Sketchbook Quotes

Now he's [Cinna] arranging things around my living room: Clothing, fabrics, and sketchbooks with designs he's drawn. I pick one up and examine one of the dresses I supposedly created. You know, I think I show a lot of promise," I say. Get dressed, you worthless thing.

Eyes Tell Stories But do they know how to craft fiction? Do they know how to spin lies? His eyes swear forever, flatter with vows of only me. But are they empty promises? I stare into his eyes, as into a crystal ball, but I cannot find forever, only movies of yesterday, a sketchbook of today, dreams of a shared tomorrow. His eyes whisper secrets. But are they truths or fairy tales? I wonder if even he knows.

It is a well-known fact that of all the species on earth Homo sapiens is among the most adaptable. Settle a tribe of them in a desert and they will wrap themselves in cotton, sleep in tents, and travel on the backs of camels; settle them in the Arctic and they will wrap themselves in sealskin, sleep in igloos, and travel by dog-drawn sled. And if you settle them in a Soviet climate? They will learn to make friendly conversation with strangers while waiting in line; they will learn to neatly stack their clothing in their half of the bureau drawer; and they will learn to draw imaginary buildings in their sketchbooks. That is, they will adapt.

Everyone needed to have the opportunity to catch a long langorous glimpse of my disgrace. "This looks so much like you," she said to Noah pressing her body against his. "My girl is talented," Noah said. My heart stopped beating. Anna's heart stopped beating. Everyone's heart stopped beating. The buzzing of a solitary gnat would have sounded obscene in the stillness. "Bullshit," Anna whispered finally, but it was loud enough for everyone to hear. She hadn't moved an inch. Noah shrugged. "Im a vein bastard, and Mara indulges me." After a pause, he added, "Im just glad you didnt get your greedy little claws on the other sketchbook. That would have been embarrasing." His lips curved into a sly smile as he slid from the picnic table he'd been sitting on. "Now, get the fuck off me," he said calmly to a dumbfounded speechless Anna as he pushed past her, plucking the sketchbook roughly from her hands. And walked over to me. "Lets go," Noah ordered gently, once he was at my side. His body brushed the line of my shoulder and arm protectively. And then he held out his hand. I wanted to take it and i wanted to spit in Anna's face and i wanted to kiss him and i wanted to knee Aiden Davis in the groin. Civilization won out, and i willed each individual nerve to respond to the signal i sent with my brain and placed my fingers in his. A current traveled from my fingertips through to the hollow where my stomach used to be. And just like that i was completely, utterly and entirely, his.

Ever since I was very young, as far back as I can remember, I have loved making pictures. I knew even as a child that, when I grew up, I would be an artist of some kind. The lovely feeling of my pencil touching paper, a crayon making a star shape in my sketchbook, or my brush dipping into bright and colorful paints — these things affect me as joyfully today as they did all those years ago.

She was a Jew feeder without a question in the world on that man's first night in Molching. She was an arm reacher, deep into a mattress, to deliver a sketchbook to a teenage girl. (84.25)

It is said that books save lives, but I also say that empty sketchbooks save lives too. I filled up many, and there is no doubt they saved mine.

The sketch hunter moves through life as he finds it, not passing negligently the things he loves, but stopping to know them, and to note them down in the shorthand of his sketchbook.

We who draw do so not only to make something visible to others, but also to accompany something invisible to its incalculable destination.

The true champions of a nation's freedom are those who reject the limitations of stereotypes and affirm the rich diversity of human nature to be found.

want to draw you,” I said. “As my birthday present to me.” His smile was positively feline. I added, flipping open my sketchbook and turning to the first page, “You said once that nude would be best.” Rhys’s eyes glowed, and a whisper of his power through the room had the curtains parting, flooding the space with midmorning sunshine. Showing every glorious naked inch of him sprawled across the bed, illuminating the faint reds and golds of his wings. “Do your worst, Cursebreaker.” My very blood sparking, I pulled out a piece of charcoal and began.

The dead still come to me every now and then. But the lulls between are getting smaller. They are finding me somehow. I tell them why they can’t move on. I listen to their lives and talk to them if they need it. I still draw their portraits in my sketchbook, with their stories. I put Mary Summer in there too. Someone should remember.

Eliza sitting naked on a pink towel. So beautiful I could die. Concentrating, all focused in on her sketchbook, but aw, god ...her tail. Her cute little tail moving slowly back and forth, making a fan shape in the dirt. She's the one. She really is. I know that now.

I'm just glad you didn't get you greedy little claws on the OTHER sketchbook. THAT would have been embarrassing.

The only tattoos visible as she dug out her sketchbook and handed it over were the ones on her wrists like bracelets - a single word on each: true and story.

A sketchbook for a cloak? Hardly seems like a fair trade." "It's a magic sketchbook," Edan said, reaching for it. I rolled my eyes. "Really." "See, when you turn it upside down, sand falls out." Edan smiled widely as he caught the desert's golden grains in his palm. "Sand, sand, and more sand." "Oh, you!

Anna turned the pages slowly for effect, and like some demonic schoolmarm, held the book at an angle to provide maximum exposure to the assembled crowd. Everyone needed to have the opportunity to catch a long, languorous glimpse of my disgrace. "This looks so much like you," she said to Noah, pressing her body against his. "My girl is talented," Noah said. My heart stopped beating. Anna's heart stopped beating. Everyone's heart stopped beating. The buzzing of a solitary gnat would have sounded obscene in the stillness. "Bullshit," Anna whispered finally, but it was loud enough for everyone to hear. She hadn't moved an inch. Noah shrugged. "I'm a vain bastard, and Mara indulges me." After a pause, he added, "I'm just glad you didn't get your greedy little claws on the other sketchbook. That would have been embarrassing." His lips curved into a sly smile as he slid from the picnic table he'd been sitting on. "Now, get the fuck off me," he said calmly to a dumbfounded, speechless Anna as he pushed past her plucking the sketchbook roughly from her hands. And walked over to me. "Let's go," Noah ordered gently, once he was at my side. His body brushed the line of my shoulder and arm protectively. And then he held out his hand. I wanted to take it and I wanted to spit in Anna's face and I wanted to kiss him and I wanted to knee Aiden Davis in the groin. Civilization won out, and I willed each individual nerve to respond to the signal I sent with my brain and placed my fingers in his. A current traveled from my fingertips through to the hollow where my stomach used to be. And just like that, I was completely, utterly and entirely, His.

Reading Shakespeare is sometimes like looking through a window into a dark room. You don't see in. You see nothing but a reflection of yourself unable to see in. An unflattering image of yourself blind.

A mountain had died, its skeleton had been scattered over the ground. Time had aged the mountain; time had killed the mountain-and here lay the mountain's bones.

Sketchbooks and journals are the street lamps that illuminate the artist's journey.

I recall the rasp of charcoal on newsprint, the chewing-gum stretch of a kneaded eraser, the precarious bite of a razor blade in a new pencil. The vibrancy of fresh watercolors squeezed from a tube. A new sketchbook, cracked open to flawless white. The way the smell of turpentine made me feel simultaneously sick and excited.

She eased across the creaking floorboards to the nearest window. The view encompassed the woods, with dark shapes smeared into one entity, like in her sketchbook. What lay amongst the trees?

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

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

The longer a nation's history, the more wars, invasions, wanderings, and periods of captivity it has seen-the greater the diversity of its faces.

Drawing is a form of probing. And the first generic impulse to draw derives from the human need to search, to plot points, to place things and to place oneself.

once the computer is involved, “things are on an inevitable path to being finished. Whereas in my sketchbook the possibilities are endless.

If Chelsea was one of her sketchbook creations, she would be made up of hard strokes from a densely packed paintbrush and scratches from a sharp quill pen.

I thought that if I couldn’t make a living as an artist, at least I shouldn’t starve. By the time I had finished these studies, I had realized that I simply did not draw well enough to be the kind of artist and illustrator that I wanted to be, and so for two days a week over two years I drew — and drew and drew — from the models in the life classes at Chelsea School of Art. I really found out how people looked and moved and balanced, and though nowadays I almost never use a sketchbook and just make everything up as I go along, it’s those days in the life room that are the back of it all.

We humans have the capacity to survive almost anything. Not only to survive but to come through triumphant. Another door will open. You’ll see. A better one. A safer one. A brighter future.

What no school prepares you for is the fact that when you finally get to enter the adult world you’re just one of seven billion primates swinging from the trees, hurling your excrement at each other and fighting over the same tiny pot of job vacancies. Instead school teaches you everything that you don’t need to know, hands over your exam results and tells you to fuck off into the jungle to fend for yourself. No more handouts; no more free passes. Get out there and make a miracle happen. Or die.

Social media is basically standing at a bucket filled with other people’s vomit and you suck the vomit through a straw, and gag and wince at the unbearable taste of other people’s vomit. Yet strangely we continue to suck through the straw as if we’ve never tasted such lovely vomit. And then before you know it you’re old and you’re grey. And that’s the end of you. A lonely death. Your gravestone is marked with the six saddest words: Social Media Drained My Soul Away And they all mourn your loss at a budget funeral service while updating their social media statuses on mobile phones apps. And in years to come nobody remembers any of your updates; even those updates that you deep-down believed were going to bring about world peace. The Digital Age is more disposable than nappies and just as full of shit.

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

There is nothing admirable about being obedient to a system that doesn’t serve you. The present system we endure day in, day out is designed to turn us against each other while a minority of people get rich off our backs, destroying the planet in the process.

In spite of everything, life would go on, the life of a nation making its way through a land of stone.

Ciss says, 'People have less emotions than actors think they have. For much of the time we hide our emotions, we haven't time for emotions. Our brains work so much faster than our emotions.

This is a familiar syndrome. There is a stage with every drawing or painting when it looks banal and clumsy. It's worth pushing through that, working through the cliché to find out what made it a cliché in the first place.

Speaking of cold... I shiver. "Has the temperature dropped, or is it just me?" "Here." Etienne unwraps the black scarf that had been tied loosely around his neck,and hands it to me. I take it, gently, and wrap it around mine. It makes me dizzy.It smells like freshly scrubbed boy. It smells like him. "Your hair looks nice," he says. "You bleached it again. I touch the stripe self-consciously. "Mom helped me." "That breeze is wicked,I'm going for coffee." Josh snaps his sketchbook closed. I'd forgotten he was here again. "You coming?" Etienne looks at me, waiting to see how I answer. Coffee! I'm dying for a real cup. I smile at Josh. "Sounds perfect." And then I'm heading down the steps of the Pantheon, cool and white and glittering, in the most beautiful city in the world. I'm with two attractive, intelligent,funny boys and I'm grinning ear to ear. If Bridgette could see me now. I mean,who needs Christopher when Etienne St. Clair is in the world? But as soon as I think of Toph, I get that same stomach churching I always do when I think about him now.Shame that I ever thought he might wait. That I wasted so much time on him. Ahead of mine,Etienne laughs at something Josh said. And the sound sends me spiraling into panic as the information hits me again and again and again. What am I going to do? I'm in love with my new best friend.

Before they were done, he'd bought her tons of new clothes, underwear, perfume-because a saleslady had accosted them and he decided she definitely needed to smell like what was on that little white card-a new sketchbook, a watercolor of the Golden Gate Bridge he bought from a woman on the street, and a top-of-the-line MacBook with a pink carry case.

Who votes for these uninspiring gorgons?

The computer brings out the uptight perfectionist in us—we start editing ideas before we have them. The cartoonist Tom Gauld says he stays away from the computer until he’s done most of the thinking for his strips, because once the computer is involved, “things are on an inevitable path to being finished. Whereas in my sketchbook the possibilities are endless.

Wait, let me get that down. Primum: save…men. Secundo: do not…drop…weapon. Tertio—what’s the third thing on this list?” “Suck my prick,” Grey said rudely. “Ass.” Percy promptly flipped the sketchbook shut and came toward him, eyes brighter still. “Wait! I didn’t mean it!” “Just following orders,” Percy murmured, pinning him to the bed with a deft knee on his thigh, and getting a hand on his flies. “Sir.

Some minds corrode, and grow inactive, under the loss of personal liberty; others grow morbid and irritable; but it is the nature of the poet to become tender and imaginative in the loneliness of confinement.

The nationalism of a small nation can, with treacherous ease, become detached from its roots in what is noble and human. It then become pitiful, making the nation appear smaller rather than greater. It is the same with nations as with individuals; while trying to draw attention to the inadequacies of others, people all too often reveal their own.

Staring at a blank piece of paper, I can't think of anything original. I feel utterly uninspired and unreceptive. It's the familiar malaise of 'artist's block' and in such circumstances there is only one thing to do: just start drawing. The artist Paul Klee refers to this simple act as 'taking a line for a walk', an apt description of my own basic practice: allowing the tip of a pencil to wander through the landscape of a sketchbook, motivated by a vague impulse but hoping to find something much more interesting along the way. Strokes, hooks, squiggles and loops can resolve into hills, faces, animals, machines -even abstract feelings- the meanings of which are often secondary to the simple act of making (something young children know intuitively). Images are not preconceived and then drawn, they are conceived as they are drawn. Indeed, drawing is its own form of thinking, in the same way birdsong is 'thought about' within a bird's throat.

One should embrace the artist's profession only after recognising in oneself an intense passion for Nature and the disposition to pursue it with a perseverance that nothing can shatter - thirst for neither approval nor financial profit. Do not be discouraged by the censure that might fall upon one's works - one must be armoured with a strong conviction which makes one go straight ahead fearing no obstacle. An unremitting task […] an unassailable conscience. (From a sketchbook of 1847).

There is a symbiotic desire to get closer and closer, to enter the self of what is being drawn, and, simultaneously, there is the foreknowledge of immanent distance. Such drawings aspire to be both a secret rendezvous and an au revoir! Alternately and ad infinitum.

Accept the unknown. There are no secondary characters. Each one is silhouetted against the sky. All have the same stature. Within a given story some simply occupy more space.

that a time of stress and tragedy takes away all but the will to survive.

Experience makes one come to terms with life, to be at one with the mind and the heart. And most people are suffering in some way.

The only stories worth reading have happy endings.

Life is like a sketchbook, every page is a new day, every picture is a new story and every line is a new path, we just need to be smart enough to create our own masterpieces. ~Jes

The effort of learning. It's the same when you approach any new skill or technique, from a dance step to driving a car. The effort of learning stops you, at first, from doing it well.

There is a storytelling element in there. The tango form is a little like the blues in that you have a kind of structure. It’s not as rigid as twelve bar, but it's very much a storytelling medium -- and there’s an element of call-and-response, and a particular arc in the musical form, that suggest a story. It's about being in the moment, with the music; and responding to your partner, and the particular feeling and momentum in her body in any one moment. It’s a very concentrated thing; you can’t think about anything else while you are doing it. If you try to hold a conversation, it just kind of falls apart. The music was what really drew me into tango. Everyone knows a few of the more popular tango classics, but once you get into it, there’s such a rich field. It’s astonishing, this kind of miraculous musical form that developed in a very small locality: two cities on either side of the River Plate, in Argentina and Urugauy. It started in the 1880s or '90s, and there are all kinds of mysteries, myths and stories, about how tango started and developed. It was first of all considered really low-life, almost reptilian. Something to be avoided and not talked about. And then it became this word wide phenomena. . .and I could go on talking about tango forever. . . . but its also to do with movement. I try to get that into my pictures: a sense of movement, something flowing through. A while ago, I realised how much I'd been drawing dancing figures in the corners of my sketchbooks for years before I discovered tango!

He looks up. Our eyes lock,and he breaks into a slow smile. My heart beats faster and faster. Almost there.He sets down his book and stands.And then this-the moment he calls my name-is the real moment everything changes. He is no longer St. Clair, everyone's pal, everyone's friend. He is Etienne. Etienne,like the night we met. He is Etienne,he is my friend. He is so much more. Etienne.My feet trip in three syllables. E-ti-enne. E-ti-enne, E-ti-enne. His name coats my tongue like melting chocolate. He is so beautiful, so perfect. My throat catches as he opens his arms and wraps me in a hug.My heart pounds furiously,and I'm embarrassed,because I know he feels it. We break apart, and I stagger backward. He catches me before I fall down the stairs. "Whoa," he says. But I don't think he means me falling. I blush and blame it on clumsiness. "Yeesh,that could've been bad." Phew.A steady voice. He looks dazed. "Are you all right?" I realize his hands are still on my shoulders,and my entire body stiffens underneath his touch. "Yeah.Great. Super!" "Hey,Anna. How was your break?" John.I forget he was here.Etienne lets go of me carefully as I acknowledge Josh,but the whole time we're chatting, I wish he'd return to drawing and leave us alone. After a minute, he glances behind me-to where Etienne is standing-and gets a funny expression on hs face. His speech trails off,and he buries his nose in his sketchbook. I look back, but Etienne's own face has been wiped blank. We sit on the steps together. I haven't been this nervous around him since the first week of school. My mind is tangled, my tongue tied,my stomach in knots. "Well," he says, after an excruciating minute. "Did we use up all our conversation over the holiday?" The pressure inside me eases enough to speak. "Guess I'll go back to the dorm." I pretend to stand, and he laughs. "I have something for you." He pulls me back down by my sleeve. "A late Christmas present." "For me? But I didn't get you anything!" He reaches into a coat pocket and brings out his hand in a fist, closed around something very small. "It's not much,so don't get excited." "Ooo,what is it?" "I saw it when I was out with Mum, and it made me think of you-" "Etienne! Come on!" He blinks at hearing his first name. My face turns red, and I'm filled with the overwhelming sensation that he knows exactly what I'm thinking. His expression turns to amazement as he says, "Close your eyes and hold out your hand." Still blushing,I hold one out. His fingers brush against my palm, and my hand jerks back as if he were electrified. Something goes flying and lands with a faith dink behind us. I open my eyes. He's staring at me, equally stunned. "Whoops," I say. He tilts his head at me. "I think...I think it landed back here." I scramble to my feet, but I don't even know what I'm looking for. I never felt what he placed in my hands. I only felt him. "I don't see anything! Just pebbles and pigeon droppings," I add,trying to act normal. Where is it? What is it? "Here." He plucks something tiny and yellow from the steps above him. I fumble back and hold out my hand again, bracing myself for the contact. Etienne pauses and then drops it from a few inches above my hand.As if he's avoiding me,too. It's a glass bead.A banana. He clears his throat. "I know you said Bridgette was the only one who could call you "Banana," but Mum was feeling better last weekend,so I took her to her favorite bead shop. I saw that and thought of you.I hope you don't mind someone else adding to your collection. Especially since you and Bridgette...you know..." I close my hand around the bead. "Thank you." "Mum wondered why I wanted it." "What did you tell her?" "That it was for you,of course." He says this like, duh. I beam.The bead is so lightweight I hardly feel it, except for the teeny cold patch it leaves in my palm.

Catch-22 has much passion, comic and fervent, but it gasps for want of craft and sensibility… Its author, Joseph Heller, is like a brilliant painter who decides to throw all the ideas in his sketchbooks onto one canvas, relying on their charm and shock to compensate for the lack of design… The book is an emotional hodgepodge; no mood is sustained long enough to register for more than a chapter.

Along with the greening of May came the rain. Then the clouds disappeared and a soft pale lightness fell over the city, as if Kyoto had broken free of its tethers and lifted up toward the sun. The mornings were as dewy and verdant as a glass of iced green tea. The nights folded into pencil-gray darkness fragrant with white flowers. And everyone's mood seemed buoyant, happy, and carefree. When I wasn't teaching or studying tea kaiseki, I would ride my secondhand pistachio-green bicycle to favorite places to capture the fleeting lushness of Kyoto in a sketchbook. With a small box of Niji oil pastels, I would draw things that Zen pots had long ago described in words and I did not want to forget: a pond of yellow iris near a small Buddhist temple; a granite urn in a forest of bamboo; and a blue creek reflecting the beauty of heaven, carrying away a summer snowfall of pink blossoms. Sometimes, I would sit under the shade of a willow tree at the bottom of my street, doing nothing but listening to the call of cuckoos, while reading and munching on carrots and boiled egg halves smeared with mayonnaise and wrapped in crisp sheets of nori. Never before had such simple indulgences brought such immense pleasure.

We won’t be expected to do any of that tonight,” Kimmalyn said. “Since we’re sick. It will be fun, Spin! We can stay up all night talking.” “About what?” I asked. “Normal things,” FM said, shrugging. What was normal? “Like . . . guys?” “Stars, no,” Hurl said, sitting up and pulling something off her headboard. She held up a sketchbook filled with little drawings of ships going through patterns. “Flight strategies!

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.

[Monty] talks about Fritz Perls and the Gestalt theory. The here and now is the only time that exists. And being yourself. Not accepting yourself, not taking yourself for granted. Being yourself. Your self. Monty defines 'normality' as a contententment with who you are.

When I'm drawing - and here drawing is very different from writing or reasoning - I have the impression at certain moments of participating in something like a visceral function, such as digestion or sweating, a function that is independent of the conscious will. This impression is exaggerated, but the practice or pursuit of drawing touches, or is touched by, something prototypical and anterior to logical reasoning.

What constitutes the character of a nation is the character of many individual human beings; every national character is in essence, simply human nature. All the worlds nations, therefore, have a great deal in common with one another. The foundation of any national character is human nature. The foundation of national character is simply a particular colouring taken on by human nature, a particular crystallisation of it.

I was wondering where the real party was." I jumped, sending my pencil in a sharp line across the page. Alex was standing two feet away, one booted foot on my step, hands thrust into the pockets of what looked too much like Emo pants: black and tight. "Sorry," he said. "I didn't mean to surprise you." "You didn't surprise me," I gasped, left hand plastered to my chest. "You scared the crap out of me. Who raised you? Wolves?" He actually grinned. "You've met my parents. What do you think?" I wasn't going to touch that one. I just shrugged. "Why aren't you inside?" he asked after a few seconds. "It was too hot," I lied, closing my sketchbook as casually as I could. "Oppressive.Why aren't you?" "It was too...God, I don't know. Oppressive's a good word. Some fresh air seemed like a good idea." I looked past him, relieved not to see anyone else there. "All by yourself? That's...bold." His brows wen up. For a second, I thought he was going to turn around and leave. Instead,he took his hands out of his pockets and pointed at my step. "Big words for a small person. Can I sit down?" I swallowed. "Sure." He did, ending up with his elbows resting on his thighs and his right knee not quite touching mine. The silence went on just long enough to make in uncomfortable. But I wasn't going to help him with his small talk. I'm not very good at it in the best of circumstances. Sitting almost thigh to thigh with a guy who turned me into a mental pretzel was nowhere near a good circumstance.

The computer is really good for editing your ideas, and it’s really good for getting your ideas ready for publishing out into the world, but it’s not really good for generating ideas. There are too many opportunities to hit the delete key. The computer brings out the uptight perfectionist in us—we start editing ideas before we have them. The cartoonist Tom Gauld says he stays away from the computer until he’s done most of the thinking for his strips, because once the computer is involved, “things are on an inevitable path to being finished. Whereas in my sketchbook the possibilities are endless.

We should call on the Creator to show more modesty. He created the world in a frenzy of excitement. Instead of revising his rough drafts, he had his work printed straightaway. What a lot of contradictions there are in it. What a log of typing errors, inconsistencies in the plot, passages that are too long and wordy, characters that are entirely superfluous. But it is painful and difficult to cut and trim the living cloth of a book written and published in too much of a hurry

Gaiman wrote the first draft in fountain pen, in several five-hundred-page, leather-bound sketchbooks that he purchased in a close-out sale. "I really wanted a second draft," says the author. "It's my experience with computers that they do not give you a second draft. Computers give you an ongoing, ever-improving first draft.

I can feel the power of the words doing the work. Must trust language more.

To set out into the world, to be surrounded by the unknown and become a stranger. Only then would he be free to reinvent himself. Or fall in love.

obviate them

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somehow or other, there is a genial sunshine about you that warms every creeping thing into heart and confidence. Your

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disposed to

overtures with

subjoining in

mire, and,

firmament with

emolument of

propitious than

appellation of

auspices of

verdure; her

reveries, a

Whatever you want," he said. "Will you please come here now?" I slipped a piece of protective tissue over my drawing and flipped the book closed. A piece of blue scratch paper slid out, the line I'd copied from Edward;s poetry book. "Hey. Translate for me, Monsieur Bainbridge." I set the sketchbook on my stool and joined him on the chaise. He tugged me onto his lap and read over his head. "'Qu'ieu sui avinen, leu lo sai.' 'That I am handsome, I know." "Verry funny." "Very true." He grinned. "The translation. That's what it says. Old-fashionedly." I thought of Edward's notation on the page, the reminder to read the poem to Diana in bed, and rolled my eyes. You're so vain.I bet you think this song is about you..."Boy and their egos." Alex cupped my face in his hands. "Que tu est belle, tu le sais." "Oh,I am not-" "Shh," he shushed me, and leaned in. The first bell came way too soon. I reluctantly loosened my grip on his shirt and ran my hands over my hair. He prompty thrust both hands in and messed it up again. "Stop," I scolded, but without much force. "I have physics," he told me. "We're studying weak interaction." I sandwiched his open hand between mine. "You know absolutely nothing about that." "Don't be so quick to accept the obvious," he mock-scolded me. "Weak interaction can actually change the flavor of quarks." The flavor of quirks, I thought, and vaguely remembered something about being charmed. I'd sat through a term of introductory physics before switching to basic biology. I'd forgotten most of that as soon as I'd been tested on it,too. "I gotta go." Alex pushed me to my feet and followed. "Last person to get to class always gets the first question, and I didn't do the reading." "Go," I told him. "I have history. By definition, we get to history late." "Ha-ha. I'll talk to you later." He kissed me again, then walked out, closing the door quietly behind him.

Is that...the Looney Tunes theme?" Mer and St. Clair cock their ears. "Why,yes.I believe it is," St. Clair says. "I heard 'Love Shack' a few minutes ago," Mer says. "It's official," I say. "America has finally ruined France." "So can we go now?" St. Clair holds up a small bag. "I'm done." "Ooo,what'd you get?" Mer asks. She takes his bag and pulls out a delicate, shimmery scarf. "Is it for Ellie?" "Shite." Mer pauses. "You didn't get anything for Ellie?" "No,it's for Mum.Arrrgh." He rakes a hand through his hair. "Would you mind if we pop over to Sennelier before we go home?" Sennelier is a gorgeous little art supply sore,the kind that makes me wish I had an excuse to buy oil paints and pastels. Mer and I went with Rashmi last weekend. She bought Josh a new sketchbook for Hanukkah. "Wow.Congratulations,St. Clair," I say. "Winner of today's Sucky Boyfriend award.And I thought Steve was bad-did you see what happened in calc?" "You mean when Amanda caught him dirty-texting Nicole?" Mer asks. "I thought she was gonna stab him in the neck with her pencil." "I've been busy," St. Clair says. I glance at him. "I was just teasing." "Well,you don't have to be such a bloody git about it." "I wasn't being a git. I wasnt even being a twat, or a wanker, or any of your other bleeding Briticisms-" "Piss off." He snatches his bag back from Mer and scowls at me. "HEY!" Mer says. "It's Christmas. Ho-ho-ho. Deck the halls. Stop fighting." "We weren't fighting," he and I say together. She shakes her head. "Come on,St. Clair's right. Let's get out of here. This place gives me the creeps." "I think it's pretty," I say. "Besides, I'd rather look at ribbons than dead rabbits." "Not the hares again," St. Clair says. "You're as bad as Rashmi." We wrestle through the Christmas crowds. "I can see why she was upset! The way they're hung up,like they'd died of nosebleeds. It's horrible. Poor Isis." All of the shops in Paris have outdone themselves with elaborate window displays,and the butcher is no exception. I pass the dead bunnies every time I go to the movies. "In case you hadn't noticed," he says. "Isis is perfectly alive and well on the sixth floor.

Astra is a beauty. (...) Astra is so beautiful that I have no wish to describe her beauty. I will say only that her beauty is the expression of her soul. Her beauty lives in her quiet walk, in her shy movements, in her always-lowered eyelids, in her barely perceptible smile, in the soft outline of her girlish shoulders, in the chastity of her poor, almost beggarly clothing, in her thoughtful grey eyes. She is a white water lily in a pond shadowed by the branches of trees, born amid still, contemplative water. (...) The world of modest female beauty finds its expression in Astra. As for what may lie hidden in the depths of these waters, no-one can say unless he breaks the water's smooth surface, walks barefoot through the cutting sedge and treads the silty, sucking mud — now cold, now strangely warm. But I only stand on the shore, admiring the lily from a distance

I have something to show you." He sank down next to me and handed me a sketchbook. I opened it. And saw the mermaid. She was drawn in colored ink, exquisitely detailed; each scale had a little picture in it: a pyramid, a rocket, a peacock, a lamp. Her torso was patterened red, like a tattoo, like coral. She had a thin strand of seaweed around her neck, with a starfish holding on to the center. Her hair was a tumble of loose black curls. She had my face. I turned the page.And another and another. There she was fighting a creature that was half human, half octopus. Exploring a cave. Riding a shark. Laughing and petting a stingray that rested on her lap. "I'm calling her Cora Lia for the moment," Alex told me. "I thought about Corella, but it sounded like cheap dishware." "She's...amazing." "She's fierce. Fighting the Evil Sea-Dragon King and his minions." I traced the red tattoo on her chest. "This is beautiful." Alex reached into my sweater, pulled the loose neck of the T-shirt away from my shoulder. I didn't stop him. "It looks like coral to me." He touched me, then,the pad of his thumb tracing the outline of the scar. It felt strange, partly because of the difference in the tissue, but more because in the last few years, the only hands that had touched me there were mine. I set the book aside carefully. "Guess I don't see what you do." "That's too bad, because I see you perfectly." I curved myself into him. "Maybe you're exactly what I need." "Like there's any doubt?" He buried his face in my neck.I didn't stop him. "So." "So?" "We'll kill a few hours, watch the sunrise, have pancakes, and you'll drive home." "What?" I felt him smile against my skin. "I got you swimming with sharks. Next on the Conquer Your Fears list is driving a stick shift.Right?" "One thing at a time," I said. Then, "Oh. Do that again." In another story, the intrepid heroine would have gone running out and splashed in the surf, hypothermia be damned. She would have driven the Mustang home, booked a haircut, taken up stand-up comedy, and danced on the observation deck of the Empire State Building. But this was me, and I was moving at my own pace. Truth: My story started a hundred years ago. There's time.

The scholar only knows how dear these silent, yet eloquent, companions of pure thoughts and innocent hours become in the season of adversity. When all that is worldly turns to dross around us, these only retain their steady value. When friends grow cold, and the converse of intimates languishes into vapid civility and commonplace, these only continue the unaltered countenance of happier days, and cheer us with that true friendship which never deceived hope, nor deserted sorrow.

Why is an actor's unintentional giggling called a 'corpse'? It seems to me quite the opposite. It proves that he's very much alive, and can still tell how silly this all is: him dressed up as someone else speaking words written by a third party.

Communication between people of different nationalities enriches human society and makes it more colourful.. Imagine our Russian intellectuals, the kind, merry, perceptive old women in our villages, our elderly workers, our young lads, our little girls being free to enter the melting pot of ordinary human intercourse with the people of North and South America, of China, France, India, Britain and the Congo. What a rich variety of customs, fashion, cuisine and labour would then be revealed! what a wonderful human community would then come into being, emerging out of so many peculiarities of national characters and ways of life. And the beggarliness, blindness and inhumanity of narrow nationalism and hostility between states would be clearly demonstrated.

This absolute lack of objectivity might be said to resemble nothing so much as the lack of objectivity these same people had shown during Stalin's life, when they had been so supremely worshipful of his mind and strength of will, of his foresight and genius. Their hysterical worship of Stalin and their total and unconditional rejection of him sprang from the same soil.

Two men enter the room, one old and mustached and the other young and tawny-headed, wearing sweats and a worn T-shirt. He looks like Silas, actually—god, what am I, obsessed? But there really is something of the woodsman in the younger man’s face, with his full lips, his slightly curled hair that turns like tendrils around his ears . . . I look away before studying him too closely. “All right, ladies, are we ready?” the older man says enthusiastically. There’s a loud rustling of paper as well flip the enormous sketchbooks on our easels until we find blank sheets. I draw a few soft lines on my page, unsure what— Non-Silas rips off his T-shirt, revealing lightly defined muscles on his pale chest. I raise an eyebrow just as he tugs at the waist of the sweatpants. They drop to the floor in a fluid, sweeping motion. There’s nothing underneath them. At all. My charcoal slips through my suddenly sweaty fingers. Non-Silas steps out of the puddle of his clothes and moves to the center of the room, fluorescent lights reflecting off his slick abdomen. He’s smiling as though he isn’t naked, smiling as though I didn’t somehow manage to get the seat closest to him. As if I can’t see . . . um . . . everything only a few feet from my face, making my mind clumsily spiral. I squeeze my eyes shut for a moment; he looks like Silas in the face, and because of that I keep wondering if he looks akin to Silas everywhere else. “All right, ladies, this will be a seven-minute pose. Ready?” the older man says, positioning himself behind the other empty easel. The roomful of housewives nod in one hungry motion. I quiver. “Go!” the older man says, starting the stopwatch. Non-Silas poses, something reminiscent of Michelangelo’s David, only instead of marble eyes looking into nothingness, non-Silas is staring almost straight at me. Draw. I’m supposed to be drawing. I grab a new piece of charcoal from the bottom of the easel and begin hastily making lines in my sketchbook. I can’t not look at him, or he’ll think I’m not drawing him. I glance hurriedly, trying to avoid the region my eyes continuously return to. I start to feel fluttery. How long has it been? Surely it’s been seven minutes. I try to add some tone to my drawing’s chest. I wonder what Silas’s chest looks like . . . Stop! Stop stop stop stop stop—” “Right, then!” the older man says as his stopwatch beeps loudly and the scratchy sound of charcoal on paper ends. Thank you, sir, thank you—” “Annnnd next pose!” Non-Silas turns his head away, till all I can see is his wren-colored hair and his side, including a side view of . . . how many times am I going to have to draw this man’s area? What’s worse is that he looks even more like Silas now that I can’t see his eyes. Just like Silas, I bet. My eyes linger longer than necessary now that non-Silas isn’t staring straight at me. By the end of class, I’ve drawn eight mediocre pictures of him, each one with a large white void in the crotch area. The housewives compare drawings with ravenous looks in their eyes as non-Silas tugs his pants back on and leaves the room, nodding politely. I picture him naked again. I sprint from the class, abandoning my sketches—how could I explain them to Scarlett or Silas? Stop thinking of Silas, stop thinking of Silas.

He picked up a glass of Prosecco and handed it to me. “So you’re visiting here?” “I’m here for a year, studying at the accademia,” I said. “I got a bursary to take leave from my teaching job.” “Jolly nice. I’d make the most of it, if I were you. Venice is still one of the few civilized cities in the world. The racial laws created last year by Il Duce were supposed to exclude Jews from education and teaching and then to strip them of property. None of that has happened here. The Venetians still live quite happily and do business in the ghetto and turn a blind eye to those of Jewish origin, like our dear contessa here.” I looked at him with surprise and then turned my gaze to Contessa Fiorito. I remembered now that she had mentioned her parents were Jewish émigrés. “But her husband was an Italian count,” I said. “Indeed he was, but that has nothing to do with her racial origin. Born of a poor Jewish family in Paris, so I understand. Of course she is well respected here and does a lot in the way of philanthropy for the city. Most people don’t even know her heritage.” He drew closer to me. “I have advised her to have an escape plan ready, just in case.

As I grew into boyhood, I extended the range of my observations. My holiday afternoons were spent in rambles about the surrounding country. I made myself familiar with all its places famous in history or fable. I knew every spot where a murder or robbery had been committed, or a ghost seen. I visited the neighboring villages, and added greatly to my stock of knowledge, by noting their habits and customs, and conversing with their sages and great men. I even journeyed one long summer's day to the summit of the most distant hill, whence I stretched my eye over many a mile of terra incognita, and was astonished to find how vast a globe I inhabited.

A half-empty bottle of vodka sat on the bedside table, and his sketchbook was open on the king-size bed. Several sketches, only three of which looked finished, were scattered across the bedspread. Clearly he hadn’t been sleeping either. Swallowing, I picked up the nearest one. A dark-skinned, pale-haired child with an angel’s wings—too old to be a cherub, more like a small boy—stood in the middle of a dark forest, looking around in terror. His hand was outstretched, reaching for a shadow disappearing off the edge of the page, the unknown figure walking away from him, leaving him behind. I drew a shuddering breath and picked up the next one. In this one, that same angel—now a willowy adolescent, his thin, maturing body draped in the ubiquitous short toga with strapped sandals wound around his ankles—stood with his shoulders hunched in the midst of a crowd of jeering figures. He held an ornate harp cradled protectively against his body, trying to shield it from further harm. Its strings were sprung and its frame cracked and bent. In the last one, an even more mature version of the angel—now a young man—knelt on one knee in another clearing in the woods. He was bruised and bleeding, his toga torn and stained. He held the bloody, tattered remnants of one of his wings, trying futilely to piece it back together.

emmersmacks: Hold on emmersmacks: Wait emmersmacks: So you stood up for him? MirkerLurker: Yeah. emmersmacks: . . . Im failing to see the issue here E emmersmacks: Did they hurt you?? MirkerLurker: No . . . not really. Just took my sketchbook and threw it around a little. MirkerLurker: Okay look I know it doesn’t sound that bad MirkerLurker: But, like, you don’t understand the way this guy looks at me. He’s one of those where it’s like, “Why are you even standing in front of me, you’re uglier than the stuff I crap out after eating too muchChipotle.” 3:19 p.m. (Apocalypse_Cow has joined the message) Apocalypse_Cow: i feel like i came in at a bad time. i’ll go. emmersmacks: E is having a crisis Apocalypse_Cow: crisis over what? MirkerLurker: Just this stupid new kid at school who may or may not be a fanficwriter for Monstrous Sea and who definitely thinks I am the scum of the earth. emmersmacks: Why would he think that?? You stood up for him MirkerLurker: I don’t know! Because I emasculated him, probably. Or something. Max, I need advice from someone who’s felt emasculated. Apocalypse_Cow: why would you immediately assume i’ve felt emasculated before? MirkerLurker: Because you’re the only male here. Apocalypse_Cow: if you want to know if some guys feel emasculated when a girl stands up to a bully for them, then unfortunately i must say that yes, that does happen. Apocalypse_Cow: BUT NOT ME. Apocalypse_Cow: LET IT BE KNOWN THAT MAX CHOPRA HAS NEVER FELT EMASCULATED. Apocalypse_Cow: but really, did this guy say something to you? why feel so bad about it? MirkerLurker: He didn’t say ANYTHING. That’s the problem! MirkerLurker: He just stood there and wouldn’t even look at me. emmersmacks: Did you say anything MirkerLurker: . . . No. emmersmacks: Well emmersmacks: E emmersmacks: There you might have a problem Apocalypse_Cow: you’re getting schooled in social skills by a twelve-year-old in college. how does that feel emmersmacks: Im fourteen not twelve emmersmacks: Asshole Apocalypse_Cow: wait, he left a note in your sketchbook? what did it say? MirkerLurker: It said thanks, and that the pictures were good. emmersmacks: OH MY GOD emmersmacks: THATS WHY HE DIDNT TALK MirkerLurker: What? emmersmacks: HE WAS TOO NERVOUS emmersmacks: AW HE LIKES YOU E MirkerLurker: I really really doubt that. MirkerLurker: Like, I mean, REALLY doubt it. MirkerLurker: He’s not exactly the kind of guy that’s usually interested in me. Apocalypse_Cow: what kind of guy is usually interested in you? MirkerLurker: The kind I make up in my head. Apocalypse_Cow: wooooooooooooooooooooooow Apocalypse_Cow: woooooooooooooooooooooooooooooooooooooooooooooooow Apocalypse_Cow: woooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooow Apocalypse_Cow: do you want me to go ahead and fill your house with cats right now, or do you want to put that off for a few years? MirkerLurker: Har har

I visited various parts of my own country; and had I been merely a lover of fine scenery, I should have felt little desire to seek elsewhere its gratification, for on no country had the charms of nature been more prodigally lavished. Her mighty lakes, her oceans of liquid silver; her mountains, with their bright aerial tints; her valleys, teeming with wild fertility; her tremendous cataracts, thundering in their solitudes; her boundless plains, waving with spontaneous verdure; her broad, deep rivers, rolling in solemn silence to the ocean; her trackless forests, where vegetation puts forth all its magnificence; her skies, kindling with the magic of summer clouds and glorious sunshine;—no, never need an American look beyond his own country for the sublime and beautiful of natural scenery.

What matters is the need to move from the rigidity of national stereotypes towards something more truly human; what matters is to discover the riches of human hearts and souls; what matters is the human content of poetry and science, the universal charm and beauty of architecture; what matters is the magnanimity of a nation's leaders and historical figures. only by exalting what is truly human, only by fusing the national with what is universally human, can try dignity - and true freedom - be achieved. It is the struggle for freedom of thought and expression, the struggle for a peasant's freedom to sow what he wants to sow, for everyone's freedom to enjoy the fruits of their own work - this is the true struggle for national dignity. The only real triumph of national freedom is one that brings about the triumph of all human freedom. For small nations and large nations alike, this is the only way forward. And it goes without saying that the Russians too - as well as Armenians, Georgians, Kazakhs, Kalmyks and Uzbeks - must understand that it is precisely through renouncing the idea of their own national superiority that they can truly affirm the grandeur and dignity of their own people, of their own literature and science.

I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. … Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’ As reported by Gambon, their conversation went like this: Olivier: ‘What are you going to do for me?’ Gambon: ‘Richard the Third.’ Olivier: ‘Is that so. Which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, I understand that, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’ Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’ Olivier: ‘What, the King? Richard?’ Gambon: ‘ — the Third, yeah.’ Olivier: “You’ve got a fucking cheek, haven’t you?’ Gambon: ‘Beg your pardon?’ Olivier: ‘Never mind, which part are you going to do?’ Gambon: ‘Richard the Third.’ Olivier: ‘Don’t start that again. Which speech?’ Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘ Olivier: ‘Right. Whenever you’re ready.’ Gambon: ‘ “Was ever woman in this humour woo’d –” ‘ Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’ Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘ Olivier: ‘Wait. Stop. What’s the blood?’ Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’ A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done. Gambon: ‘Shall I start again?’ Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’ Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic. ‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.