudest as the last, no matter what the season.” Terrance said, adjusting his already faded Caterpillar cap, anxiously, clomping mud from his father’s old work boots, a glimmer of steel visible from the wear on one toe and the uncharted map of manhood sketched across the young boys face like a scar in the making.

She told me to draw the curtains shut, so I grabbed my pencil and began to sketch.

I grab the nearest lamppost when my knees threaten to give out, panting for breath as the words rip through me

I never told you that, Dad, but I was drunk out of my mind one night, I had just vomited in front of the statue of the Pasquino and couldn't have been more dazed in my life yet here as I leaned against this very wall, I knew, drunk as I was, that this, with Oliver holding me, was my life, that everything that had come beforehand with others was not even a rough sketch or the shadow of a draft of what was happening to me. And now, ten years later, when I look at this wall under this old streetlamp, I am back with him and I swear to you, nothing has changed. In thirty, forty, fifty years I will feel no differently. I have met many women and more men in my life, but what is watermarked on this very wall overshadows everyone I've known. When I come to be here, I can be alone or with people, with you for instance, but I am always with him. If I stood for an hour staring at this wall, I'd be with him for an hour. If I spoke to this wall, it would speak back." "What would it say?" asked Miranda, totally taken in by the thought of Elio and the wall. "What would it say? Simple: 'Look for me, find me.'" "And what do you say?" "I say the same thing. 'Look for me, find me.' And we were both happy. Now you know.

You're it for me. I knew it the moment I saw you tell of the maitre d' at the restaurant. Do you understand? You're it. I love you. That sketch was of the moment I fell in love with you.

Today it strikes me that the most important aspect of these conversations was not so much what we said as what we took for granted, and what in fact was not so at all. We were wrong about almost everything. An accurate character sketch must take these errors into account, since they expressed one kind of reality - our actual situation.

Norman picked up a sketch, glanced at it, then put it back down on the table. "I saw Bea Williamson this morning," he said in a low voice. "Lurking about looking for cut glass." "Oh, of course," Mira said with a sigh. "Did she have it with her?" Norman nodded solemnly. "Yep. I swear, I think it's almost gotten ... bigger." Mira shook her head. "Not possible." "I'm serious," Norman said. "It's way big." I kept waiting for someone to expand on this, but since neither of them seemed about to, I asked, "What are you talking about?" They looked at each other. Then, Mira took a breath. "Bea Williamson's baby," she said quietly, as if someone could hear us, "has the biggest head you have ever seen." Norman nodded, seconding this. "A baby?" I said. "A big-headed baby," Mira corrected me. "You should see the cranium on this kid. It's mind-boggling.

I suppose that is why it often makes me sad to read about history, or even natural history, as you do; I cannot help but think of everyone whose tale cannot fit in one book, those poor creatures who remain lost or forgotten. Do you think that one day, some Mary of the future will sketch our bones and wonder what we might have been in life?

Each time you love—be it a man or a child, a cat or a horse—you add color to this world. When you fail to love, you erase color.” She smiles. “Love, in any of its forms, is what takes this journey from a bleak black-and-white pencil sketch to a magnificent oil painting.” She touches my cheek. “It’s the sweet fruit that paints the field and wakes our senses. I’m not saying you must be on a constant quest for it, but please, if love comes to you, if you find it within your grasp, promise me you’ll pluck it from the vine and give it a good looking-over, won’t you?

He picked up the sketchbook, turning it so she could see his work - a gorgeous rendition of a stone bridge they'd passed, surrounded by the drooping boughs of oak trees. "You could sketch me," said Emma. She flung herself down onto her seat, leaning her head on her hand. "Draw me like one of your french girls.

I thought of what pride would look like, a jowly old guy in a smoking jacket. Vanity was a tall, beautiful woman with a face like a mask. Envy was a treasure-hoarding dragon, dainty and diabolical. As I sketched in the dragon's face, I gave her eyebrows like mine, my turtle necklace around its scaly neck. Xanda drew them as cliffs and valleys, irrevocably linked pride as a mountain, envy as a valley, hating its lowness and longing to reach, overtake, conquer. She drew vanity as a volcano with an abyss at its core.

She opened her sketchbook, carefully tore out several pages and handed them to Nasser--three detailed color sketches of three flowers. Leafing through the pages, he translated the message. A petunia: Your presence soothes me. A peppermint flower: warmth of feeling. And heartsease, the flower he'd given her so many times before. You occupy my thoughts. "I've been doing a lot of reading," Lee said quietly, setting her sketchbook aside. "You're not the only one who knows what flowers mean.

A very elementary exercise in psychology, not to be dignified by the name of psycho-analysis, showed me, on looking at my notebook, that the sketch of the angry professor had been made in anger. Anger had snatched my pencil while I dreamt. But what was anger doing there? Interest, confusion, amusement, boredom--all these emotions I could trace and name as they succeeded each other throughout the morning. Had anger, the black snake, been lurking among them? Yes, said the sketch, anger had.

One morning I fell to sketching a face: what sort of a face it was to be, I did not care or know. I took a soft black pencil, gave it a broad point, and worked away. Soon I had traced on the paper a broad and prominent forehead and a square lower outline of visage: that contour gave me pleasure; my fingers proceeded actively to fill it with features. Strongly-marked horizontal eyebrows must be traced under that brow; then followed, naturally, a well-defined nose, with a straight ridge and full nostrils; then a flexible-looking mouth, by no means narrow; then a firm chin, with a decided cleft down the middle of it: of course, some black whiskers were wanted, and some jetty hair, tufted on the temples, and waved above the forehead. Now for the eyes: I had left them to the last, because they required the most careful working. I drew them large; I shaped them well: the eyelashes I traced long and sombre; the irids lustrous and large. "Good! but not quite the thing," I thought, as I surveyed the effect: "they want more force and spirit;" and I wrought the shades blacker, that the lights might flash more brilliantly--a happy touch or two secured success. There, I had a friend's face under my gaze; and what did it signify that those young ladies turned their backs on me? I looked at it; I smiled at the speaking likeness: I was absorbed and content. Is that a portrait of some one you know?" asked Eliza, who had approached me unnoticed. I responded that it was merely a fancy head, and hurried it beneath the other sheets. Of course, I lied: it was, in fact, a very faithful representation of Mr. Rochester. But what was that to her, or to any one but myself? Georgiana also advanced to look. The other drawings pleased her much, but she called that 'an ugly man.

Every once in a while, in newspapers, magazines, and biographical dictionaries, I run upon sketches of my life, wherein, delicately phrased, I learn that it was in order to study sociology that I became a tramp. This is very nice and thoughtful of the biographers, but it is inaccurate. I became a tramp — well, because of the life that was in me, of the wanderlust in my blood that would not let me rest. Sociology was merely incidental; it came afterward, in the same manner that a wet skin follows a ducking. I went on "The Road" because I couldn't keep away from it; because I hadn't the price of the railroad fare in my jeans; because I was so made that I couldn't work all my life on "one same shift"; because — well, just because it was easier to than not to.

Once your baby starts to walk you’ll realize why cribs are designed like prisons from the early 1900s. This is clearly because toddlers are a danger to themselves. The main responsibility for a parent of a toddler is to stop them from accidentally hurting or killing themselves. They are superclumsy. If you don’t believe me, watch a two-year-old girl attempt to walk up stairs in a long dress. It looks like a Carol Burnett sketch. Also, toddler judgment is horrible. They don’t have any. Put a twelve-month-old on a bed, and they will immediately try and crawl off headfirst like a lemming on a mindless migration mission. But the toddler mission is never mindless. They have two goals: find poison and find something to destroy.

The show doesn’t go on because it’s ready; it goes on because it’s 11:30. This is something Lorne [Michaels] has said often about Saturday Night Live, but I think it’s a great lesson about not being too precious about your writing. You have to try your hardest to be at the top of your game and improve every joke you can until the last possible second, and then you have to let it go. You can’t be that kid standing at the top of the waterslide, overthinking it. You have to go down the chute. (And I’m from a generation where a lot of people died on waterslides, so this was an important lesson for me to learn.) You have to let people see what you wrote. It will never be perfect, but perfect is overrated. Perfect is boring on live TV. What I learned about ‘bombing’ as an improviser at Second City was that bombing is painful, but it doesn’t kill you. No matter how badly an improv set goes, you will still be physically alive when it’s over. What I learned about bombing as a writer at Saturday Night is that you can’t be too worried about your ‘permanent record.’ Yes, you’re going to write some sketches that you love and are proud of forever—your golden nuggets. But you’re also going to write some real shit nuggets. And unfortunately, sometimes the shit nuggets will make it onto the air. You can’t worry about it. As long as you know the difference, you can go back to panning for gold on Monday.

From childhood’s hour I have not been As others were—I have not seen As others saw—I could not bring My passions from a common spring— From the same source I have not taken My sorrow—I could not awaken My heart to joy at the same tone— And all I lov’d—I lov’d alone— Then—in my childhood—in the dawn Of a most stormy life—was drawn From ev’ry depth of good and ill The mystery which binds me still— From the torrent, or the fountain— From the red cliff of the mountain— From the sun that ’round me roll’d In its autumn tint of gold— From the lightning in the sky As it pass’d me flying by— From the thunder, and the storm— And the cloud that took the form (When the rest of Heaven was blue) Of a demon in my view—

It is inconceivable to me that an ethical relation to land can exist without love, respect, and admiration for land, and a high regard for its value. By value, I of course mean something far broader than economic value; I mean value in the philosophical sense.

When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontes and a sketch of Haworth Parsonage under snow, some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done.

And Rhys had given me the best gift I’d ever received. He was right—it wasn’t a fancy purse or diamond jewelry, but I would much rather have one sketch from him than a hundred Tiffany diamonds. Anyone could buy a diamond. No one except him could’ve drawn me the way he did, and it didn’t escape my notice this was the first time he’d ever shared his art with me.

I suppose what scares me is giving in to the unknown. I like to know where I’m going. That’s why I always make so many sketches—trying to control the outcome—no wonder nothing comes to life—because I’m not really responding to what’s going on in front of me. I need to open my eyes and look—and be aware of life as it is happening, and not simply how I want it to be.

the unlikeliest of saviors. Flame, you saved me from him. From that life… from never knowing what it was like to hold hands. To kiss and to make such sweet love that it still feels like a dream. You have no idea how special you are to me.” Maddie held up our joined hands and said, “Even now, looking at these hands, I am terrified this is all in my head, that being here with you, is just another fantasy that will never be realized. That I am sitting at my window, sketching a future I pray will happen, before I blink and discover it is all in my head, that I must be content to simply watch you from afar.

He picked up the sketchbook, turning it so she could see his work - a gorgeous rendition of a stone bridge they'd passed, surrounded by the drooping boughs of oak trees. "You could sketch me," said Emma. She flung herself down onto her seat, leaning her head on her hand. "Draw me like one of your french girls,

I got Larry to pose for me first off. It took awhile before I got any sketches done, though, ’cause every time he got his kit off, we ended up fucking. Then Larry had a good idea. He said we should fuck first and do pictures after, and that worked pretty good. I love looking at Larry when he’s just been fucked.

You could sketch me,” said Emma. She flung herself down onto her seat, leaning her head on her hand. “ ‘Draw me like one of your French girls.’ ” Julian grinned. “I hate that movie,” he said. “You know I do.” Emma sat up indignantly. “The first time we watched Titanic, you cried.” “I had seasonal allergies,” Jules said.

But the sight of the two people getting into the taxi and the satisfaction it gave me made me also ask whether there are two sexes in the mind corresponding to the two sexes in the body, and whether they also require to be united in order to get complete satisfaction and happiness? And I went on amateurishly to sketch a plan of the soul so that in each of us two powers preside, one male, one female; and in the man's brain the man predominates over the woman, and in the woman's brain the woman predominates over the man. The normal and comfortable state of being is that when the two live in harmony together, spiritually co-operating. If one is a man, still the woman part of his brain must have effect; and a woman also must have intercourse with the man in her. Coleridge perhaps meant this when he said that a great mind is androgynous. It is when this fusion takes place that the mind is fully fertilized and uses all its faculties. Perhaps a mind that is purely masculine cannot create, any more than a mind that is purely feminine, I thought.

I want a son with you,” he said huskily. “I want a houseful of children.” Her eyes sketched his face. “Dark-haired little boys with green eyes….” He crushed her mouth under his, roughly, hungrily, possessively. “Don’t tempt me,” he said tightly. “I want you like hell.” “I wouldn’t stop you,” she said softly. “Anything you want, Garet. Anything.

I have a very dear friend, a great painter, called me up very upset, the work wasn’t going well… He asked me to come to his studio -- which I did -- I looked around at the work, dozens of sketches, drawings, large pictures, and I was very close to his work, intensely involved with his work, and he asked me, ‘What’s wrong?’ And I said, ‘Simple – it’s a loss of nerve.

...Nina, uncrumpling a piece of paper from her pocket and smoothing it onto the table. A sketch of Matthias looked back at them. “We need to get out of town as soon as possible.” “Damn it,” Jesper said. “Kaz and Wylan are still in the lead.” He gestured to where they’d pasted up the rest of the wanted posters: Jesper, Kaz, and Inej were all there. Van Eck hadn’t yet dared to plaster Kuwei Yul-Bo’s face over every surface in Ketterdam, but he’d had to maintain the pretense of searching for his son, so there was also a poster offering a reward for Wylan Van Eck’s safe return. It showed his old features, but Jesper didn’t think it was much of a likeness. Only Nina was missing. She’d never met Van Eck, and though she had connections to the Dregs, it was possible he didn’t know of her involvement. Matthias examined the posters. “One hundred thousand kruge!” He shot a disbelieving glower at Kaz. “You’re hardly worth that.” The hint of a smile tugged at Kaz’s lips. “As the market wills it.” “Tell me about it,” said Jesper. “They’re only offering thirty thousand for me.” “Your lives are at stake,” said Wylan. “How can you act like this is a competition?” “We’re stuck in a tomb, merchling. You take the action where you find it

I came to a sketch where the space between my arm and Greta’s arm, the shape of the place between us, had been darkened in. The negative space. That’s what Finn called it. He was always trying to get me to understand negative space. And I did. I could understand what he was saying, but it didn’t come naturally to me. I had to be reminded to look for it. To see the stuff that’s there but not there. In this sketch, Finn had colored in the negative space, and I saw that it made a shape that looked like a dog’s head. Or, no—of course, it was a wolf’s head, tilted up, mouth open and howling. It wasn’t obvious or anything. Negative space was kind of like constellations. The kind of thing that had to be brought to your attention. But the way Finn did it was so skillful. It was all in the way Greta’s sleeve draped and the way my shoulder angled in. So perfect. It was almost painful to look at that negative space, because it was so smart. So exactly the kind of thing Finn would think of. I touched my finger to the rough pencil lines, and I wished I could let Finn know that I saw what he’d done. That I knew he’d put that secret animal right between Greta and me.

I am friends with Kathleen Hanna and Adam Horovitz, aka Ad-Rock from the Beastie Boys. I can’t believe I am friends with them. I love Kathleen’s music and I am in awe of her social activism and general awesomeness. I asked her to interview me for Interview magazine when I was just a sketch performer whom nobody knew. She said yes because she supports young women. This is the artist who pulled women to the front at her rock shows. She shows up and does the work and is the real deal. Now she is my friend.

the things that most white people imagine that they can salvage from the storm of life is really, in sum, their innocence. It was this commodity precisely which I had to get rid of at once, literally, on pain of death. I am afraid that most of the white people I have ever known impressed me as being in the grip of a weird nostalgia, dreaming of a vanished state of security and order, against which dream, unfailingly and unconsciously, they tested and very often lost their lives. It is a terrible thing to say, but I am afraid that for a very long time the troubles of white people failed to impress me as being real trouble. They put me in mind of children crying because the breast has been taken away. Time and love have modified my tough-boy lack of charity, but the attitude sketched above was my first attitude and I am sure that there is a great deal of it left.

When he was creating this picture, Leonardo da Vinci encountered a serious problem: he had to depict Good - in the person of Jesus - and Evil - in the figure of Judas, the friend who resolves to betray him during the meal. He stopped work on the painting until he could find his ideal models. One day, when he was listening to a choir, he saw in one of the boys the perfect image of Christ. He invited him to his studio and made sketches and studies of his face. Three years went by. The Last Supper was almost complete, but Leonardo had still not found the perfect model for Judas. The cardinal responsible for the church started to put pressure on him to finish the mural. After many days spent vainly searching, the artist came across a prematurely aged youth, in rags and lying drunk in the gutter. With some difficulty, he persuaded his assistants to bring the fellow directly to the church, since there was no time left to make preliminary sketches. The beggar was taken there, not quite understanding what was going on. He was propped up by Leonardo's assistants, while Leonardo copied the lines of impiety, sin and egotism so clearly etched on his features. When he had finished, the beggar, who had sobered up slightly, opened his eyes and saw the picture before him. With a mixture of horror and sadness he said: 'I've seen that picture before!' 'When?' asked an astonished Leonardo. 'Three years ago, before I lost everything I had, at a time when I used to sing in a choir and my life was full of dreams. The artist asked me to pose as the model for the face of Jesus.

In this mortal frame of mine which is made of a hundred bones and nine orifices there is something, and this something is called a wind-swept spirit for lack of a better name, for it is much like a thin drapery that is torn and swept away at the slightest stir of the wind. This something in me took to writing poetry years ago, merely to amuse itself at first, but finally making it its lifelong business. It must be admitted, however, that there were times when it sank into such dejection that it was almost ready to drop its pursuit, or again times when it was so puffed up with pride that it exulted in vain victories over the others. Indeed, ever since it began to write poetry, it has never found peace with itself, always wavering between doubts of one kind and another. At one time it wanted to gain security by entering the service of a court, and at another it wished to measure the depth of its ignorance by trying to be a scholar, but it was prevented from either because of its unquenchable love of poetry. The fact is, it knows no other art than the art of writing poetry, and therefore, it hangs on to it more or less blindly.

Naturally, a writer has some joys he lives for and that do satisfy him fully. But for me, these come at the moment of conception, at the instant when the subject reveals itself, when the articulation of the work sketches itself out before the suddenly heightened awareness, at those delicious moments when imagination and intelligence are fused. These moments disappear as they are born. What is left is the execution, that is to say, a long period of hard work.

But even while Rome is burning, there’s somehow time for shopping at IKEA. Social imperatives are a merciless bitch. Everyone is attempting to buy what no one can sell.  See, when I moved out of the house earlier this week, trawling my many personal belongings in large bins and boxes and fifty-gallon garbage bags, my first inclination was, of course, to purchase the things I still “needed” for my new place. You know, the basics: food, hygiene products, a shower curtain, towels, a bed, and umm … oh, I need a couch and a matching leather chair and a love seat and a lamp and a desk and desk chair and another lamp for over there, and oh yeah don’t forget the sideboard that matches the desk and a dresser for the bedroom and oh I need a coffeetable and a couple end tables and a TV-stand for the TV I still need to buy, and don’t these look nice, whadda you call ’em, throat pillows? Oh, throw pillows. Well that makes more sense. And now that I think about it I’m going to want my apartment to be “my style,” you know: my own motif, so I need certain decoratives to spruce up the decor, but wait, what is my style exactly, and do these stainless-steel picture frames embody that particular style? Does this replica Matisse sketch accurately capture my edgy-but-professional vibe? Exactly how “edgy” am I? What espresso maker defines me as a man? Does the fact that I’m even asking these questions mean I lack the dangling brass pendulum that’d make me a “man’s man”? How many plates/cups/bowls/spoons should a man own? I guess I need a diningroom table too, right? And a rug for the entryway and bathroom rugs (bath mats?) and what about that one thing, that thing that’s like a rug but longer? Yeah, a runner; I need one of those, and I’m also going to need…

Tonight I saw Jesus with the eyes on my face. He looks half lion and half man. But not more like a lion and not more like a man, rather the same, I have never seen anything like the face of Jesus before, %100 one thing but %100 another thing: a lion man!” “Where did you see Him at?” “On the surface of my blanket as I lay in bed. He was suddenly drawn onto it, like a sketch, and that same moment I knew He was showing His face to me, finally.” “Why do you think He did that?” “I think He thought it was about time.

The sketches in the back are not of a girl that looks like you, Rowan. They are of you. I drew them." "These are me? All of them?" "Rowan, I've been drawing you since I was eight years old," he said. My eyes slowly rose to meet his after looking at the dates. "How?" It was all I could say. "I don't know.I've been having dreams about you for as long as I can remember. My mother always said I'd inherited some of her gifts, that these were some sort of visions,but I was hesitant to believe it until the day I saw you with your grandfather outside. Then I knew it was true.I knew I hadn't been dreaming about someone who didn't exist.I knew because I was in love with you before I ever met you.

He is all my art to me now," said the painter gravely. "I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty— his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body— how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.

real worst-case scenario was that they’d know me in a way I didn’t want to be known by them. Even I wasn’t sure if my in-person self (a mild-mannered woman of average intelligence and attractiveness) or my scripts (willfully raging sketches about sexism and bodily functions) reflected my real self—or if I had a real self, or if anyone did. But I suspected that much of my writing emerged from this tension or lack of integration; I believed the perceptions undergirding my sketches arose from my being invisible or at least underestimated, including being mistaken for someone nicer than I was.

Time held no meaning as my mind darted in and out of memories. Past and present collided to create a full-sensory collage out of my life: playing hide-n-seek with my best friends Luke—who always cheated by walking through walls when he was about to be caught—and Lucy; Mr. Caldrin critiquing my sketches and offering ideas to make them more realistic; targets changing faces, blending into the same person, their thoughts rippling through my mind like waves. Through it all, a demon stalked me from the shadows of my memories, never quite showing its face, but crouching, waiting. And then I dreamed....

When we notice someone suffering and immediately decide to help them, it “says” to our associates, “See how easily I’m moved to help others? When people near me are suffering, I can’t help wanting to make their situation better; it’s just who I am.” This is a profoundly useful trait to advertise; it means you’ll make a great ally. The more time other people spend around you, the more they’ll get to partake of your spontaneous good will. It’s this function of charity that accounts for a lot of the puzzles we discussed earlier. For one, it explains why we donate so opportunistically. Most donors don’t sketch out a giving strategy and follow through as though it were a business plan.

I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches — which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models — usually friends — if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation.

The first glance at the pillow showed me a repulsive sentinel perched upon each end of it--cockroaches as large as peach leaves--fellows with long, quivering antennae and fiery, malignant eyes. They were grating their teeth like tobacco worms, and appeared to be dissatisfied about something. I had often heard that these reptiles were in the habit of eating off sleeping sailors' toe nails down to the quick, and I would not get in the bunk any more. I lay down on the floor. But a rat came and bothered me, and shortly afterward a procession of cockroaches arrived and camped in my hair. In a few moments the rooster was crowing with uncommon spirit and a party of fleas were throwing double somersaults about my person in the wildest disorder, and taking a bite every time they stuck. I was beginning to feel really annoyed. I got up and put my clothes on and went on deck. The above is not overdrawn; it is a truthful sketch of inter-island schooner life.

Because I live in south Florida I store cans of black beans and gallons of water in my closet in preparation for hurricane season. I throw a hurricane party in January. You’re my only guest. We play Marco Polo in bed. The sheets are wet like the roof caved in. There’s a million of me in you. You try to count me as I taste the sweat on the back of your neck. I call you Sexy Sexy, and we do everything twice. After, still sweating, we drink Crystal Light out of plastic water bottles. We discuss the pros and cons of vasectomies. It’s not invasive you say. I wrap the bedsheet around my waist. Minor surgery you say. You slur the word surgery, like it’s a garnish on a dish you just prepared. I eat your hair until you agree to no longer talk about vasectomies. We agree to have children someday, and that they will be beautiful even if they’re not. As I watch your eyes grow heavy like soggy clothes, I tell you When I grow up I’m going to be a famous writer. When I’m famous I’ll sign autographs on Etch-A-Sketches. I’ll write poems about writing other poems, so other poets will get me. You open your eyes long enough to tell me that when you grow up, you’re going to be a steamboat operator. Your pores can never be too clean you say. I say I like your pores just fine. I say Your pores are tops. I kiss you with my whole mouth, and you fall asleep next to my molars. In the morning, we eat french toast with powdered sugar. I wear the sugar like a mustache. You wear earmuffs and pretend we’re in a silent movie. I mouth Olive juice, but I really do love you. This is an awesome hurricane party you say, but it comes out as a yell because you can’t gauge your own volume with the earmuffs on. You yell I want to make something cute with you. I say Let me kiss the insides of your arms. You have no idea what I just said, but you like the way I smile.

This one is bigger than the other by at least a quarter,” he said. “That’s perspective,” Will replied stubbornly. “The left one is closer, so it looks bigger.” “If it’s perspective, and it’s that much bigger, your handcart would have to be about five meters wide,” Horace told him. “Is that what you’re planning?” Again, Will studied the drawing critically. “No. I thought maybe two meters. And three meters long.” He quickly sketched in a smaller version of the left wheel, scrubbing over the first attempt as he did so. “Is that better?” “Could be rounder,” Horace said. “You’d never get a wheel that shape to roll. It’s sort of pointy at one end.” Will’s temper flared as he decided his friend was simply being obtuse for the sake of it. He slammed the charcoal down on the table. “Well, you try drawing a perfect circle freehand!” he said angrily. “See how well you do! This is a concept drawing, that’s all. It doesn’t have to be perfect!” Malcolm chose that moment to enter the room. He had been outside, checking on MacHaddish, making sure the general was still securely fastened to the massive log that held him prisoner. He glanced now at the sketch as he passed by the table. “What’s that?” he asked. “It’s a walking cart,” Horace told him. “You get under it, so the spears won’t hit you, and go for a walk.” Will glared at Horace and decided to ignore him. He turned his attention to Malcolm. “Do you think some of your people could build me something like this?” he asked. The healer frowned thoughtfully. “Might be tricky,” he said. “We’ve got a few cart wheels, but they’re all the same size. Did you want this one so much bigger than the other?” Now Will switched his glare to Malcolm. Horace put a hand up to his face to cover the grin that was breaking out there. “It’s perspective. Good artists draw using perspective,” Will said, enunciating very clearly. “Oh. Is it? Well, if you say so.” Malcolm studied the sketch for a few more seconds. “And did you want them this squashed-up shape? Our wheels tend to be sort of round. I don’t think these ones would roll too easily, if at all.” Truth be told, Malcolm had been listening outside the house for several minutes and knew what the two friends had been discussing. Horace gave vent to a huge, indelicate snort that set his nose running. His shoulders were shaking, and Malcolm couldn’t maintain his own straight face any longer. He joined in, and the two of them laughed uncontrollably. Will eyed them coldly. “Oh, yes. Extremely amusing,” he said.

I’m thinking about this—about him—way too hard. I shut the sketch pad too forcefully and place it back where I found it. It causes something that was at the very end of the notebook to slip out. A portrait. My heart halts as I scramble to lift it up, expecting—no, sure— that I’ll find Serena’s smiling face on it. The pouty lips, upturned eyes, narrow nose, and pointed chin; they’re all so familiar to me that I think it must be her, because who else’s face would I know so well? It can only be Serena’s, or . . . Mine. Lowe Moreland has drawn my face, and then stuffed it at the bottom of his bottom drawer. I’m not sure when he observed it long enough to pluck this level of detail out of me, the serious, detached air, the tight-lipped expression, the wispy hair curling around the cusp of an ear. Here’s what I do know: there is something sharp about the drawing. Something searing and intense and expansive that’s simply not there in the other sketches. Force, and power, and lots of feelings were involved in the making of this portrait. Lots.

I will here give a brief sketch of the progress of opinion on the Origin of Species. Until recently the great majority of naturalists believed that species were immutable productions, and had been separately created. This view has been ably maintained by many authors. Some few naturalists, on the other hand, have believed that species undergo modification, and that the existing forms of life are the descendants by true generation of pre existing forms. Passing over allusions to the subject in the classical writers (Aristotle, in his "Physicae Auscultationes" (lib.2, cap.8, s.2), after remarking that rain does not fall in order to make the corn grow, any more than it falls to spoil the farmer's corn when threshed out of doors, applies the same argument to organisation; and adds (as translated by Mr. Clair Grece, who first pointed out the passage to me), "So what hinders the different parts (of the body) from having this merely accidental relation in nature? as the teeth, for example, grow by necessity, the front ones sharp, adapted for dividing, and the grinders flat, and serviceable for masticating the food; since they were not made for the sake of this, but it was the result of accident. And in like manner as to other parts in which there appears to exist an adaptation to an end. Wheresoever, therefore, all things together (that is all the parts of one whole) happened like as if they were made for the sake of something, these were preserved, having been appropriately constituted by an internal spontaneity; and whatsoever things were not thus constituted, perished and still perish." We here see the principle of natural selection shadowed forth, but how little Aristotle fully comprehended the principle, is shown by his remarks on the formation of the teeth.), the first author who in modern times has treated it in a scientific spirit was Buffon. But as his opinions fluctuated greatly at different periods, and as he does not enter on the causes or means of the transformation of species, I need not here enter on details.

He smirks, shaking his head and letting his eyes wander. I watch him carefully, wondering what I can say to get him to leave. “I’m not leaving until you answer some questions. Plus, I’m holding your sketchbook hostage, so you might want to cooperate.” I raise an eyebrow at him. I guess there isn’t much I can say. “This isn’t a hostage negotiation.” He chuckles half-heartedly as his eyes take me in, almost sizing me up. “I guess I should introduce myself.” He holds a hand out for me to shake. “I’m Nathan.” I stare at his hand for a moment. “Taylor,” I reply, meeting his eyes again without taking his hand. He lets his hand fall back to his side. “At least I got you to say something non-hostile.” “I haven’t been hostile,” I object. His eyebrows shoot up. “Oh, haven’t you?” “Why don’t you leave me alone?” I snap. “Leave and don’t come back.” I move passed him, heading for my apartment. He can’t follow and annoy me if I lock the door. “Where are you going?” he demands. I look back over my shoulder and roll my eyes at him, indicating the answer should be obvious: anywhere he isn’t. Once inside, I slam the door behind me. “That was totally not hostile!” he calls after me, sarcastically. I quickly head for my bedroom door, slamming it, too.

You guys could handle this on your own. Why risk getting kicked out of your He-Man-Monster-Haters Club?" "Because we can't handle this on our own. At least I don't think we can." "You said yourself you already have some Prodigium working with you. Why not go to them?" "We have a handful," he said, frustration creeping into his voice. "And most of them suck. Look, just consider it a peace offering, okay? My way of saying I'm sorry for lying to you. And pulling a knife in your presence, even if it was just to open a damn window to get out before you vaporized me." Most girls got flowers. I got a dirt put used for demon raising. Nice. "Thanks," I replied. "But don't you want in on this?" He looked at me, and not for the first time, I wished his eyes weren't so dark. It would have been nice to have some idea of what was going on in his head. "That's up to you," he said. Mom always liked to say that we hardly ever know the decisions we make that change our lives,mostly because they're little ones. You take this bus instead of that one and end up meeting your soul mate, that kind of thing. But there was no doubt in my mind that this was one of those life-changing moments. Tell Archer no,and I'd never see him again. And Dad and Jenna wouldn't be mad at me, and Cal...Tell Archer yes, and everything suddenly got twistier and more complicated than Mrs. Casnoff's hairdo. And even though I'm a twisty and complicated girl, I knew what my answer had to be. "It's too much of a risk, Cross. Maybe one day when I'm head of the Council, and you're...well, whatever you're going to be for L'Occhio di Dio, we could work on some kind of collaboration." That brought up depressig images of me and Archer sittig across a boardroom table, sketching out battle plans on a whiteboard, so my voice was a little shaky when I continued. "But for now, it's too dangerous." And not just because basically everyone in our lives would want to kill us if they found out, I thought. But because I was pretty sure I was still in love with him, and I thought he might feel something similar for me, and there was no way we could work together preventing the Monster Apocalypse/World War III without that becoming an issue. Not that I could say any of that. Archer's face was blank as he said, "Cool. Got it." "Cross," I started to say, but then his eyes slid past me and went wide with horror. At the same time, I became aware of a slithering noice behind me. That just could not be good; in my experience, nothing pleasant slithers. Still, I was not prepared for the nightmares climbing out of the crater.

Could you explain something for me, then?” She gestured around vaguely. “You gave orders in terms of ‘up’ and ‘down,’ ‘port’ and ‘starboard,’ yet the ships of your fleet are in a wide range of aspects. You are upside down relative to the ships in Captain Tulev’s force, for example. How do they know which way you mean?” Desjani, unseen by Rione, rolled her eyes at the Co-President’s ignorance, but Geary just pointed at the display. “It’s a standard convention, Madam Co-President, one every sailor learns by heart. It had to be established to provide a common frame of reference in an unbounded three-dimensional environment.” He sketched the shape of Kaliban’s system. “Every star system has a plane in which its planets or other objects orbit. One side of that plane is labeled ‘up,’ and the other side ‘down.’ So up and down within the system doesn’t change regardless of how your ship is oriented. By the same token, the direction toward the star is ‘starboard’ while the direction away from the star is ‘port.’” Geary shrugged. “I’ve been told that early on they tried to use ‘starward’ instead of ‘starboard,’ but the older expression stuck.

Wanting All Husband, it's fine the way your mind performs Like a circus, sharp As a sword somebody has To swallow, rough as a bear, Complicated as a family of jugglers, Brave as a sequined trapeze Artist, the only boy I ever met Who could beat me in argument Was why I married you, isn't it, And you have beaten me, I've beaten you, We are old polished hands. Or was it your body, I forget, maybe I foresaw the thousands on thousands Of times we have made love Together, mostly meat And potatoes love, but sometimes Higher than wine, Better than medicine. How lately you bite, you baby, How angels record and number Each gesture, and sketch Our spinal columns like professionals. Husband, it's fine how we cook Dinners together while drinking, How we get drunk, how We gossip, work at our desks, dig in the garden, Go to the movies, tell The children to clear the bloody table, How we fit like puzzle pieces. The mind and body satisfy Like windows and furniture in a house. The windows are large, the furniture solid. What more do I want then, why Do I prowl the basement, why Do I reach for your inside Self as you shut it Like a trunkful of treasures? Wait, I cry, as the lid slams on my fingers.

During my stay in London I resided for a considerable time in Clapham Road in the neighbourhood of Clapham Common... One fine summer evening I was returning by the last bus 'outside' as usual, through the deserted streets of the city, which are at other times so full of life. I fell into a reverie (Träumerei), and 10, the atoms were gambolling before my eyes! Whenever, hitherto, these diminutive beings had appeared to me, they had always been in motion: but up to that time I had never been able to discern the nature of their motion. Now, however, I saw how, frequently, two smaller atoms united to form a pair: how the larger one embraced the two smaller ones: how still larger ones kept hold of three or even four of the smaller: whilst the whole kept whirling in a giddy dance. I saw how the larger ones formed a chain, dragging the smaller ones after them but only at the ends of the chain. I saw what our past master, Kopp, my highly honoured teacher and friend has depicted with such charm in his Molekular-Welt: but I saw it long before him. The cry of the conductor 'Clapham Road', awakened me from my dreaming: but I spent part of the night in putting on paper at least sketches of these dream forms. This was the origin of the 'Structural Theory'.

In the late afternoon, Lily approached Ian as he reclined on the couch sketching. “I’ve got something to ask you,” she said, the tiniest waver in her voice betraying her nervousness. Ian went on high alert and placed his pad and pencil on the coffee table. “What is it, sweetheart?” he managed to get out, keeping his voice even. Lily wrung her hands. “Okay. Now, you don’t have to if you don’t want to, okay? I promise I’ll understand if you say no. Really, I will.” His shoulders slumped in relief and he rescued her hands from each other before either was damaged. “Darlin’, you needn’t be afraid to ask. I would love for you to take me to bed and spend the rest of the day making wild, passionate love to me. Tonight and tomorrow too, if that would make you happy,” Ian assured her. Lily blinked and frowned uncertainly. “Umm…tempting as that sounds, no, that’s not it.” “Need an organ donated, then? I’ve got one in mind just for you.” “This is serious.” She giggled, thumping him on the chest. “Damn right it is. Do you have any idea how long it’s been since I’ve seen you naked?” he said, raising an eyebrow in challenge. “How the hell am I supposed to get better under these horrific conditions? I may end up in therapy yet. See, look, my eye’s already starting to twitch…

By December 1975, a year had passed since Mr. Harvey had packed his bags, but there was still no sign of him. For a while, until the tape dirtied or the paper tore, store owners kept a scratchy sketch of him taped to their windows. Lindsey and Samuel walked in the neighboorhood or hung out at Hal's bike shop. She wouldn't go to the diner where the other kids went. The owner of the diner was a law and order man. He had blown up the sketch of George Harvey to twice its size and taped it to the front door. He willingly gave the grisly details to any customer who asked- young girl, cornfield, found only an elbow. Finallly Lindsey asked Hal to give her a ride to the police station. She wanted to know what exactly they were doing. They bid farewell to Samuel at the bike shop and Hal gave Lindsey a ride through a wet December snow. From the start, Lindsey's youth and purpose had caught the police off guard. As more and more of them realized who she was, they gave her a wider and wider berth. Here was this girl, focused, mad, fifteen... When Lindsey and Hal waited outside the captain's office on a wooden bench, she thought she saw something across the room that she recognized. It was on Detective Fenerman's desk and it stood out in the room because of its color. What her mother had always distinguished as Chinese red, a harsher red than rose red, it was the red of classic red lipsticks, rarely found in nature. Our mother was proud of her ability fo wear Chinese red, noting each time she tied a particular scarf around her neck that it was a color even Grandma Lynn dared not wear. Hal,' she said, every muscle tense as she stared at the increasingly familiar object on Fenerman's desk. Yes.' Do you see that red cloth?' Yes.' Can you go and get it for me?' When Hal looked at her, she said: 'I think it's my mother's.' As Hal stood to retrieve it, Len entered the squad room from behind where Lindsey sat. He tapped her on the shoulder just as he realized what Hal was doing. Lindsey and Detective Ferman stared at each other. Why do you have my mother's scarf?' He stumbled. 'She might have left it in my car one day.' Lindsey stood and faced him. She was clear-eyed and driving fast towards the worst news yet. 'What was she doing in your car?' Hello, Hal,' Len said. Hal held the scarf in his head. Lindsey grabbed it away, her voice growing angry. 'Why do you have m mother's scarf?' And though Len was the detective, Hal saw it first- it arched over her like a rainbow- Prismacolor understanding. The way it happened in algebra class or English when my sister was the first person to figure out the sum of x or point out the double entendres to her peers. Hal put his hand on Lindsey's shoulder to guide her. 'We should go,' he said. And later she cried out her disbelief to Samuel in the backroom of the bike shop.

Is there a bird among them, dear boy?” Charity asked innocently, peering not at the things on the desk, but at his face, noting the muscle beginning to twitch at Ian’s tense jaw. “No.” “Then they must be in the schoolroom! Of course,” she said cheerfully, “that’s it. How like me, Hortense would say, to have made such a silly mistake.” Ian dragged his eyes from the proof that his grandfather had been keeping track of him almost from the day of his birth-certainly from the day when he was able to leave the cottage on his own two legs-to her face and said mockingly, “Hortense isn’t very perceptive. I would say you are as wily as a fox.” She gave him a little knowing smile and pressed her finger to her lips. “Don’t tell her, will you? She does so enjoy thinking she is the clever one.” “How did he manage to have these drawn?” Ian asked, stopping her as she turned away. “A woman in the village near your home drew many of them. Later he hired an artist when he knew you were going to be somewhere at a specific time. I’ll just leave you here where it’s nice and quiet.” She was leaving him, Ian knew, to look through the items on the desk. For a long moment he hesitated, and then he slowly sat down in the chair, looking over the confidential reports on himself. They were all written by one Mr. Edgard Norwich, and as Ian began scanning the thick stack of pages, his anger at his grandfather for this outrageous invasion of his privacy slowly became amusement. For one thing, nearly every letter from the investigator began with phrases that made it clear the duke had chastised him for not reporting in enough detail. The top letter began, I apologize, Your Grace, for my unintentional laxness in failing to mention that indeed Mr. Thornton enjoys an occasional cheroot… The next one opened with, I did not realize, Your Grace, that you would wish to know how fast his horse ran in the race-in addition to knowing that he won. From the creases and holds in the hundreds of reports it was obvious to Ian that they’d been handled and read repeatedly, and it was equally obvious from some of the investigator’s casual comments that his grandfather had apparently expressed his personal pride to him: You will be pleased to know, Your Grace, that young Ian is a fine whip, just as you expected… I quite agree with you, as do many others, that Mr. Thornton is undoubtedly a genius… I assure you, Your Grace, that your concern over that duel is unfounded. It was a flesh wound in the arm, nothing more. Ian flipped through them at random, unaware that the barricade he’d erected against his grandfather was beginning to crack very slightly. “Your Grace,” the investigator had written in a rare fit of exasperation when Ian was eleven, “the suggestion that I should be able to find a physician who might secretly look at young Ian’s sore throat is beyond all bounds of reason. Even if I could find one who was willing to pretend to be a lost traveler, I really cannot see how he could contrive to have a peek at the boy’s throat without causing suspicion!” The minutes became an hour, and Ian’s disbelief increased as he scanned the entire history of his life, from his achievements to his peccadilloes. His gambling gains and losses appeared regularly; each ship he added to his fleet had been described, and sketches forwarded separately; his financial progress had been reported in minute and glowing detail.