Sketch Your Life Quotes

This is another paradox, that many of the most important impressions and thoughts in a person's life are ones that flash through your head so fast that fast isn't even the right word, they seem totally different from or outside of the regular sequential clock time we all live by, and they have so little relation to the sort of linear, one-word-after-another word English we all communicate with each other with that it could easily take a whole lifetime just to spell out the contents of one split-second's flash of thoughts and connections, etc. -- and yet we all seem to go around trying to use English (or whatever language our native country happens to use, it goes without saying) to try to convey to other people what we're thinking and to find out what they're thinking, when in fact deep down everybody knows it's a charade and they're just going through the motions. What goes on inside is just too fast and huge and all interconnected for words to do more than barely sketch the outlines of at most one tiny part of it at any given instant.

To awaken quite alone in a strange town is one of the pleasantest sensations in the world. You are surrounded by adventure. You have no idea of what is in store for you, but you will, if you are wise and know the art of travel, let yourself go on the stream of the unknown and accept whatever comes in the spirit in which the gods may offer it. For this reason your customary thoughts, all except the rarest of your friends, even most of your luggage - everything, in fact, which belongs to your everyday life, is merely a hindrance. The tourist travels in his own atmosphere like a snail in his shell and stands, as it were, on his own perambulating doorstep to look at the continents of the world. But if you discard all this, and sally forth with a leisurely and blank mind, there is no knowing what may not happen to you.

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'.

Ah, heavens and earth, friend, if you had made the acquiring of ignorance the study of your life, you could not have graduated with higher honor than you could to-day.

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.

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.

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?

Christmas time! That man must be a misanthrope indeed, in whose breast something like a jovial feeling is not roused—in whose mind some pleasant associations are not awakened—by the recurrence of Christmas. There are people who will tell you that Christmas is not to them what it used to be; that each succeeding Christmas has found some cherished hope, or happy prospect, of the year before, dimmed or passed away; that the present only serves to remind them of reduced circumstances and straitened incomes—of the feasts they once bestowed on hollow friends, and of the cold looks that meet them now, in adversity and misfortune. Never heed such dismal reminiscences. There are few men who have lived long enough in the world who cannot call up such thoughts any day of the year. Then do not select the merriest of the three hundred and sixty-five for your doleful recollections, but draw your chair nearer the blazing fire—fill the glass and send round the song—and if your room be smaller than it was a dozen years ago, or if your glass be filled with reeking punch, instead of sparkling wine, put a good face on the matter, and empty it offhand, and fill another, and troll off the old ditty you used to sing, and thank God it’s no worse.

Catching creativity is like catching butterflies – fast-flying, bright-colored sparks darting here and there, it requires quick wits, good eyes and desire to net them. And once you have them, you need to act fast. An idea, like a butterfly doesn’t last long: it is ephemeral. It is here, and now it is gone – so quick, grab your laptop, your pen and paper, your Dictaphone, your sketch pad, whatever your mode of expression or recording, swoop and catch.

Some people won't dog-ear the pages. Others won't place the book facedown, pages splayed. Some won't dare make a mark in the margin. Get over it. Books exist to impart their worlds to you, not to be beautiful objects to save for some other day. We implore you to fold, crack, and scribble on your books whenever the desire takes you. Underline the good bits, exclaim "YES!" and "NO!" in the margins. Invite others to inscribe and date the frontispiece. Draw pictures, jot down phone numbers and Web addresses, make journal entries, draft letters to friends or world leaders. Scribble down ideas for a novel of your own, sketch bridges you want to build, dresses you want to design. Stick postcards and pressed flowers between the pages. When next you open the book, you'll be able to find the bits that made you think, laugh, and cry the first time around. And you'll remember that you picked up that coffee stain in the cafe where you also picked up that handsome waiter. Favorite books should be naked, faded, torn, their pages spilling out. Love them like a friend, or at least a favorite toy. Let them wrinkle and age along with you.

1. Scribbled secret notebooks, and wild typewritten pages, for yr own joy 2. Submissive to everything, open, listening 3. Try never get drunk outside yr own house 4. Be in love with yr life 5. Something that you feel will find its own form 6. Be crazy dumbsaint of the mind 7. Blow as deep as you want to blow 8. Write what you want bottomless from bottom of the mind 9. The unspeakable visions of the individual 10. No time for poetry but exactly what is 11. Visionary tics shivering in the chest 12. In tranced fixation dreaming upon object before you 13. Remove literary, grammatical and syntactical inhibition 14. Like Proust be an old teahead of time 15. Telling the true story of the world in interior monolog 16. The jewel center of interest is the eye within the eye 17. Write in recollection and amazement for yourself 18. Work from pithy middle eye out, swimming in language sea 19. Accept loss forever 20. Believe in the holy contour of life 21. Struggle to sketch the flow that already exists intact in mind 22. Dont think of words when you stop but to see picture better 23. Keep track of every day the date emblazoned in yr morning 24. No fear or shame in the dignity of yr experience, language & knowledge 25. Write for the world to read and see yr exact pictures of it 26. Bookmovie is the movie in words, the visual American form 27. In praise of Character in the Bleak inhuman Loneliness 28. Composing wild, undisciplined, pure, coming in from under, crazier the better 29. You're a Genius all the time 30. Writer-Director of Earthly movies Sponsored & Angeled in Heaven

Even animals of the same kind- two deer, two owls - will behave differently from each another. Even your daughter's pet hamsters, they all have their own ways. I have studies many plants. The leaves of one plant, on the same stem -none is exactly alike.On all the earth there is not one leaf exactly alike. The great spirit likes it that way. He only sketches out the path of life roughly for all the creatures on earth, shows them where to go ,where to arrive at , but leaves them to find their own way to get there.He wants them to act independently according to their nature , to the urge in each of them.

But you can draw people’s faces, can’t you? I’m sure lots of women here in Etten would like to have their portraits painted. There’s a living in that.” “Yes, I suppose so. But I’ll have to wait until my drawing is right.” His mother was breaking eggs into a pan of sour cheese she had strained the day before. She paused with half the shell of an egg in each hand and turned from the stove. “You mean you have to make your drawing right so the portraits will be good enough to sell?” “No,” replied Vincent, sketching rapidly with his pencil, “I have to make my drawing right so that my drawing will be right.” Anna Cornelia stirred the yolks into the white cheese thoughtfully and then said, “I’m afraid I don’t understand that, son.” “Neither do I,” said Vincent, “but anyway it’s so.

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.

There is something liberating about sketching on a support that you will not keep, like your paper place mat or on the paper covering the table. It will help you desacralize the drawing and make the moment you put the pen in contact with the paper less solemn. Part of why some of us are so daunted by the mere task of starting a drawing is because we turn it into a task

I am struck by what a tawdry magician’s trick Time is after all. I am sixty-six years old. Viewed from your coign of vantage—facing toward the future—sixty-six years is a great deal of time. It is all of the experience of your life more than three times over. But, viewed from my coign of vantage—facing toward the past—this sixty-six years was the fluttering down of a cherry petal. I feel that my life was a picture hastily sketched but never filled in . . . for lack of time. Only yesterday—but more than fifty years ago—I walked along this river with my father. I can remember how big and strong his hand felt to my small fingers. Fifty years. But all the insignificant, busy things—the terribly important, now forgotten things that cluttered the intervening time collapse and fall away from my memory. And I remember another yesterday when my daughter was a little girl. We walked along here. At this very moment, the nerves in my hand remember the feeling of her chubby fingers clinging to one of mine.

The dialogue Tommy composed for the flower shop scene, which flies back and forth like some sort of postmodern 'Who's on First?' sketch, has the super-compresed density of experimental verse: Hi Can I help you Yeah can I have a dozen roses please Oh hi Johnny I didn't know it was you here you go That's me how much is it That'll be eighteen dollars Here you go keep the change hi doggie You're my favorite customer Thanks a lot bye Bye bye

Keep your soul free. What matters most in life is not knowledge, but character … There is a knowledge other than that which is of the domain of memory: the knowledge of how to live. Study must be an act of life, must serve life, must feel itself impregnated with life. Of the two kinds of men, those who endeavor to know something, and those who try to be someone, the palm is to the second. What we know is like a beginning, a rough sketch only; the man is the finished work.

On the whiteboard next to him, the Sheikh drew a line. Next to it, he sketched a circle. The line represented your space, the environment in which you find yourself. The space could be anywhere - a well, a prison cell, a state ruled by a despot, or a foreign country. Next he pointed to the circle. That symbolised the cycle of a Muslim's life, the steady bit of night and day, ticking away, for as long as God chose to keep you on this earth. The space you found yourself in was not in your control, said Akram. The cycle was. Your circumstances were given to you by Allah; using the cycle of your days to practice taqwa, or love and awe of God, was your job. Tend to this cycle of faith, said Akram, rather than worrying about your circumstances.

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.

Ableism can be hard to hold on to or pinpoint, because it morphs. It lives in distinctly personal stories. It takes on ten thousand shifting faces, and for the world we live in today, it’s usually more subtle than overt cruelty. Some examples to start the sketch: the assumption that all people who are deaf would prefer to be hearing—the belief that walking down the aisle at a wedding is obviously preferable to moving down that aisle in a wheelchair—the conviction that listening to an audiobook is automatically inferior to the experience of reading a book with your eyes—the expectation that a nondisabled person who chooses a partner with a disability is necessarily brave, strong, and especially good—the belief that someone who receives a disability check contributes less to our society than the full-time worker—the movie that features a disabled person whose greatest battle is their own body and ultimately teaches the nondisabled protagonist (and audience) how to value their own beautiful life. All of these are different flashes of the same, oppressive structure. Ableism separates, isolates, assumes. It’s starved for imagination, creativity, and curiosity. It’s fueled by fear. It oppresses. All of us.

Compassion is the ultimate beauty. Compassion is the elegance of heart. Compassion makes you the most attractive person, more lovable than being rich or smart. While you can work on your degree, then get the job and make good money, there is no diploma for compassion. You have to learn it by yourself.

The apprehension of life here so briefly and inadequately sketched has been the experience of generations of Negroes, and it helps to explain how they have endured and how they have been able to produce children of kindergarten age who can walk through mobs to get to school. It demands great force and great cunning continually to assault the mighty and indifferent fortress of white supremacy, as Negroes in this country have done so long. It demands great spiritual resilience not to hate the hater whose foot is on your neck, and an even greater miracle of perception and charity not to teach your child to hate.

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.

What does a session plan look like? It can be a note scribbled on a whiteboard to stoke a brainstorm with a creative collaborator. A to-do in an app. A sketch. A snapshot. The amount of detail depends on the stakes and the players involved. Ideally, a session plan sets out a piece of work you can manageably tackle in the time you have available. Again, estimating this properly takes experience.

Save for the accident of her low birth, Peg might have been a person of fashion; a vibrant beauty, painted by an academician in oils. Intending to make a quick end to it, I started mixing the lily green I had made especially from crushed flowers, hoping exactly to tint her eyes, rattling my tiny brush in the jar. Then I subjected her to my closest gaze. "Your eyes," I said, musingly. "They are a very unusual green; in different lights they reflect brown and blue. Do they perhaps reflect whatever light falls on them?" Peg replied that she couldn't say. "Do, please, sit very still." I looked very hard, then used my green with a wash of yellow ochre to tint the iris, and a ring of burnt umber. A pinprick of white titanium gave them startling life. I was happy with them; surely even Peg would admire her lively cat-like eyes.

The sketches of your real life and your sister life are right there before you and you get to decide what to do. One is the life you’ll have; the other is the one you won’t. Switch them around in your head and see how it feels. Which affects you on a visceral level? Which won’t let you go? Which is ruled by fear? Which is ruled by desire? Which makes you want to close your eyes and jump and which makes you want to turn and run?

When I'm with you, the best, most interesting part of my life is behind the scenes. I felt this emailing you, and I even felt it in your TNO office when you were helping with my sketch. Like, no one in the world knows what we're up to except us and it's awesome. It's not for social media, it's not for a documentary about the making of an album, it's not an anecdote to tell on a talk show. It's just because we think it's fun and we like each other and we like being together.

That may be true. But, Theo, there is one thing I cannot understand. You have never sold a single drawing or painting for me; in fact you have never even tried. Now have you? “No.” “Why not?” “I’ve shown your work to the connoisseurs. They say . . .” “Oh, the connoisseurs!” Vincent shrugged his shoulders. “I’m well acquainted with the banalities in which most connoisseurs indulge. Surely, Theo, you must know that their opinions have very little to do with the inherent quality of a piece of work.” “Well, I shouldn’t say that. Your work is almost salable, but . . .” “Theo, Theo, those are the identical words you wrote to me about my very first sketches from Etten.” “They are true, Vincent; you seem constantly on the verge of coming into a superb maturity. I pick up each new sketch eagerly, hoping that at last it has happened. But so far. . .” “As for being salable or unsalable,” interrupted Vincent, knocking out his pipe on the stove, “that is an old saw on which I do not intend to blunt my teeth.

He was the most astonishing contradiction of components I’d ever encountered. Shy yet fiercely communicative when putting an idea into your head. Vocally astringent regarding his own abilities but not to the point that he couldn’t produce—he was as prolific an artist (yes, an artist, and I never use the term, especially regarding people I like) I’ve ever seen. But I could feel it. Everything he sketched, penciled, inked, made—was a payment, one he could scarcely afford; as if it physically hurt him to put pencil to paper. Yet that only seemed to spur him on, to live far beyond his means. He was unable not to. For Sketch, to draw was to breath, and so the air became lead—silvery in the right light, dark soot in the wrong; heavy, slick and malleable—into shapes he brought together in glorious orchestration, with a child’s eye and a rocket scientist’s precision, all fortified by a furious melancholy, a quiet engine of sourceless shame and humility. When it came to another’s work, he longed to praise it but then couldn’t resist critiquing it all within an inch of its life, analyzing deficiencies with uncontrollable abandon and laser accuracy. He was sharp as his Radio 914 pen nibs, and as pointed. And then he’d apologize. Oh, he would apologize: Oh my GOD, forgive me, please don’t hate me, I’m SORRY, don’t listen to me, why am I saying things, what do I know, I don’t know anything, why do you listen to me you should just tell me to shut UP, I’m awful, forgive me, you hate me, don’t you? Tell the truth. Please don’t hate me. Please don’t. Please.

Life takes so many interesting and unexpected turns. Drawing, painting, and writing about your days can provide you with a sense of peace and a deeper understanding of your thoughts and dreams. I know that drawing can be humbling and sometimes frustrating when you first begin. But if you practice a little bit each day, you will see gratifying improvement. It is important to remember that you can approach your sketch journal from so many creative angles, expressing and releasing your memories and creativity simultaneously.

At the moment when you know that the projectile is flying towards you, it will infallibly occur to you that this shot will kill you; but the feeling of self-love upholds you, and no one perceives the knife which is cutting your heart. But when the shot has flown past without touching you, you grow animated, and a certain cheerful, inexpressibly pleasant feeling overpowers you, but only for a moment, so that you discover a peculiar sort of charm in danger, in this game of life and death, you want cannon-balls or bombs to strike nearer to you.

Exciting news,” she said. “Today we’re going to study three different types of chemical bonds: ionic, covalent, and hydrogen. Why learn about bonds? Because when you do you will grasp the very foundation of life. Plus, your cakes will rise.” From homes all over Southern California, women pulled out paper and pencils. “Ionic is the ‘opposites attract’ chemical bond,” Elizabeth explained as she emerged from behind the counter and began to sketch on an easel. “For instance, let’s say you wrote your PhD thesis on free market economics, but your husband rotates tires for a living. You love each other, but he’s probably not interested in hearing about the invisible hand. And who can blame him, because you know the invisible hand is libertarian garbage.” She looked out at the audience as various people scribbled notes, several of which read “Invisible hand: libertarian garbage.” “The point is, you and your husband are completely different and yet you still have a strong connection. That’s fine. It’s also ionic.” She paused, lifting the sheet of paper over the top of the easel to reveal a fresh page of newsprint.

So you will rot in the ground, and so you say, what the hell? Who cares? But you care, and somehow you don't want to live just one life, which could be typed, which could be tossed off in a thumbnail sketch = "She was the sort of girl.... And end in 25 words or less. You want to live as many lives as you can... you're a capitalist from way back ... and because you're eighteen, because you're still vulnerable, because you still don't have faith in yourself, you talk a little fliply, a little too wisely, just to cover up so you won't be accused of sentimentality or emotionalism emotionalism or feminine tactics.

PROCRASTINATION The day after tomorrow, yes, only the day after tomorrow ... Tomorrow I’ll start thinking about the day after tomorrow, Maybe I could do it then; but not today ... No, nothing today; today I can’t. The confused persistence of my objective subjectivity, The sleep of my real life, intercalated, Anticipated, infinite weariness— I’m worlds too weary to catch a trolley— That kind of soul ... Only the day after tomorrow ... Today I want to prepare, I want to prepare myself for tomorrow, when I’ll think about the next day ... That’d be decisive. I’ve already got the plans sketched out, but no, today I’m not making any plans ... Tomorrow’s the day for plans. Tomorrow I’ll sit down at my desk to conquer the world; But I’ll only conquer the world the day after tomorrow ... I feel like crying, I suddenly feel like crying a lot, inside ... That’s all you’re getting today, it’s a secret, I’m not talking. Only the day after tomorrow ... When I was a kid the Sunday circus diverted me every week. Today all that diverts me is the Sunday circus from all the weeks of my childhood ... The day after tomorrow I’ll be someone else, My life will triumph, All my real qualities—intelligent, well-read, practical— Will be gathered together in a public notice ... But the public notice will go up tomorrow ... Today I want to sleep, I’ll make a fair copy tomorrow ... For today, what show will repeat my childhood to me? Even if I buy tickets tomorrow, The show would still really be the day after tomorrow ... Not before ... The day after tomorrow I’ll have the public pose I will have practiced tomorrow. The day after tomorrow I’ll finally be what I could never be today. Only the day after tomorrow ... I’m sleepy as a stray dog's chill. I’m really sleepy. Tomorrow I’ll tell you everything, or the day after tomorrow ... Yes, maybe only the day after tomorrow ... By and by ... Yes, the old by and by ...

Anyone who has not groomed his life in general towards some definite end cannot possibly arrange his individual actions properly. It is impossible to put the pieces together if you do not have in your head the idea of the whole. What is the use of providing yourself with paints if you do not know what to paint? No man sketches out a definite plan for his life; we only determine bits of it. The bowman must first know what he is aiming at: then he has to prepare hand, bow, bowstring, arrow and his drill to that end. Our projects go astray because they are not addressed to a target.16 No wind is right for a seaman who has no predetermined harbour.

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.

I can only smile. When Daniela drinks, three things happen: her native accent begins to bleed through, she becomes belligerently kind, and she tends toward hyperbole. “Your father said to me one night—never forget it—that pure research is life-consuming. He said…” For a moment, and to my surprise, emotion overtakes her. Her eyes mist, and she shakes her head like she always does when she’s about to cry. At the last second, she rallies, pushes through. “He said, ‘Daniela, on my deathbed I would rather have memories of you than of a cold, sterile lab.’ ” I look at Charlie, catch him rolling his eyes as he sketches. Probably embarrassed by our display of parental melodrama. I stare into the cabinet and wait for the ache in my throat to go away. When it does, I grab the pasta and close the door.

In 1976, a doctoral student at the University of Nottingham in England demonstrated that randomizing letters in the middle of words had no effect on the ability of readers to understand sentences. In tihs setncene, for emalxpe, ervey scarbelmd wrod rmenias bcilasaly leibgle. Why? Because we are deeply accustomed to seeing letters arranged in certain patterns. Because the eye is in a rush, and the brain, eager to locate meaning, makes assumptions. This is true of phrases, too. An author writes “crack of dawn” or “sidelong glance” or “crystal clear” and the reader’s eye continues on, at ease with combinations of words it has encountered innumerable times before. But does the reader, or the writer, actually expend the energy to see what is cracking at dawn or what is clear about a crystal? The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential—X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We’d pass out every time we saw—actually saw—a flower. Imagine if we only got to see a cumulonimbus cloud or Cassiopeia or a snowfall once a century: there’d be pandemonium in the streets. People would lie by the thousands in the fields on their backs. We need habit to get through a day, to get to work, to feed our children. But habit is dangerous, too. The act of seeing can quickly become unconscious and automatic. The eye sees something—gray-brown bark, say, fissured into broad, vertical plates—and the brain spits out tree trunk and the eye moves on. But did I really take the time to see the tree? I glimpse hazel hair, high cheekbones, a field of freckles, and I think Shauna. But did I take the time to see my wife? “Habitualization,” a Russian army-commissar-turned-literary-critic named Viktor Shklovsky wrote in 1917, “devours works, clothes, furniture, one’s wife, and the fear of war.” What he argued is that, over time, we stop perceiving familiar things—words, friends, apartments—as they truly are. To eat a banana for the thousandth time is nothing like eating a banana for the first time. To have sex with somebody for the thousandth time is nothing like having sex with that person for the first time. The easier an experience, or the more entrenched, or the more familiar, the fainter our sensation of it becomes. This is true of chocolate and marriages and hometowns and narrative structures. Complexities wane, miracles become unremarkable, and if we’re not careful, pretty soon we’re gazing out at our lives as if through a burlap sack. In the Tom Andrews Studio I open my journal and stare out at the trunk of the umbrella pine and do my best to fight off the atrophy that comes from seeing things too frequently. I try to shape a few sentences around this tiny corner of Rome; I try to force my eye to slow down. A good journal entry—like a good song, or sketch, or photograph—ought to break up the habitual and lift away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought be a love letter to the world. Leave home, leave the country, leave the familiar. Only then can routine experience—buying bread, eating vegetables, even saying hello—become new all over again.

In the forest of sensible objects that surrounds me, I find my way to becoming master of the chaos of the sensations assailing me only by separating objects from others, by giving them outline, dimensions, and form; in short, by creating unity in diversity and vividly and confidently designating these objects with the stamp of my inner sense, as if this were a seal of truth. Our whole life, then, is to a certain extent poetics: we do not see images but rather create them. The Divinity has sketched them for us on a great panel of light, from which we trace their outlines and paint the images in the soul using a finer brush than that of the rays of light. For the image that is projected on the retina of your eye is not the idea that you derive from its object; it is merely a product of your inner sense, a work of art created by your soul’s faculty of perception.

that sketch smells a bit. It’s sloppy.” “I never did have any artistic talent,” Art said defensively. “I’d rather take a photograph any day.” "You’ve taken too many photographs, maybe. As for artistic talent, I haven’t any either, but I learned to sketch. Look, Art—the rest of you guys get this, too—if you can’t sketch, you can’t see. If you really see what you’re looking at, you can put it down on paper, accurately. If you really remember what you have looked at, you can sketch it accurately from memory.” “But the lines don’t go where I intend them to.” “A pencil will go where you push it. It hasn’t any life of its own. The answer is practice and more practice and thinking about what you are looking at. All of you lugs want to be scientists. Well, the ability to sketch accurately is as necessary to a scientist as his slipstick. More necessary, you can get along without a slide rule.

That awkward moment when you realize you’ve lived your entire life inside of a picture.” ~Peregrine Storke~ It was raining when my mother pulled up to the simple two-level brick home. Drops of water pounded on the roof of her beat up red Toyota, the sound both ominous and comfortable, before tunneling down her windows in rivers and tiny tributaries. The damp infiltrated the interior, soaking my skin despite the vehicle surrounding us. Rain was never simple this time of year in Louisiana. It always came followed by lightning, thunder, and a myriad of warnings. Leaves blew against the windshield, still full and green from summer, and I watched as one of them stuck against the glass, the leaf’s veins prominent. I wanted to sketch the way it looked now, alone and surrounded by tears, but there was no time. “Don’t forget to call me when you get there,” Mom murmured. Her knuckles were white against the steering wheel, her lips pinched. She wouldn’t cry. Mom seldom cried, she

I threw my binder of materials down on our apartment’s floral couch. “Seriously, pink is a neutral color! And what’s elegant about navy blue? No one ever says, ‘Hey, you know what’s elegant? The Navy!’” Arianna rolled her dead guys. “There is nothing neutral about pink. They need a color that looks good as a background to any shade of dress.” “What color clashes with pink?” “Orange?” “Well, if anyone shows up in an orange dress, she deserves to clash. Yuck.” “Chill out. You can do a lot with navy.” I sank down into the couch next to her. “I guess. I could do navy with silver accents. Stars?” “Yawn.” “Snowflakes?” “Gee, now you’re getting creative for a winter formal.” I ignored her tone, as usual. I was just glad she was here. She’d been gone a lot lately. “Hmm . . . maybe something softer. Like a water and mist theme?” I asked. “I . . . actually kind of like that.” “Wanna help me with the sketches?” She leaned forward and turned on Easton Heights. “Decorating a stupid dance is all yours. You’re the one who decided to be more involved in your ‘normal life.’ I’d prefer to be sleeping six feet under.” “This is probably a bad time to mention I also might have signed up to help with costumes for the spring play. And since I know nothing about sewing, I kind of maybe signed you up as a volunteer aide.” She sighed, running one glamoured corpse hand through her spiky red and black hair. “I am going to kill you in your sleep.” “As long as it doesn’t hurt.” We hummed along to the opening theme, which ended when the door banged open and my boyfriend walked through, shrugging out of his coat and beaming as he dropped a duffel bag. “Free! What did I miss?” Lend asked, his cheeks rosy from the cold and his smile lighting up his watery eyes beneath his dark glamour ones. “I lost the vote on color schemes for the dance, the last episode of Easton Heights before they go into reruns is back on in three minutes, and Arianna is going to murder me in my sleep.” “As long as it doesn’t hurt.” “That’s what I said!

That life and this. This life. That life. The one beneath is drawn in solid lines and bold strokes; it is a picture drawn in permanence with ink. It’s a tattoo. Indelible. The one on top of it is sketched on vellum in soft brushes of charcoal, easily smudged. It covers the one beneath, but can’t hide it. That life. This life. It looks as if you can have both. I mean, they’re both right there, one on top of the other, and it looks as if they’ll blend. But they never will. So, you take this thing. You take this thing you want, and you put it in a box and you close the lid. You can let your fingers trace the cracks, the places where the light gets in, the dark gets out, but the lid stays on. You don’t look inside. You don’t look at this thing you want so much, because you can. Not. Have. It. So there’s this box, you know, with the thing inside, and you could throw it away or bury it or shoot it into space; you could set it on fire and watch it burn to ashes, but really, none of that would make a difference, because you cannot destroy what you want. It only makes you want it more. So. You take this thing you want and you put it in a box and you close the lid. And you hold the box close to your heart, which is where it wants to go, and you pretend it doesn’t kill you every time you feel yourself breathe.

But once the work was done, we sat down in a warm patch of Sunlight outside his house where the peonies were slowly coming into bloom, and the whole world seemed covered in a fine layer of gold leaf. “What have you done in life?” Boros suddenly asked. This question was so unexpected that I instantly let myself be carried away by memories. They began to sail past my eyes, and typically for memories, everything in them seemed better, finer, and happier than in reality. It’s strange, but we didn’t say a word. For people of my age, the places that they truly loved and to which they once belonged are no longer there. The places of their childhood and youth have ceased to exist, the villages where they went on holiday, the parks with uncomfortable benches where their first loves blossomed, the cities, cafés and houses of their past. And if their outer form has been preserved, it’s all the more painful, like a shell with nothing inside it anymore. I have nowhere to return to. It’s like a state of imprisonment. The walls of the cell are the horizon of what I can see. Beyond them exists a world that’s alien to me and doesn’t belong to me. So for people like me the only thing possible is here and now, for every future is doubtful, everything yet to come is barely sketched and uncertain, like a mirage that can be destroyed by the slightest twitch of the air. That’s what was going through my mind as we sat there in silence. It was better than a conversation. I have no idea what either of the men was thinking about. Perhaps about the same thing.

I can’t say yes. I can’t say no, either.” He swallowed. Hard. “You’re not afraid of me. Are you?” “No.” She’d never been less afraid of a man in her life. “I just…” She took a deep, shuddering breath. “I can’t give you permission to fuck me over.” He smiled slightly. “That’s not exactly what I want to do.” “But you will,” she said sharply. Was this really what she thought? Yes. “You will, and when you do, at least I’ll know I never gave you permission.” He stared. She’d really fucked things up now, she realised; all the ways she was damaged had been neatly exposed in the space of five seconds, and he’d wish he’d never made her that bloody shepherd’s pie. Then he said, “I can’t tell you I’ll never hurt you. I don’t make promises I can’t keep.” Even though she’d known it was coming, it hurt. It hurt like the time she’d sketched her favourite teacher and the teacher had crumpled the paper and thrown it in the bin because she was supposed to be doing fractions, except this time the paper was possibly, maybe her heart. Or something. Evan grasped her hand firmly in his, drawing her attention back to him. “But I can promise,” he continued, “that I will always treat you as you deserve to be treated. That I will always respect you. That I won’t lie to you or betray your trust. I try not to say never, but I will say this: hurting you is something I would never choose to do. I swear.” She felt unwelcome prickles beneath her eyelids, threatening tears. How embarrassing. She hadn’t cried in years, and she certainly wouldn’t now. “I also know,” he said, “that I can’t make you believe me. I have to show you. I’m okay with that. But Ruth, you need to know that I won’t take this any further until you tell me what you want.” “You’re impossible,” she muttered.

The Poetry that Searches Poetry that paints a portrait in words, Poetry that spills the bottled emotions, Gives life to the feelings deep inside, Breaks through all the times wept, To sweep you in a whirling ecstatic delight. The chiseled marble of language, The paint spattered canvas, Where colors flow through words, Where emotions roll on a canvas, And it all begins with you. The canvas that portrays the trembling you, Through the feelings that splash, Through the words that spatter, All over the awaiting canvas. Such is the painting sketched with passion, Colored with the heart's unleashed emotions. The poetry that reads your trembling heart, The poetry that feeds the seed of your dreams, That poetry that reveals light within rain, Takes you to a place where beauty lies in stain. The poetry that whispers- "May you find the stars, in a night so dark, May you find the moon, so rich with silver, May you sip the madness and delight In a night berserk with a wailing agony". Such words that arise from spilling emotions, So recklessly you fall, in love with life again. So, you rise shedding your fears, To chase after your dreams, As you hear thunder in the rain, That carries your pain, Through the painting of words, colored with courage, Splashed with ferocity, amidst the lost battles. Such is the richest color splash in words, Laid down on papers, that stayed so empty, For ages and ages. At times, you may feel lost, Wandering homeless in the woods, But poetry that you write, To drink the moonlight and madness, Poetry that you spill on a canvas with words, Calls you to fall, for life again. The words that evoke the intense emotions, The painting that gives the richest revelation, The insight that deepens in a light so streaming, Is the poetry that reveals the truth and beauty, In a form so elemental, in a way so searching, For a beauty so emotive, Which trembles, With the poetry's deepest digging. The words that take your eyes to sleep, The poetry that stills your raging feelings, Is the portrait of words that carries you, In emotions bottled within, held so deep, For an era so long. Forgotten they seemed, yet they arose, With the word's deepest calling, To the soul sleeping inside. The poetry that traces your emotions with words, Is a poetry that traces your soul with its lips, To speak a language that your heart understands. The Ecstatic Dance of Soul Copyright 2020 Jayita Bhattacharjee

Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included As Beatrix read, she was alternately concerned, moved, and charmed out of her stockings. “Let me reply to him and sign your name,” she begged. “One more letter. Please, Pru. I’ll show it to you before I send it.” Prudence burst out laughing. “Honestly, this is the silliest things I’ve ever…Oh, very well, write to him again if it amuses you.

Making the most of an experience: Living fully is extolled everywhere in popular culture. I have only to turn on the television at random to be assailed with the following messages: “It’s the best a man can get.” “It’s like having an angel by your side.” “Every move is smooth, every word is cool. I never want to lose that feeling.” “You look, they smile. You win, they go home.” What is being sold here? A fantasy of total sensory pleasure, social status, sexual attraction, and the self-image of a winner. As it happens, all these phrases come from the same commercial for razor blades, but living life fully is part of almost any ad campaign. What is left out, however, is the reality of what it actually means to fully experience something. Instead of looking for sensory overload that lasts forever, you’ll find that the experiences need to be engaged at the level of meaning and emotion. Meaning is essential. If this moment truly matters to you, you will experience it fully. Emotion brings in the dimension of bonding or tuning in: An experience that touches your heart makes the meaning that much more personal. Pure physical sensation, social status, sexual attraction, and feeling like a winner are generally superficial, which is why people hunger for them repeatedly. If you spend time with athletes who have won hundreds of games or with sexually active singles who have slept with hundreds of partners, you’ll find out two things very quickly: (1) Numbers don’t count very much. The athlete usually doesn’t feel like a winner deep down; the sexual conqueror doesn’t usually feel deeply attractive or worthy. (2) Each experience brings diminishing returns; the thrill of winning or going to bed becomes less and less exciting and lasts a shorter time. To experience this moment, or any moment, fully means to engage fully. Meeting a stranger can be totally fleeting and meaningless, for example, unless you enter the individual’s world by finding out at least one thing that is meaningful to his or her life and exchange at least one genuine feeling. Tuning in to others is a circular flow: You send yourself out toward people; you receive them as they respond to you. Notice how often you don’t do that. You stand back and insulate yourself, sending out only the most superficial signals and receive little or nothing back. The same circle must be present even when someone else isn’t involved. Consider the way three people might observe the same sunset. The first person is obsessing over a business deal and doesn’t even see the sunset, even though his eyes are registering the photons that fall on their retinas. The second person thinks, “Nice sunset. We haven’t had one in a while.” The third person is an artist who immediately begins a sketch of the scene. The differences among the three are that the first person sent nothing out and received nothing back; the second allowed his awareness to receive the sunset but had no awareness to give back to it—his response was rote; the third person was the only one to complete the circle: He took in the sunset and turned it into a creative response that sent his awareness back out into the world with something to give. If you want to fully experience life, you must close the circle.

I don’t know what to do with you,” he said, his voice growing curt with anger again. “Deceitful little minx. I’m of half a mind to put you to work, milking the goats. But that’s out of the question with these hands, now isn’t it?” He curled and uncurled her fingers a few times, testing the bandage. “I’ll tell Stubb to change this twice a day. Can’t risk the wound going septic. And don’t use your hands for a few days, at least.” “Don’t use my hands? I suppose you’re going to spoon-feed me, then? Dress me? Bathe me?” He inhaled slowly and closed his eyes. “Don’t use your hands much.” His eyes snapped open. “None of that sketching, for instance.” She jerked her hands out of his grip. “You could slice off my hands and toss them to the sharks, and I wouldn’t stop sketching. I’d hold the pencil with my teeth if I had to. I’m an artist.” “Really. I thought you were a governess.” “Well, yes. I’m that, too.” He packed up the medical kit, jamming items back in the box with barely controlled fury. “Then start behaving like one. A governess knows her place. Speaks when spoken to. Stays out of the damn way.” Rising to his feet, he opened the drawer and threw the box back in. “From this point forward, you’re not to touch a sail, a pin, a rope, or so much as a damned splinter on this vessel. You’re not to speak to crewmen when they’re on watch. You’re forbidden to wander past the foremast, and you need to steer clear of the helm, as well.” “So that leaves me doing what? Circling the quarterdeck?” “Yes.” He slammed the drawer shut. “But only at designated times. Noon hour and the dogwatch. The rest of the day, you’ll remain in your cabin.” Sophia leapt to her feet, incensed. She hadn’t fled one restrictive program of behavior, just to submit to another. “Who are you to dictate where I can go, when I can go there, what I’m permitted to do? You’re not the captain of this ship.” “Who am I?” He stalked toward her, until they stood toe-to-toe. Until his radiant male heat brought her blood to a boil, and she had to grab the table edge to keep from swaying toward him. “I’ll tell you who I am,” he growled. “I’m a man who cares if you live or die, that’s who.” Her knees melted. “Truly?” “Truly. Because I may not be the captain, but I’m the investor. I’m the man you owe six pounds, eight. And now that I know you can’t pay your debts, I’m the man who knows he won’t see a bloody penny unless he delivers George Waltham a governess in one piece.” Sophia glared at him. How did he keep doing this to her? Since the moment they’d met in that Gravesend tavern, there’d been an attraction between them unlike anything she’d ever known. She knew he had to feel it, too. But one minute, he was so tender and sensual; the next, so crass and calculating. Now he would reduce her life’s value to this cold, impersonal amount? At least back home, her worth had been measured in thousands of pounds not in shillings. “I see,” she said. “This is about six pounds, eight shillings. That’s the reason you’ve been watching me-“ He made a dismissive snort. “I haven’t been watching you.” “Staring at me, every moment of the day, so intently it makes my…my skin crawl and all you’re seeing is a handful of coins. You’d wrestle a shark for a purse of six pounds, eight. It all comes down to money for you.

To paint after nature is to transfer three-dimensional corporeality to a two-dimensional surface. This you can do if you are in good health and not colorblind. Oil paint, canvas, and brush are material and tools. It is possible by expedient distribution of oil paint on canvas to copy natural impressions; under favorable conditions you can do it so accurately that the picture cannot be distinguished from the model. You start, let us say, with a white canvas primed for oil painting and sketch in with charcoal the most discernible lines of the natural form you have chosen. Only the first line may be drawn more or less arbitrarily, all the others must form with the first the angle prescribed by the natural model. By constant comparison of the sketch with the model, the lines can be so adjusted that the lines of the sketch will correspond to those of the model. Lines are now drawn by feeling, the accuracy of the feeling is checked and measured by comparison of the estimated angle of the line with the perpendicular in nature and in the sketch. Then, according to the apparent proportions between the parts of the model, you sketch in the proportions between parts on the canvas, preferably by means of broken lines delimiting these parts. The size of the first part is arbitrary, unless your plan is to represent a part, such as the head, in 'life size.' In that case you measure with a compass an imaginary line running parallel to a plane on the natural object conceived as a plane on the picture, and use this measurement in representing the first part. You adjust all the remaining parts to the first through feeling, according to the corresponding parts of the model, and check your feeling by measurement; to do this, you place the picture so far away form you that the first part appears as large in the painting as the model, and then you compare. In order to check a given proportion, you hold out the handle of your paintbrush at arm's length towards this proportion in such a way that the end of the thumbnail on the handle coincides with the other end of the proportion. If then you hold the paintbrush out towards the picture, again at arm's length, you can, by the measurement thus obtained, determine with photographic accuracy whether your feeling has deceived you. If the sketch is correct, you fill in the parts of the picture with color, according to nature. The most expedient method is to begin with a clearly recognizable color of large area, perhaps with a somewhat broken blue. You estimate the degree of matness and break the luminosity with a complimentary color, ultramarine, for example, with light ochre. By addition of white you can make the color light, by addition of black dark. All this can be learned. The best way of checking for accuracy is to place the picture directly beside the projected picture surface in nature, return to your old place and compare the color in your picture with the natural color. By breaking those tones that are too bright and adding those that are still lacking, you will achieve a color tonality as close as possible to that in nature. If one tone is correct, you can put the picture back in its place and adjust the other colors to the first by feeling. You can check your feeling by comparing every tone directly with nature, after setting the picture back beside the model. If you have patience and adjust all large and small lines, all forms and color tones according to nature, you will have an exact reproduction of nature. This can be learned. This can be taught. And in addition, you can avoid making too many mistakes in 'feeling' by studying nature itself through anatomy and perspective and your medium through color theory. That is academy.

(p.112-114) This past, the Negro's past, of rope, fire torture, castration, infanticide, rape; death and humiliation; fear by day and night, fear as deep as the marrow of the bone; doubt that he was worthy of life, since everyone around him denied it; sorrow for this women, for his kinfolk, for his children, who needed his protection, and whom he could not protect; rage, hatred, and murder, hatred for white men so deep that it often turned against him and his own, and made all love, all trust, all joy impossible - this past, this endless struggle to achieve and reveal and confirm a human identity, human authority, yet contains, for all its horror, something very beautiful. I do not mean to be sentimental about suffering - enough is certainly as good as a feast - but people who cannot suffer can never grow up, can never discover who they are. That man who is forced each day to snatch manhood, his identity, out of the fire of human cruelty that rages to destroy it knows, if he survives his effort, and even if he does not survive it, something about himself and human life that no school on earth - and indeed, no church - can teach. He achieves his own authority, and that is unshakable. This is because, in order to save his life, he is forced to look beneath appearances, to take nothing for granted, to hear the meaning behind the words. If one is continually surviving the worst that life can bring, one eventually ceases to be controlled by a fear of what life can bring; whatever it brings must be borne. And at this level of experience one's bitterness begins to be palatable, and hatred becomes too heavy a sack to carry. The apprehension of life here so briefly and inadequately sketched has been the experience of generations of Negroes, and it helps to explain how they have endured and how they have been able to produce children of kindergarten age who can walk through mobs to get to school. It demands great force and great cunning continually to assault the mighty and indifferent fortress of white supremacy, as Negroes in this country have done so long. It demands great spiritual resilience not to hate the hater whose foot is on your neck, and even greater miracle of perception and charity not to teach your child to hate. The Negro boys and girls who are facing mobs today come out of a long line of improbable aristocrats - the only genuine aristocrats this country has produced. I say "this country" because their frame of reference was totally American. They were hewing out of the mountain of white supremacy the stone of their individuality. I have great respect for that unsung army of black men and women who trudged down back lanes and entered back doors, saying "Yes, sir" and "No, Ma'am" in order to acquire a new roof for the schoolhouse, new books, a new chemistry lab, more beds for the dormitories, more dormitories. They did not like saying "Yes, sir" and "No Ma'am", but the country was in no hurry to educate Negroes, these black men and women knew that the job had to be done, and they put their pride in their pockets in order to do it. It is very hard to believe that they were in anyway inferior to the white men and women who opened those back doors. It is very hard to believe that those men and women, raising their children, eating their greens, crying their curses, weeping their tears, singing their songs, making their love, as the sun rose, as the sun set, were in any way inferior to the white men and women who crept over to share these splendors after the sun went down. ... I am proud of these people not because of their color but because of their intelligence and their spiritual force and their beauty. The country should be proud of them, too, but, alas, not many people in this country even know of their existence.

Did you really think that the world was made for your sake ? You need to understand that in my works, in my ordinances , and in my operations ,with very few exceptions ,I always had and still have in mind something quite other than the happiness or unhappiness of men. When I hurt you in any way or by any means , I am not aware of it , except very seldom; just as usually , if I please you or benefit you , I do not know of it ; and I have not as you believe ,made certain things , nor do I perform certain actions to please you or to help you . And finally ,even if I happened to exterminate your whole race , I would not be aware of it. Obviously you have given no thought to the fact that the life of this universe is a perpetual circle of production and destruction , the two connected in such a way that each continually serves the other, to ensure the conservation of the world , which as soon as one or the other of them ceased to be would likewise disintegrate. So the world itself would be harmed if anything in it was free from suffering. From 'dialogue between nature and an icelander ' Reproduced from 'the soul of the marionette' John N. Gray

I’m going to help you find pleasure”—her breath hitched—“in life again, Miss Durant.” And it took a force the weight of Atlas’s strength to step away from her. The breathless minx didn’t blink for several moments. Confusion clouded her eyes. “What?” Did he imagine the disappointment in her hoarse voice? He thought not. “A deal. I’ll allow you to serve in your role as matchmaker, and you are to allow me to help you find again what brings you happiness.” “No,” she said on a rush, her previous defensive, stern-faced edge back up. “I’m not agreeing to this.” “Then I’m afraid the deal is off, Miss Durant.” He sketched a bow and made for the door. “Wait,” she called after him. He continued forward, drawing out the moment. “Wait, Barry,” she repeated, a greater stridency in her voice. He rcotton skirts whirred slightly in the quiet as she raced over to join him. “I’ll… allow it if, and only if, your plans for me are scheduled for first thing in the mornings.

The idea of dividing our work into smaller units isn’t new. You’ve probably heard this advice a hundred times: if you’re stuck on a task, break it down into smaller steps. Every profession and creative medium has its own version of “intermediate steps” on the way to full-fledged final works. For example: “Modules” in software development “Betas” tested by start-ups “Sketches” in architecture “Pilots” for television series “Prototypes” made by engineers “Concept cars” in auto design “Demos” in music recording

Life is that what you sketch over the years with your works and thoughts.

I think of marrying you. And to feel this way and then hear you say some crap about how I'm embarrassed to hold your hand in front of some fucking paparazzo––it's like The Danny Horst Rule wasn't just a funny sketch idea. It's your philosophy of life. That version of you in Nigel's office that I fell in love with, you are that person and you do have that confidence. But at the same time, you might be the most insecure adult I've ever met.

Just before our love got lost you said "I am as constant as a northern star" And I said "Constantly in the darkness Where's that at? If you want me I'll be in the bar" On the back of a cartoon coaster In the blue TV screen light I drew a map of Canada Oh Canada With your face sketched on it twice Oh you're in my blood like holy wine You taste so bitter and so sweet Oh I could drink a case of you darling Still I'd be on my feet oh I would still be on my feet Oh I am a lonely painter I live in a box of paints I'm frightened by the devil And I'm drawn to those ones that ain't afraid I remember that time you told me you said "Love is touching souls" Surely you touched mine 'Cause part of you pours out of me In these lines from time to time Oh, you're in my blood like holy wine You taste so bitter and so sweet Oh I could drink a case of you darling And I would still be on my feet I would still be on my feet I met a woman She had a mouth like yours She knew your life She knew your devils and your deeds And she said "Go to him, stay with him if you can But be prepared to bleed" Oh but you are in my blood You're my holy wine You're so bitter, bitter and so sweet Oh, I could drink a case of you darling Still I'd be on my feet I would still be on my feet

„No, maybe not. And yet I wished I could take all those sharp glasses out of your soul. And try to mend those wounds.“, he leans so gently against my hand, not bearing to break my gaze for a second, „If you were a painting, a pencil sketch, anything. I would know how to cope with the marks the artists before left on you. But you’re human. And all I can do is sit here with you and wish for softer waves in your journey.“ „Isn’t that enough?“ – „I hope it is. Because I won’t leave your side. Only if it is your wish for me to go, I will. But I won’t be able to forget you.

your Second Brain is a private knowledge collection designed to serve a lifetime of learning and growth, not just a single use case. It is a laboratory where you can develop and refine your thinking in solitude before sharing it with others. A studio where you can experiment with ideas until they are ready to be put to use in the outside world. A whiteboard where you can sketch out your ideas and collaborate on them with others.

Learning to like something new takes longer than you’d think, however. Your brain doesn’t see it as important information if it doesn’t trigger your happy chemicals. And new things are hard to focus on because the neurons don’t fire easily. Here’s a simple example. Fred wants to drink less alcohol. He decides to substitute a new pleasure with fewer side effects. He looks around for something that can grow on him and remembers how he enjoyed sketching when he was young. He resolves to take out his sketch pad every time he feels like drinking. Fred doesn’t actually feel like sketching when he longs for a drink. And once he starts sketching, he doesn’t feel fabulous. So he accepts that he will live with bad feelings for a while. He plans to do this for two months because he has a big event on the calendar then. At first, he finds it hard. He hates his sketches and he hates the feeling he gets when he doesn’t drink. But he sticks to his goal of repeating the strategy whether it feels good immediately or not. After a while, Fred learns to see the sketching time as a gift he’s given himself rather than an extra burden on his already hard life. He learns that his unhappy feelings pass without killing him, and once they’ve passed, he discovers the pleasure of being alert and responsible. Before the two months is over, he stops looking at the calendar. His sketching circuit has grown as big as his alcohol circuit.Now, he’s a healthy person with a fun hobby and a cool skill, not a person at war with himself

Now let me begin by sketching for you a very agreeable picture. You are still, I should say, a youngish man by the world’s standards; your life, as people say, lies ahead of you; in the normal course you might expect twenty or thirty years of only slightly and gradually diminishing activity. By no means a cheerless prospect, and I can hardly expect you to see it as I do—as a slender, breathless, and far too frantic interlude. The first quarter-century of your life was doubtless lived under the cloud of being too young for things, while the last quarter-century would normally be shadowed by the still darker cloud of being too old for them; and between those two clouds, what small and narrow sunlight illumines a human lifetime! But you, it may be, are destined to be more fortunate, since by the standards of Shangri-La your sunlit years have scarcely yet begun. It will happen, perhaps, that decades hence you will feel no older than you are to-day—you may preserve, as Henschell did, a long and wondrous youth. But that, believe me, is only an early and superficial phase. There will come a time when you will age like others, though far more slowly, and into a condition infinitely nobler; at eighty you may still climb to the pass with a young man’s gait, but at twice that age you must not expect the whole marvel to have persisted. We are not workers of miracles; we have made no conquest of death or even of decay. All we have done and can sometimes do is to slacken the tempo of this brief interval that is called life. We do this by methods which are as simple here as they are impossible elsewhere; but make no mistake; the end awaits us all.

I was deeply impressed by your story of the past, but to be candid, your sketch of the future interests me only in an abstract sense. I can’t look so far ahead. I should certainly be sorry if I had to leave Shangri-La to-morrow or next week, or perhaps even next year; but how I shall feel about it if I live to be a hundred isn’t a matter to prophesy. I can face it, like any other future, but in order to make me keen it must have a point. I’ve sometimes doubted whether life itself has any; and if not, long life must be even more pointless.

Most people aren’t lucky enough to have a flexible schedule. I didn’t have one either for the first sixteen years of my corporate life. So I did the next best thing by going to bed early and getting up at 4:00 A.M. to do my creative side projects. One of those projects became the sketches for Dilbert. You might not think you’re an early-morning person. I didn’t think I was either. But once you get used to it, you might never want to go back. You can accomplish more by the time other people wake up than most people accomplish all day.

1. The Method of Instruction Adopted by Zen Masters. Thus far we have described the doctrine of Zen inculcated by both Chinese and Japanese masters, and in this chapter we propose to sketch the practice of mental training and the method of practising Dhyana or Meditation. Zen teachers never instruct their pupils by means of explanation or argument, but urge them to solve by themselves through the practice of Meditation such problems as—'What is Buddha?' What is self?' 'What is the spirit of Bodhidharma?' 'What is life and death?' 'What is the real nature of mind?' and so on. Ten Shwai (To-sotsu), for instance, was wont to put three questions[FN#229] to the following effect: (1) Your study and discipline aim at the understanding of the real nature of mind. Where does the real nature of mind exist? (2) When you understand the real nature of mind, you are free from birth and death. How can you be saved when you are at the verge of death? (3) When you are free from birth and death, you know where you go after death. Where do you go when your body is reduced to elements? The pupils are not requested to express their solution of these problems in the form of a theory or an argument, but to show how they have grasped the profound meaning implied in these problems, how they have established their conviction, and how they can carry out what they grasped in their daily life. [FN#229]

There are many reasons why girls should not travel alone, and I won’t list them, because none of them are original reasons. Besides, there are more reasons why girls should. I have the utmost respect for girls who travel alone, because it’s hard work sometimes. But girls, we just want adventures. We want international best friends and hold-your-breath vistas out of crappy hostel windows. We want to discover moving works of art, sometimes in museums and sometimes in side-street graffiti. We want to hear soul-restoring jam sessions at beach bonfires and to watch celestial dawns spill over villages that haven’t changed since the Middle Ages. We want to fall in love with boys with say-that-again accents. We want sore feet from stay-up-all-night dance parties at just-one-more-drink bars. We want to be on our own even as we sketch and photograph the Piazza San Marco covered in pigeons and beautiful Italian lovers intertwined so that we’ll never forget what it feels like to be twenty-three and absolutely purposeless and single, but in love with every city we visit next. We want to be struck dumb by the baritone echoes of church bells in Vatican City and the rich, heaven-bound calls to prayer in Istanbul and to know that no matter what, there just has to be some greater power or holy magic responsible for all this bursting, delirious, overwhelming beauty in the great, wide, sprawling world. I tucked my passport into my bag. Girls, we don’t just want to have fun; we want a whole lot more out of life than that.

I have been writing my whole life: stories and plays and sketches and scripts and poems and jokes. Most feel alive. And fluid. Breathing organisms made better by the people who come into contact with them. But this book has nearly killed me. Because, you see, a book? A book has a cover. They call it a jacket and that jacket keeps the inside warm so that the words stay permanent and everyone can read your genius thoughts over and over again for years to come. Once a book is published it can’t be changed, which is a stressful proposition for this improviser who relies on her charm. I’ve been told that I am “better in the room” and “prettier in person.” Both these things are not helpful when writing a book. I am looking forward to a lively book-on-tape session with the hope that Kathleen Turner agrees to play me when I talk about some of my darker periods. One can dream.

I’ve just been to see Audrey,” Beatrix said breathlessly, entering the private upstairs parlor and closing the door. “Poor Mr. Phelan isn’t well, and--well, I’ll tell you about that in a minute, but--here’s a letter from Captain Phelan!” Prudence smiled and took the letter. “Thank you, Bea. Now, about the officers I met last night…there was a dark-haired lieutenant who asked me to dance, and he--” “Aren’t you going to open it?” Beatrix asked, watching in dismay as Prudence laid the letter on a side table. Prudence gave her a quizzical smile. “My, you’re impatient today. You want me to open it this very moment?” ”Yes.” Beatrix promptly sat in a chair upholstered with flower-printed fabric. “But I want to tell you about the lieutenant.” “I don’t give a monkey about the lieutenant, I want to hear about Captain Phelan.” Prudence gave a low chuckle. “I haven’t seen you this excited since you stole that fox that Lord Campdon imported from France last year.” “I didn’t steal him, I rescued him. Importing a fox for a hunt…I call that very unsporting.” Beatrix gestured to the letter. “Open it!” Prudence broke the seal, skimmed the letter, and shook her head in amused disbelief. “Now he’s writing about mules.” She rolled her eyes and gave Beatrix the letter. Miss Prudence Mercer Stony Cross Hampshire, England 7 November 1854 Dear Prudence, Regardless of the reports that describe the British soldier as unflinching, I assure you that when riflemen are under fire, we most certainly duck, bob, and run for cover. Per your advice, I have added a sidestep and a dodge to my repertoire, with excellent results. To my mind, the old fable has been disproved: there are times in life when one definitely wants to be the hare, not the tortoise. We fought at the southern port of Balaklava on the twenty-fourth of October. Light Brigade was ordered to charge directly into a battery of Russian guns for no comprehensible reason. Five cavalry regiments were mowed down without support. Two hundred men and nearly four hundred horses lost in twenty minutes. More fighting on the fifth of November, at Inkerman. We went to rescue soldiers stranded on the field before the Russians could reach them. Albert went out with me under a storm of shot and shell, and helped to identify the wounded so we could carry them out of range of the guns. My closest friend in the regiment was killed. Please thank your friend Prudence for her advice for Albert. His biting is less frequent, and he never goes for me, although he’s taken a few nips at visitors to the tent. May and October, the best-smelling months? I’ll make a case for December: evergreen, frost, wood smoke, cinnamon. As for your favorite song…were you aware that “Over the Hills and Far Away” is the official music of the Rifle Brigade? It seems nearly everyone here has fallen prey to some kind of illness except for me. I’ve had no symptoms of cholera nor any of the other diseases that have swept through both divisions. I feel I should at least feign some kind of digestive problem for the sake of decency. Regarding the donkey feud: while I have sympathy for Caird and his mare of easy virtue, I feel compelled to point out that the birth of a mule is not at all a bad outcome. Mules are more surefooted than horses, generally healthier, and best of all, they have very expressive ears. And they’re not unduly stubborn, as long they’re managed well. If you wonder at my apparent fondness for mules, I should probably explain that as a boy, I had a pet mule named Hector, after the mule mentioned in the Iliad. I wouldn’t presume to ask you to wait for me, Pru, but I will ask that you write to me again. I’ve read your last letter more times than I can count. Somehow you’re more real to me now, two thousand miles away, than you ever were before. Ever yours, Christopher P.S. Sketch of Albert included

Do you ever regret the choices you made?” He asked because a man could love his wife and still be honest. Flint’s answer was to leaf through the sketches and pull out one of a young couple from a bygone era, his evening attire nearly as resplendent as her ball gown—for all the image was in black and white. “The fashion at one point was to have mirrors in ballrooms, the better to serve both light and vanity. At our betrothal ball, I caught a particular glimpse of your mother’s face as we danced, and it has been all the answer any husband should ever need.” The young marchioness gazed at her husband much as the queen had gazed at her king—with love and admiration, but without the worry. Clearly she had found her way into the arms of the one man in all the world who was right for her. Flint picked up the sketch. “I would give up the ability to see any color, the ability to sketch, and several appendages as well to spend my life with your mother.

Life is a painting dream and sketch your own life.

So that drawing." Ian extended and arm to full length and pulled down three ceramic bowls from the top shelf of our kitchen cabinet. "Is that all imaginative sketching, or did you have something real to go off of. Because if you did... if you actually saw that in real life, well, I'm not sure how you're alive and sitting here right now. Because that is the definition of drop dead gorgeous.

When you are doing what I've asked you to do, you don't have to worry about getting to the farm. I'll bring you the farmer instead. And when you think you have lost sight of all your sketches, just know that it's okay. I know where the sketches are, what they need to be, and I will never leave you. Let go of the grief and the sorrow. Release the anger and the plans set in stone. Because I hold your sketch in My hand the way Mr. Gentry did in his. I watch and I draw - even when you don't know. I am concerned with all things that concern you.

I do miss you so much, but it gets harder and harder to keep you in my mind. You re like a ghost almost, fading in the light of dawn. Sometimes I close my eyes and try to summon up your face and I cant see you anymore. Then at other times I hear your voice so clearly I turn round expecting to see you standing there, and every time it happens there’s the same pang of loss. Cant you send me a sketch of where you are? It would help me a lot if I could picture you somewhere definite, not just have letters dropping in from outer space. Paul

Your drawings are brilliant, Miss Makepeace. You're quite talented." "My drawings are brilliant?" What about my smile? What about my eyes? "Yes," he said. "Detailed, accurate, yet still singular and strangely..." he looked upward for a moment, seeking a clean slate for his thought, then returned his eyes to her. "... passionate." He all but purred that last word, his eyes dancing with mirth, and for the life of her, she didn't know what to say. Susannah studied him warily instead, since his face was the one part of his body she hadn't yet sketched in vivid detail. His features were too strong, perhaps, to be considered classically handsome; his face was a bit too long and angular, like a diamond, his nose slightly arched. Light brows, light lashes, and those disconcerting eyes. But in the midst of all those angles, his mouth was a work of art; wide, sensitively curved, indisputably masculine. And of course, the rest of him was beautifully made, too. Almost overwhelmingly so. God help her, she could feel color setting fresh fire to her cheeks at the memory.

Her silence didn't seem to bother him. "Your drawings are brilliant, Miss Makepeace. You're quite talented." "My drawings are brilliant?" What about my smile? What about my eyes? "Yes," he said. "Detailed, accurate, yet still singular and strangely..." he looked upward for a moment, seeking a clean slate for his thought, then returned his eyes to her. "... passionate." He all but purred that last word, his eyes dancing with mirth, and for the life of her, she didn't know what to say. Susannah studied him warily instead, since his face was the one part of his body she hadn't yet sketched in vivid detail. His features were too strong, perhaps, to be considered classically handsome; his face was a bit too long and angular, like a diamond, his nose slightly arched. Light brows, light lashes, and those disconcerting eyes. But in the midst of all those angles, his mouth was a work of art; wide, sensitively curved, indisputably masculine. And of course, the rest of him was beautifully made, too. Almost overwhelmingly so. God help her, she could feel color setting fresh fire to her cheeks at the memory.

Harper Shaw was a single snack-getting-stuck-in-a-vending-machine away from an anxiety attack. But hey, that was what happened when you decided nothing in your life sparked joy. You wiped your slate clean like an Etch A Sketch and started over.

If you begin to feel that the likeness you have sketched out for yourself is not right—that this is not the person you want to become—then you must revisit your likeness. But if it becomes clear that it is the person you want to become, then you must devote your life to becoming that person.

CENTER. Find a quiet place at a time of day when there are few distractions around you. Bring your attention to your breath. ASK YOURSELF, “WHAT HAVE I BEEN CURIOUS ABOUT FOR A LONG TIME?” “What do I want to investigate?” Listen to your inner voice. What’s “ringing” within you? Sometimes one or more words will float past your attention like candidates in a contest. Sometimes an image will surface. WRITE DOWN OR DRAW WHATEVER GETS YOUR ATTENTION, BUT DO SO SLOWLY. Do it as if each line you’re writing or sketching were a step closer to a bell ringing from a forest that calls you out of your living room or office. Tend to where a word or line might take you.

Try Stuff Mind Mapping 1. Review your Good Time Journal and note activities in which you were engaged, energized, and in flow. 2. Choose an activity that you were engaged in, an activity that you felt highly energized from, and something you did that brought you into flow, and create three mind maps—one for each. 3. Look at the outer ring of each mind map, pick three things that jump out at you, and create a job description from them. 4. Create a role for each job description, and draw a napkin sketch. 5

Organize Reread your five freewriting entries (or mentally revisit them if you burned them) and your nine surprise visit entries. Underline what stands out to you, using it to create a personal sketch as I've done on the previous pages. It's for your eyes only. Be candid. At the end of each sketch, write at least two sentences speculating how you could use what you've discovered as either a character trait or a plotline in your novel, similar to what I've done in my Step Three example. Don't worry if you're vague at this point. Each exercise in this book builds on the one before it, so you'll be guided toward how to develop your novel at each step in the process.

Have a pen handy so you can sketch notes about anything you learn about character development as you watch, paying particular attention to how you are first introduced to the protagonist and antagonist, how you are asked to empathize with them, their strongest personality traits, main goals, main obstacles, fears, the manner of their evolution or devolution, and how you feel about them and why. Your goal in taking these notes is to pull back the curtain on what makes for a nuanced, compelling fictional character so you can employ those qualities in your own writing. If you prefer a table to guide your note-taking as you view the films, please refer to Appendix B.

The Very Difference Between Game Design & 3D Game Development You Always Want to Know Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career. What is Game Designing? A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues: • the target audience; • genre; • main plot; • alternative scenarios; • maps; • levels; • characters; • game process; • user interface; • rules and restrictions; • the primary and secondary goals, etc Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments. A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired. The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life. Who is a Game Development? Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design. 3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.). Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step). • High Concept • Pitch • Concept • Game Design Document • Prototype • Production • Design • Level Creation • Programming

Despite the march of digital technologies, it is hard to believe that paper will completely disappear as a means of communication. For some messages we trust it above all other media. There is nothing that quite grips the stomach while simultaneously making your heart skip than a letter from your beloved arriving by post. Phone calls are fine and intimate, text messages and e-mails are instantaneous and gratifying, but to hold in your hands the very material that your beloved touched and to breathe in their sweetness from the paper is truly the stuff of love. It is a communication of more than words. There is a permanence, a physical solidity to soothe those of an insecure nature. It can be read and reread over and over again. It physically takes up space in your life. The paper itself becomes a simulacrum of the loved one’s skin, it smells of their scent, and their writing is as much an expression of their unique nature as a fingerprint. A love letter is not faked, and is not cut and pasted. What is it about paper that allows words to be expressed that might otherwise be kept secret? They are written in a private moment, and as such, paper lends itself to sensual love—the act of writing being one fundamentally of touch, of flow, of flourish, of sweet asides and little sketches, an individuality that is free from the mechanics of the keyboard. The ink becomes a kind of blood that demands honesty and expression, it pours on to the page, allowing thoughts to flow. Letters make splitting up harder too, since like photographs they echo forever on the page. For one whose heart is broken this is a cruelty, and for those who have moved on it is a stinging rebuke of infidelity or, at the very least, a thorn of inconstancy in the side of their constructed personality. Paper, though, as a carbon-based material, has a bright solution for those wanting to be released from such torture: a match.

What if you have a pen and you can sketch a dream of another's? Sounds beautiful, right? It is even more wonderfully beautiful when you actually do it, for dreams are connected like all of our souls. Dreams are like little stars of our soul, and when you paint one with the stardust of your soul, be it yours or another's, the sky of your soul would always sparkle with the light of a tranquil smile. There is nothing more valuable than holding a hand and telling that person that you believe in that soul and that nothing is truly impossible, after all each and every soul is a reflection of this infinite Universe. There is no treasure richer than a smile of a heart, and when you sprinkle your goodness around and embrace all with the bliss of your own soul, with the love of your heart and the light of your mind, your door of happiness would always be unlocked where you can walk in anytime, and no matter how dark this cave of reality might be, the sky inside that door is always the brightest with a thousand sunshine of an infinite halo of dreams. I know and I have seen that when you are good while most of the people around would embrace you, get inspired and try to walk with you, there would also be a few who would doubt you and even try to pull you down by demotivating or derogatory words but do not let them win over your stardust, rather shine so bright that even their darkness is eaten up by your light. Let your good heart be your strength and walk with courage that God is the ultimate witness and the judge of all. Don't even halt for a second to think if you would help another, no matter how distant that person might be, in fact even if that person hasn't been good to you, or scarred you, you stay true to your path and treat everyone with compassion and love and know that in the book of Life every chapter finds a beginning and an ending, you paint that ending with a smile on the heart of every person you meet, knowing that smiles are the brightest sunshine of this Universe. The world might try to distract you and your mind might try to tell you that it doesn't matter, but then stay focused on this journey of Love and listen to your heart who knows that everything matters at the end of the day, after all nothing goes in waste ever. Help everyone even if that costs you something, because your help might just bring the most needed smile in a heart and every smile shines with a thousand radiance. Go an extra mile, and stay connected with every soul you have met in this voyage of Life because everyone you have come across has shaped your soul and your destination bit by bit. Value friends and family and say thank you and sorry often, not as a formality but as a reminder that every action or thought counts, knowing that relationships bloom like a watered plant. Resonate love and light and stay kind, no matter what falls on your path, because eventually all it takes is an iota of love to declutter a cloud of darkness. Let the goodness of your heart be your guide and keep holding that pen to sketch a dream of another's, because every dream is a painting of a soul in the Infinite canvas of this beautiful Universe. So, I decide to hold the pen and sketch a dream of another's. Do you?

From Microsoft OneNote, Google Keep, and Apple Notes to Notion and Evernote, digital notes apps have four powerful characteristics that make them ideal for building a Second Brain. They are: Multimedia: Just like a paper notebook might contain drawings and sketches, quotes and ideas, and even a pasted photo or Post-it, a notes app can store a wide variety of different kinds of content in one place, so you never need to wonder where to put something. Informal: Notes are inherently messy, so there’s no need for perfect spelling or polished presentation. This makes it as easy and frictionless as possible to jot things down as soon as they occur to you, which is essential to allow nascent ideas to grow. Open-ended: Taking notes is a continuous process that never really ends, and you don’t always know where it might lead. Unlike more specialized kinds of software that are designed to produce a specific kind of output (such as slide decks, spreadsheets, graphics, or videos), notes are ideal for free-form exploration before you have a goal in mind. Action-oriented: Unlike a library or research database, personal notes don’t need to be comprehensive or precise. They are designed to help you quickly capture stray thoughts so you can remain focused on the task at hand.

I love masks for two completely contrary reasons… One is that they they’re a way of covering up an experience or a feeling. The other is that they’re a way of exposing through a liberation. A mask is a way of taking on another personality for a period of time. Now, I play it both ways, I think, in the drawings, and in the fiction as well. Clearly there are some things that we can do in masked form that we would not otherwise – this is the classic dramatic device of the masked ball. You put on the mask and you’re allowed to do all kinds of things that hitherto you wouldn’t do: you seduce the people you would fear to seduce unmasked; you say the things you most fear to say unmasked. But there’s another way, which is that masks can be something that we plaster onto our faces to cover up the possibility of this eruption. I think masks have two quite contrary forms… I think some of the masks I’ve put on characters are very bland – wilfully bland. And then others seems to want erupt in all directions. That’s the paradox.’ Barker’s love affair with the stage also plays a part in his affection for these symbols of theatre. ‘There’s a whole series of sketches of actors, basically… People with masks on killing each other with wooden swords. People with masks on seducing each other. Just very simple ideas for things. They compare, forcibly, I think, with the masks which are just simply hanging up or floating in the air, as though the person who had once occupied them has just flitted away.’ Indeed, one of the most powerful of these pictures is a simple study of a mask hanging from a tree, laid aside carefully while its owner has a moment in which he doesn’t require it. There are also those masks which allow the wearers to express themselves in a way maybe they couldn’t otherwise… expressing themselves more strongly than human physiognomy will allow.’ Seen in this light, the monsters of Nightbreed and The Skins of the Fathers are clearly just a larger than life version of humanity - just like us beneath their demon masks; seen in this light, we could all just as easily put on the tragic button eyes and zipper mouth of a homicidal maniac. Barker, both in his artwork and his words, remains sagely mute on the obvious (and moralistic) question: are we truest to ourselves when we put on our masks, or when we take them off? If anything, his drawings will admit only to unembroidered irony and acceptance. When two lovers sit in a studied yet impassioned embrace – his penis erect, her nipples swollen – they are able to reveal these most private parts of themselves freely. It is their faces, seemingly the most public part of their personae, that are, in reality, still hidden, as they proceed through life as actors in this stageplay of their own creation. By trying on masks, people experiment with who they are and with who they want to be, free in the knowledge that they can turn back at any time. After all, pretending to be a fish is still a long way from becoming one. It should come as no surprise that, when we begin with humanity and then expose its masks, we find ourselves at transformation, the heart of Barker’s fiction. It is not always an easy place to be. ‘These images of transformation are, for me, ways to draw characters that are exploding out of their condition into something else. Becoming something else. Dissolving into something else… There isn’t rage in the drawings. There’s an awful lot less anger in the drawings than there is in the fiction. When there are images of constriction they tend to be very strong images of constriction, and then there is an eruption from that constriction. There are a lot more images of peace, or at least the possibility of peace, in my drawings than there are in the fiction.

Alma could not feel the absurdity of this, and she merely said, "'Every Other Week' seems to be going on just the same as ever." "Yes, the trouble has all blown over, I believe. Fulkerson," said Beaton, with a return to what they were saying, "has managed the whole business very well. But he exaggerates the value of my advice." "Very likely," Alma suggested, vaguely. "Or, no! Excuse me! He couldn't, he couldn't!" She laughed delightedly at Beaton's foolish look of embarrassment. He tried to recover his dignity in saying, "He's 'a very good fellow, and he deserves his happiness." "Oh, indeed!" said Alma, perversely. "Does any one deserve happiness?" "I know I don't," sighed Beaton. "You mean you don't get it." "I certainly don't get it." "Ah, but that isn't the reason." "What is?" "That's the secret of the universe," She bit in her lower lip, and looked at him with eyes, of gleaming fun. "Are you never serious?" he asked. "With serious people always." "I am serious; and you have the secret of my happiness—" He threw himself impulsively forward in his chair. "Oh, pose, pose!" she cried. "I won't pose," he answered, "and you have got to listen to me. You know I'm in love with you; and I know that once you cared for me. Can't that time—won't it—come back again? Try to think so, Alma!" "No," she said, briefly and seriously enough. "But that seems impossible. What is it I've done what have you against me?" "Nothing. But that time is past. I couldn't recall it if I wished. Why did you bring it up? You've broken your word. You know I wouldn't have let you keep coming here if you hadn't promised never to refer to it." "How could I help it? With that happiness near us—Fulkerson—" "Oh, it's that? I might have known it!" "No, it isn't that—it's something far deeper. But if it's nothing you have against me, what is it, Alma, that keeps you from caring for me now as you did then? I haven't changed." "But I have. I shall never care for you again, Mr. Beaton; you might as well understand it once for all. Don't think it's anything in yourself, or that I think you unworthy of me. I'm not so self-satisfied as that; I know very well that I'm not a perfect character, and that I've no claim on perfection in anybody else. I think women who want that are fools; they won't get it, and they don't deserve it. But I've learned a good deal more about myself than I knew in St. Barnaby, and a life of work, of art, and of art alone that's what I've made up my mind to." "A woman that's made up her mind to that has no heart to hinder her!" "Would a man have that had done so?" "But I don't believe you, Alma. You're merely laughing at me. And, besides, with me you needn't give up art. We could work together. You know how much I admire your talent. I believe I could help it—serve it; I would be its willing slave, and yours, Heaven knows!" "I don't want any slave—nor any slavery. I want to be free always. Now do you see? I don't care for you, and I never could in the old way; but I should have to care for some one more than I believe I ever shall to give up my work. Shall we go on?" She looked at her sketch. "No, we shall not go on," he said, gloomily, as he rose. "I suppose you blame me," she said, rising too. "Oh no! I blame no one—or only myself. I threw my chance away.

You are an artist and your masterpiece is your life. Your world is the canvas. Your desires and ideas are the sketches. Your thoughts, words, and attitudes are the paint. Your body is the brush. Your actions are the strokes. Your beliefs are the skills you use to apply the paint. Your faith and gratitude determine how extraordinary your work of art is.

It is important to note that though the process of habit change is easily described, it does not necessarily follow that it is easily accomplished. It is facile to imply that smoking, alcoholism, overeating, or other ingrained patterns can be upended without real effort. Genuine change requires work and self-understanding of the cravings driving behaviors. Changing any habit requires determination. No one will quit smoking cigarettes simply because they sketch a habit loop. However, by understanding habits’ mechanisms, we gain insights that make new behaviors easier to grasp. Anyone struggling with addiction or destructive behaviors can benefit from help from many quarters, including trained therapists, physicians, social workers, and clergy. Even professionals in those fields, though, agree that most alcoholics, smokers, and other people struggling with problematic behaviors quit on their own, away from formal treatment settings. Much of the time, those changes are accomplished because people examine the cues, cravings, and rewards that drive their behaviors and then find ways to replace their self-destructive routines with healthier alternatives, even if they aren’t fully aware of what they are doing at the time. Understanding the cues and cravings driving your habits won’t make them suddenly disappear—but it will give you a way to plan how to change the pattern.

The Benefits of Furniture 3D Rendering for Custom Designs Benefits of Furniture 3D Rendering for Custom Designs Customers crave personalization, especially when it comes to furniture. Imagine this: You’re shopping for a dining table, but none of the options fit your space or style perfectly. Wouldn’t it be great if you could tweak the design, change the color, or adjust the dimensions to suit your preferences? This is where 3D rendering for custom furniture designs comes in, revolutionizing the industry and making personalization a breeze. From offering lifelike visuals to streamlining the design process, 3D product rendering services have become a game-changer for furniture retailers, manufacturers, and customers alike. Let’s dive into how 3D furniture design, 3D product visualization, and 3D furniture models are reshaping the furniture customization experience. What is Furniture 3D Rendering? First, let’s clarify what we mean by furniture 3D rendering. In simple terms, it’s a technology that creates realistic, computer-generated images of furniture designs. These designs can range from simple chairs to complex modular systems. What makes it special? The ability to customize every detail and visualize the final product with stunning accuracy. Unlike traditional sketches or 2D drawings, 3D furniture models allow you to see how a piece will look from every angle, in various materials and finishes, even before it’s built. Why is 3D Rendering Essential for Custom Designs? Custom furniture design often comes with challenges: meeting customer expectations, managing production costs, and ensuring flawless execution. Here’s how 3D product rendering services solve these issues: 1. Bringing Ideas to Life Describing it in words or rough sketches can lead to miscommunication. With 3D product visualization, designers can translate these ideas into realistic models, making it easier for customers to see their vision come to life. Imagine being able to adjust the size, color, or material of a couch and instantly viewing the changes on-screen. This level of interactivity makes the design process exciting and collaborative. 2. Eliminating Guesswork One of the biggest pain points in custom furniture design is uncertainty. Customers often worry: “Will this color match my living room?” “Will the table fit in my dining area?” 3D furniture design removes this uncertainty by providing photorealistic visuals. Some services even allow customers to use augmented reality (AR) to virtually place the furniture in their space, ensuring it’s the perfect fit. 3. Reducing Costs and Errors In traditional furniture customization, errors during production can be costly. A miscalculation in dimensions or a misunderstanding about the design can lead to wasted materials and delayed timelines. By using 3D furniture models, manufacturers can catch potential issues early. How 3D Product Visualization Enhances Custom Furniture Experiences Customization isn’t just about making changes; it’s about making the process enjoyable and rewarding for customers. Here are some ways 3D product visualization elevates the experience: Interactive Customization Through interactive 3D tools, customers can mix and match materials, try different finishes, and even adjust design elements like armrests or leg styles. This hands-on approach makes them feel more connected to the product, increasing satisfaction and loyalty. Speeding Up Decision-Making The ability to see real-time changes to designs helps customers make decisions faster. They no longer have to imagine how a walnut finish might look compared to oak—they can see it immediately. Showcasing Versatility For businesses, 3D furniture models are a fantastic way to showcase a single product’s versatility. For example, a modular sofa can be displayed in various configurations, sizes, and colors, all without the need for multiple physical prototypes.