Sketches Home Quotes

Gas Attendant: "Thata ain't no etch-a-sketch. Thats one doodle that can't be un-did home skillet.

I look at my homely sketch. It doesn't need anything. Even through the river in my eyes I can see that. It isn't perfect and that makes it just right.

I swear, sometimes I am convinced my life is just a series of sketches for America's Funniest Home Videos, minus all that pants-dropping business. Except my life really isn't all that funny if you think about it.

I draw a line down the middle of a chalkboard, sketching a male symbol on one side and a female symbol on the other. Then I ask just the men: What steps do you guys take, on a daily basis, to prevent yourselves from being sexually assaulted? At first there is a kind of awkward silence as the men try to figure out if they've been asked a trick question. The silence gives way to a smattering of nervous laughter. Occasionally, a young a guy will raise his hand and say, 'I stay out of prison.' This is typically followed by another moment of laughter, before someone finally raises his hand and soberly states, 'Nothing. I don't think about it.' Then I ask women the same question. What steps do you take on a daily basis to prevent yourselves from being sexually assaulted? Women throughout the audience immediately start raising their hands. As the men sit in stunned silence, the women recount safety precautions they take as part of their daily routine. Here are some of their answers: Hold my keys as a potential weapon. Look in the back seat of the car before getting in. Carry a cell phone. Don't go jogging at night. Lock all the windows when I sleep, even on hot summer nights. Be careful not to drink too much. Don't put my drink down and come back to it; make sure I see it being poured. Own a big dog. Carry Mace or pepper spray. Have an unlisted phone number. Have a man's voice on my answering machine. Park in well-lit areas. Don't use parking garages. Don't get on elevators with only one man, or with a group of men. Vary my route home from work. Watch what I wear. Don't use highway rest areas. Use a home alarm system. Don't wear headphones when jogging. Avoid forests or wooded areas, even in the daytime. Don't take a first-floor apartment. Go out in groups. Own a firearm. Meet men on first dates in public places. Make sure to have a car or cab fare. Don't make eye contact with men on the street. Make assertive eye contact with men on the street.

Switters was actually quite fond of Seattle's weather, and not merely because of it's ambivalence. He liked it's subtle, muted qualities and the landscape that those qualities encouraged if not engendered: vistas that seemed to have been sketched with a sumi brush dipped in quicksilver and green tea. It was fresh, it was clean, it was gently primal, and mystically suggestive.

It's about that applause I want to speak to you. I want you to remember that when you've done a little dance or a song or sketch, the applause which you get is not only because you yourself have done your best, but because each of those men is seeing in you someone he loves at home, and because of you is able to forget for a little while the unhappiness of not being in his home, and in some cases the great tragedy of not knowing what has happened to the children in his family.

Fast reading of a great novel will get us the plot. It will get us names, a shadowy idea of characters, a sketch of settings. It will not get us subtleties, small differentiations, depth of emotion and observation, multilayered human experience, the appreciation of simile and metaphor, any sense of context, any comparison with other novels, other writers. Fast reading will not get us cadence and complexities of style and language. It will not get us anything that enters not just the conscious mind but the unconscious. It will not allow the book to burrow down into our memory and become part of ourselves, the accumulation of knowledge and wisdom and vicarious experience which helps to form us as complete human beings. It will not develop our awareness or add to the sum of our knowledge and intelligence. Read parts of a newspaper quickly or an encyclopaedia entry, or a fast-food thriller, but do not insult yourself or a book which has been created with its author's painstakingly acquired skill and effort, by seeing how fast you can dispose of it.

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

Travel releases spontaneity. You become a godlike creature full or choice, free to visit the stately pleasure domes, make love in the morning, sketch a bell tower, read a history of Byzantium, stare for one hour at the face of Leonardo da Vinci's 'Madonna dei fusi.' You open, as in childhood, and--for a time--receive this world. There's visceral aspect, too--the huntress who is free. Free to go, free to return home bringing memories to lay on the hearth.

This sounds simple: do we not already sing our love for and obligation to the land of the free and the home of the brave? Yes, but just what and whom do we love? Certainly not the soil, which we are sending helter-skelter downriver. Certainly not the waters, which we assume have no function except to turn turbines, float barges, and carry off sewage. Certainly not the plants, of which we exterminate whole communities without batting an eye. Certainly not the animals, of which we have already extirpated many of the largest and most beautiful species.

Coming home at last At the end of the year I wept to find My old umbilical cord.

Fast reading of a great novel will get us the plot. It will get us names, a shadowy idea of characters, a sketch of settings. It will not get us subtleties, small differentiations, depth of emotion and observation, multilayered human experience, the appreciation of simile and metaphor, any sense of context, any comparison with other novels, other writers. Fast reading will not get us cadence and complexities of style and language. It will not get us anything that enters not just the conscious mind but the unconscious. It will not allow the book to burrow down into our memory and become part of ourselves, the accumulation of knowledge and wisdom and vicarious experience which helps to form us as complete human beings. It will not develop our awareness or add to the sum of our knowledge and intelligence. Read parts of a newspaper quickly or an encyclopaedia entry, or a fast-food thriller, but do not insult yourself or a book which has been created with its author's painstakingly acquired skill and effort, by seeing how fast you can dispose of it

I look at my homely sketch. It doesn’t need anything. Even through the river in my eyes I can see that. It isn’t perfect and that makes it just right.

A good story cannot function like a legal brief, which attempts to persuade and lead the reader down a narrow path suspended above the abyss of unreason. Rather, it must be more like an empty house, an open garden, a deserted beach by the ocean. The reader moves in with their own burdensome baggage and long-cherished possessions, seeds of doubt and shears of understanding, maps of human nature and baskets of sustaining faith. The reader then inhabits the story, explores its nooks and crannies, rearranges the furniture to suit their taste, covers the walls with sketches of their inner life, and thereby makes the story their home.

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

The far wall was covered with pictures of me—a montage of photographs and sketches that reminded me of the “altars” found in the homes of obsessed psychopaths, which, all things considered, wasn’t such a bad description of Clay.

When you travel you become invisible if you want. I do want. I like to be the observer. What makes these people who they are Could I feel at home here No one expects you to have the stack of papers back by Tuesday or to check messages or to fertilize the geraniums or to sit full of dread in the waiting room at the protologist’s office. When travelling you have the delectable possibility of not understanding a word of what is said to you. Language becomes simply a musical background for watching bicycles zoom along a canal calling for nothing from you. Even better if you speak the language you catch nuances and make more contact with people. Travel releases spontaneity. You become a godlike creature full of choice free to visit the stately pleasure domes make love in the morning sketch a bell tower read a history of Byzantium stare for one hour at the face of Leonardo da Vinci’s Madonna dei fusi. You open as in childhood and – for a time – receive this world. There’s the visceral aspect too – the huntress who is free. Free to go Free to return home bringing memories to lay on the hearth.

I can grow. I look at my homely sketch. It doesn't need anything. Even through the river in my eyes I can see that. It isn't perfect and that makes it just right.

Ever theatrical, Jackie also viewed the home as a grand set: a malleable, working stage on which to play out the daily sketches of life...

If words decorate the home of Being, then hands, and by extension art, are the sketch of Being.

Jeff Whitman [Walt's brother, who was with him in New Orleans] complained to his mother about all the folks who eagerly hurried to church on Sundays, "dip their fingers in the holy water, and then go home and whip their slaves.

War and the threat of war begin when all is not well at home. Countries that solve their own problems are no problem to others. How did it all come about; how did the Danes get that way? Why are they what they are? Was the country particularly favored? Did they try to keep the peace in the past? Did they practice religious tolerance? The answers are no. Is it then all hit or miss? As People holding a territory poor rather than rich, with a history as long, mixed, and disturbed as the next country's–are these facts that must be fed into the computer, and what might the computer's answer be? Portugal? Switzerland? Prussia? – "Portrait Sketch of a Country" (Denmark 1962)

All I have is a life's worth of school days. What came before school I can't remember. You can only sketch so many desks and teachers and chalkboards. You can only come home to so many dinners and homework assignments and nights of taking the garbage out. You can only go to so many museum field trips before you start to wonder, Is this it?

You probably like discernment websites run from caves deep in the woods; the words illuminati, Armageddon, last days, and one-world order; not having any fun; trying to connect current events to the book of Daniel; and sketching out an end times chart on an ammo box while your wife churns butter and your kids save up enough money to run away from home.

That crushed her like something caught in the tight, relentless snarl of a riptide. How could he be satisfied only studying literature, never writing a word of his own? Never getting to put to paper the things he imagined? Meanwhile, the banal reality of her own life made her miserable: sketching plans for things she didn’t know how to build, drawing houses other people would call home.

In a world dominated by violent and passive-aggressive men, and by male institutions dispensing violence, it is extraordinary to note how often women are represented as the perpetrators of violence, most of all when we are simply fighting in self-defense or for our children, or when we collectively attempt to change the institutions that are making war on us and on our children. In reality, the feminist movement could be said to be trying to visualize and make way for a world in which abortion would not be necessary; a world free from poverty and rape, in which young girls would grow up with intelligent regard for and knowledge of their bodies and respect for their minds, in which the socialization of women into heterosexual romance and marriage would no longer be the primary lesson of culture; in which single women could raise children with a less crushing cost to themselves, in which female creativity might or might not choose to express itself in motherhood. Yet, when radical feminists and lesbian/feminists begin to speak of such a world, when we begin to sketch the conditions of a life we have collectively envisioned, the first charge we are likely to hear is a charge of violence: that we are “man-haters.” We hear that the women’s movement is provoking men to rape; that it has caused an increase in violent crimes by women; and when we demand the right to rear our children in circumstances where they have a chance for more than mere physical survival, we are called fetus-killers. The beating of women in homes across this country, the rape of daughters by fathers and brothers, the fear of rape that keeps old—as well as young—women off the streets, the casual male violence that can use a car to run two jogging women off a country road, the sadistic exploitation of women’s bodies to furnish a multibillion-dollar empire of pornography, the decision taken by powerful white males that one-quarter of the world’s women shall be sterilized or that certain selected women—poor and Third World—shall be used as subjects for psychosurgery and contraceptive experiments—these ordinary, everyday events inevitably must lead us to ask: who indeed hates whom, who is killing whom, whose interest is served, and whose fantasies expressed, by representing abortion as the selfish, willful, morally contagious expression of woman’s predilection for violence?

They always told each other about the parts of the day they had spent apart, sketching in detail so the other could see it, so it became a memory they seemed to share in common. They were good at talking. Sharing stories. Everything he did only seemed to take root when he told her about it. There were times when he arrived home as breathless as an inspired poet with the urgency to talk to her.

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.

I found this in the same box where the sketches were,” she added, putting it in his outstretched palm. “My father gave it to me when I was a boy,” he said in an offhand voice. His long fingers closed around it, and he slipped it into his pocket. “I think it may be very valuable,” Elizabeth said, imagining the sorts of improvements he could make to his home and lands if he chose to sell the ring. “As a matter of fact,” Ian drawled blandly, “it’s completely worthless.

The fifth principle emphasizes another human strength: whenever possible, we should take measures to re-spatialize the information we think about. We inherited “a mind on the hoof,” as Andy Clark puts it: a brain that was built to pick a path through a landscape and to find the way back home. Neuroscientific research indicates that our brains process and store information—even, or especially, abstract information—in the form of mental maps. We can work in concert with the brain’s natural spatial orientation by placing the information we encounter into expressly spatial formats: creating memory palaces, for example, or designing concept maps. In the realm of education research, experts now speak of “spatializing the curriculum”—that is, simultaneously drawing on and strengthening students’ spatial capacities by having them employ spatial language and gestures, engage in sketching and mapmaking, and learn to interpret and create charts, tables, and diagrams. The spatialized

The song she heard from the meadow was the same tune as the bird's call.She looked up in the trees.For a moment she thought she'd lost the bird, and she nearly cried out for him, but he fluttered down,landed right at her feet, and grew into a man." "Oh." Meg sighed.She'd always liked that part. "He whistled the tune once more, then the fey man said, 'My lady,will you dance?" "'I will.' She crossed the bridge to the meadow,and danced with the whistler." "Tell us they married," Meg said. "The story doesn't go like that," Poppy reminded. "It should." Meg stroked Tom's blood-clotted hair. I fumbled with the charcoal in my blackened fingers. As the story went, the girl danced through the seasons, but when she wandered home at last and reached her cottage door, she was a shriveled-up old women, for a hundred years had passed while she danced with the whistler,and everyone she'd known in her former life had died. Meg knew how it went.But when our eyes locked, I saw tonight she couldn't bear it. I found another bit of charcoal. "That very spring when the meadow was in bloom,the whistler, who had fey power to transform into a bird and sing any girl he wished to into the wood, chose the one girl who'd followed him so bravely and so far to be his wife. And she lived with him and the fey folk deep in Dragonswood in DunGarrow Castle, a place that blends into the mountainside and cannot be seen with human eyes unless the fairies will it so." I drew the couple hand in hand, rouch sketches on the cave wall; the stone wasn't smooth by any means. "She lived free among the fey folk and never wanted to return to her old life that had been full of hunger and sorrow under her father's roof." I sketched what came next before I could think of it. "A dragon came to their wedding," I said, drawing his right wing so large, I had to use the ceiling. "He lit a bonfire to celebrate their union." I drew the left wing spanning over the couple in the meadow. "And they lived all their lives content in Dragonswood.

As young readers like to know 'how people look', we will take this moment to give them a little sketch of the four sisters, who sat knitting away in the twilight, while the December snow fell quietly without, and the fire crackled cheerfully within. It was a comfortable room, though the carpet was faded and the furniture very plain, for a good picture or two hung on the walls, books filled the recesses, chrysanthemums and Christmas roses bloomed in the windows, and a pleasant atmosphere of home peace pervaded it.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

Does this popcorn taste burnt to you?" Miles asked, chewing loudly. "Don't eat that," Roland said, plucking the popcorn from Miles's palm. "Arriane got it out of the trash after Luce set the dorm room kitchen on fire." Miles began spitting frantically, leaning over the edge of Roland's wings. "It was my way of connecting with Luce." Arriane shrugged. "But here, if you must, have some Milk Duds." "Is it weird that we're watching the two of them like a movie?" Shelby asked. "We should imagine them like a novel, or a poem, or a song. Sometimes I feel oppressed by how reductive the filmic medium is." "Hey. Roland didn't have to fly you out here, Nephilim. So don't act smart, just watch. Look." Arriane clapped. "He's totally staring at her hair. I bet he goes home and sketches it tonight. How cuuute!" "Arriane, you got way too good at being a teenager," Roland said. "How long are we going to watch for? I mean, don't you think they've earned a little privacy?" "He's right," Arriane said. "We have other things on our celestial plates. Like..." Her smirk faded when she couldn't seem to think of anything.

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.

William Shakespeare. She knew him. They were,the three of them-Lucinda,Daniel,and Shakespeare-friends. There had been a summer afternoon when Daniel had taken Lucinda to visit Shakespeare at his home in Stratford. Toward sunset,they'd sat in the library,and while Daniel worked on his sketches at the window, Will had asked her question after question-all the while taking furious notes-about when she'd first met Daniel, how she felt about him, whether she thought she could one day fall in love. Aside from Daniel,Shakespeare was the only one who knew the secret of Lucinda's indentity-her gender-and the love the players shared offstage. In exchange for his discretion,Lucinda was keeping the secret that Shakespeare was present that night at the Globe. Everyone else in the company assumed that he was in Stratford, that he'd handed over the reins of the theater to Master Fletcher.Instead,Will appeared incognito to see the play's opening night. When she returned to his side,Shakespeare gazed deep into Lucinda's eyes. "You've changed." "I-no,I'm still"-she felt the soft brocade around her shoulders. "Yes, I found the cloak." "The cloak,is it?" He smiled at her, winked. "It suits you.

When I found myself alone again at home, reminding myself that I had spent the afternoon on an excursion with Albertine, that I was dining in two days with Mme de Guermantes, and that I needed to answer a letter from Gilberte, three women I had loved, it occurred to me that our social life, like an artist’s studio, is filled with abandoned sketches depicting our momentary attempts to capture our need for a great love, but what did not occur to me was that sometimes, if the sketch is not too old, we may return to it and transform it into a completely different work, possibly more important than the one we had originally planned.

Jobs went home early that day to mull over the problem, then called Ive to come by. They wandered into the garden, which Jobs’s wife had planted with a profusion of sunflowers. “Every year I do something wild with the garden, and that time it involved masses of sunflowers, with a sunflower house for the kids,” she recalled. “Jony and Steve were riffing on their design problem, then Jony asked, ‘What if the screen was separated from the base like a sunflower?’ He got excited and started sketching.” Ive liked his designs to suggest a narrative, and he realized that a sunflower shape would convey that the flat screen was so fluid and responsive that it could reach for the sun.

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.

The page begins with the person’s picture. A photo if we can find it. If not, a sketch or painting by Peeta. Then, in my most careful handwriting, come all the details it would be a crime to forget. Lady licking Prim’s cheek. My father’s laugh. Peeta’s father with the cookies. The color of Finnick’s eyes. What Cinna could do with a length of silk. Boggs reprogramming the Holo. Rue poised on her toes, arms slightly extended, like a bird about to take flight. On and on. We seal the pages with salt water and promises to live well to make their deaths count. Haymitch finally joins us, contributing twenty-three years of tributes he was forced to mentor. Additions become smaller. An old memory that surfaces. A late primrose preserved between the pages. Strange bits of happiness, like the photo of Finnick and Annie’s newborn son. We learn to keep busy again. Peeta bakes. I hunt. Haymitch drinks until the liquor runs out, and then raises geese until the next train arrives. Fortunately, the geese can take pretty good care of themselves. We’re not alone. A few hundred others return because, whatever has happened, this is our home. With the mines closed, they plow the ashes into the earth and plant food. Machines from the Capitol break ground for a new factory where we will make medicines. Although no one seeds it, the Meadow turns green again. Peeta and I grow back together. There are still moments when he clutches the back of a chair and hangs on until the flashbacks are over. I wake screaming from nightmares of mutts and lost children. But his arms are there to comfort me. And eventually his lips. On the night I feel that thing again, the hunger that overtook me on the beach, I know this would have happened anyway. That what I need to survive is not Gale’s fire, kindled with rage and hatred. I have plenty of fire myself. What I need is the dandelion in the spring. The bright yellow that means rebirth instead of destruction. The promise that life can go on, no matter how bad our losses. That it can be good again. And only Peeta can give me that. So after, when he whispers, “You love me. Real or not real?” I tell him, “Real.

Once again she was struck by a sense of profound familiarity. She knew this place. In the story that her mother used to tell, the house had been a literal gateway to another world; for Elodie, though, curled up in her mother's arms, breathing in the exotic fragrance of narcissus that she wore, the story itself had been a gateway, an incantation that carried her away from the here and now and into the land of imagination. After her mother's death, the world of the story had become her secret place. Whether at lunchtime in her new school, or at home in the long, quiet afternoons, or at night when the darkness threatened suffocation, all she had to do was hide herself away and close her eyes and she could cross the river, brave the woods, and enter the enchanted house...

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.

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

As a child, she was curious about the world beyond the sea, but in a vague, half-sketched way, as she was curious about a lot of things she read in books. London and Treasure Island and horses and dragons were all equally imagined to her. She thought she would probably see them one day, when she was old. In the meantime, the island was hers to explore, and it took up more time than she could ever imagine having. There were books to read, thousands of them in the castle library, and Rowan brought back more all the time. There were trees to climb, caves along the beach to get lost in, traces of the fair folk who had once lived on the island to find and bring home. There was work to be done: Food needed to be grown and harvested; the livable parts of the castle, the parts that weren't a crumbling ruin, needed to be combed for useful things when the tide went out. She was a half-wild thing of ink and grass and sea breezes, raised by books and rabbits and fairy lore, and that was all she cared to be.

Elsewhere that same day, sleet covered the dead grass outside a modest lavender home in the northern village of Oščadnica like bits of confetti. The piercing wind picked up, keeping afloat a host of identical LSNS flags, green cloth dancing under the murky winter sky. Within the thirty-person crowd, greetings all around. ‘At guard,’ they said to one another, saluting coyly, using a fascist phrase that was popular under Tiso’s rule. The green-clad audience former rows and stood with folded hands over their laps, as local LSNS František Drozd placed a multicolored wreath of flowers at the foot of the home where Tiso once lived. Drozd broke the momentary silence and welcomed the crowd. As the Sunday morning mass concluded across the street, churchgoers poured out of the church. A handful of them—dressed smartly in church digs—joined the procession. A gaggle of police officers stood next to their cars in the adjacent parking lot, rubbing their gloved hands together to stay warm, boredom sketched across their faces.

Why can't we sit together? What's the point of seat reservations,anyway? The bored woman calls my section next,and I think terrible thoughts about her as she slides my ticket through her machine. At least I have a window seat. The middle and aisle are occupied with more businessmen. I'm reaching for my book again-it's going to be a long flight-when a polite English accent speaks to the man beside me. "Pardon me,but I wonder if you wouldn't mind switching seats.You see,that's my girlfriend there,and she's pregnant. And since she gets a bit ill on airplanes,I thought she might need someone to hold back her hair when...well..." St. Clair holds up the courtesy barf bag and shakes it around. The paper crinkles dramatically. The man sprints off the seat as my face flames. His pregnant girlfriend? "Thank you.I was in forty-five G." He slides into the vacated chair and waits for the man to disappear before speaking again. The guy onhis other side stares at us in horror,but St. Clair doesn't care. "They had me next to some horrible couple in matching Hawaiian shirts. There's no reason to suffer this flight alone when we can suffer it together." "That's flattering,thanks." But I laugh,and he looks pleased-until takeoff, when he claws the armrest and turns a color disturbingy similar to key lime pie. I distract him with a story about the time I broke my arm playing Peter Pan. It turned out there was more to flying than thinking happy thoughts and jumping out a window. St. Clair relaxes once we're above the clouds. Time passes quickly for an eight-hour flight. We don't talk about what waits on the other side of the ocean. Not his mother. Not Toph.Instead,we browse Skymall. We play the if-you-had-to-buy-one-thing-off-each-page game. He laughs when I choose the hot-dog toaster, and I tease him about the fogless shower mirror and the world's largest crossword puzzle. "At least they're practical," he says. "What are you gonna do with a giant crossword poster? 'Oh,I'm sorry Anna. I can't go to the movies tonight. I'm working on two thousand across, Norwegian Birdcall." "At least I'm not buying a Large Plastic Rock for hiding "unsightly utility posts.' You realize you have no lawn?" "I could hide other stuff.Like...failed French tests.Or illegal moonshining equipment." He doubles over with that wonderful boyish laughter, and I grin. "But what will you do with a motorized swimming-pool snack float?" "Use it in the bathtub." He wipes a tear from his cheek. "Ooo,look! A Mount Rushmore garden statue. Just what you need,Anna.And only forty dollars! A bargain!" We get stumped on the page of golfing accessories, so we switch to drawing rude pictures of the other people on the plane,followed by rude pictures of Euro Disney Guy. St. Clair's eyes glint as he sketches the man falling down the Pantheon's spiral staircase. There's a lot of blood. And Mickey Mouse ears. After a few hours,he grows sleepy.His head sinks against my shoulder. I don't dare move.The sun is coming up,and the sky is pink and orange and makes me think of sherbet.I siff his hair. Not out of weirdness.It's just...there. He must have woken earlier than I thought,because it smells shower-fresh. Clean. Healthy.Mmm.I doze in and out of a peaceful dream,and the next thing I know,the captain's voice is crackling over the airplane.We're here. I'm home.

Look, nobody’s parents are perfect,” he says finally. “I mean, Niko’s parents let him transition when he was like nine, and they’ve always been super cool about it, but his mom still won’t let him tell his grandpa. And she’s constantly bugging him to move back to Long Island because she wants him to be closer to the family, but he likes it in the city, and they fight about it all the time.” “I didn’t know that.” “Yeah, but at least she’s trying, you know? People like my parents, though, like your mom’s parents—that’s another level. I mean, I wanted to go to art school, and my parents were like, great, you can sketch buildings, and then you can take over the firm one day, and no, we’re not paying for therapy. And when I couldn’t do what they wanted, that was just it. They cut off the money and told me not to come home. They care about how it looks. They care about what they can circle jerk about with their idiot fucking Ivy League friends. But the minute you need something—like, actually need something—they’ll let you know just how much of a disappointment you are for asking.” August has never thought of it quite that way.

...the letters begin to cross vast spaces in slow sailing ships and everything becomes still more protracted and verbose, and there seems no end to the space and the leisure of those early nineteenth century days, and faiths are lost and the life of Hedley Vicars revives them; aunts catch cold but recover; cousins marry; there is the Irish famine and the Indian Mutiny, and both sisters remain, to their great, but silent grief, for in those days there were things that women hid like pearls in their breasts, without children to come after them. Louisa, dumped down in Ireland with Lord Waterford at the hunt all day, was often very lonely; but she stuck to her post, visited the poor, spoke words of comfort (‘I am sorry indeed to hear of Anthony Thompson's loss of mind, or rather of memory; if, however, he can understand sufficiently to trust solely in our Saviour, he has enough’) and sketched and sketched. Thousands of notebooks were filled with pen and ink drawings of an evening, and then the carpenter stretched sheets for her and she designed frescoes for schoolrooms, had live sheep into her bedroom, draped gamekeepers in blankets, painted Holy Families in abundance, until the great Watts exclaimed that here was Titian's peer and Raphael's master! At that Lady Waterford laughed (she had a generous, benignant sense of humour); and said that she was nothing but a sketcher; had scarcely had a lesson in her life—witness her angel's wings, scandalously unfinished. Moreover, there was her father's house for ever falling into the sea; she must shore it up; must entertain her friends; must fill her days with all sorts of charities, till her Lord came home from hunting, and then, at midnight often, she would sketch him with his knightly face half hidden in a bowl of soup, sitting with her notebook under a lamp beside him. Off he would ride again, stately as a crusader, to hunt the fox, and she would wave to him and think, each time, what if this should be the last? And so it was one morning. His horse stumbled. He was killed. She knew it before they told her, and never could Sir John Leslie forget, when he ran down-stairs the day they buried him, the beauty of the great lady standing by the window to see the hearse depart, nor, when he came back again, how the curtain, heavy, Mid-Victorian, plush perhaps, was all crushed together where she had grasped it in her agony.

You are like me, you will die too, but not today: you, incommensurate, therefore the hours shine: if I say to you “To you I say,” you have not been set to music, or broadcast live on the ghost radio, may never be an oil painting or Old Master’s charcoal sketch: you are a concordance of person, number, voice, and place, strawberries spread through your name as if it were budding shrubs, how you remind me of some spring, the waters as cool and clear (late rain clings to your leaves, shaken by light wind), which is where you occur in grassy moonlight: and you are a lily, an aster, white trillium or viburnum, by all rights mine, white star in the meadow sky, the snow still arriving from its earthwards journeys, here where there is no snow (I dreamed the snow was you, when there was snow), you are my right, have come to be my night (your body takes on the dimensions of sleep, the shape of sleep becomes you): and you fall from the sky with several flowers, words spill from your mouth in waves, your lips taste like the sea, salt-sweet (trees and seas have flown away, I call it loving you): home is nowhere, therefore you, a kind of dwell and welcome, song after all, and free of any eden we can name.

And what is the popular color for gowns this Season?” he asked with a smile when it became necessary to announce himself. She gave a little start, and when she raised her face to look up at him, her cheeks were pink, her eyes wide. She looked, for lack of a better comparison, like a child caught doing something she oughtn’t. “Oh! Hello, Grey.” She glanced away. “Um, blue seems to be very favorable this year.” Arching a brow, he nodded at the periodical in her hand. “Beg pardon. I thought you were reading a ladies’ magazine.” “I am,” she replied with a coy smile. “But fashion is not one of its main areas of interest.” With an expression like hers-very much like the Cheshire cat in that book by Lewis Carroll-he doubted it was an article on housekeeping that put such becoming color in her cheeks. “May I?” he asked, holding out his hand. Her grip on the magazine tightened, reluctant to give it up. “Only if you promise not to tell Mama you saw me reading it.” Oh, this was trouble. Still, it was none of his business what a grown woman of three and twenty read. He was curious, that was all. “I promise.” She hesitated, then put the pages into his hand. Placing his fingers between the thin sheaves to mark her spot, Grey flipped to the cover. Christ on a pony! The magazine looked fairly harmless-the sketch on the front showed a demure young lady in a stylish gown and hat, sitting on a park bench. Only upon closer inspection could one notice that the object of her attention-and rapturous smile-was the young man bathing in the lake just on the edge of the page. He was bare-chested-quite possibly bare everywhere, but that key part of anatomy was carefully hidden with a line of text that read, “Ten ways to keep a gentleman at home-and in bed.” He didn’t want to see what she was reading. He had heard of this magazine before. Voluptuous was a racy publication for women, filled with erotic stories, advice, and articles about sexual relationships, how to conduct oneself to avoid scandal, etc. He could take her to task for reading it, but what would be the point? No doubt the information in it would serve her wisely someday. He gave the magazine back to her. “I have to confess, I’m a little surprised to find you reading such…material.” She shrugged. “I was curious. My parents were so happy in their marriage, so very much the opposite of most of what I’ve heard. If I’m to make a match as good as theirs, I need to know as much as I can about how to have a satisfying marriage.” Grey almost groaned. The image of Rose “satisfying” herself filled his mind with such clarity it was difficult to remember he’d never actually seen such a delightful sight. His body stiffened at the delectable images his mind conjured, and he had to fold his hands in front of him to hide his growing arousal.

With the news that he would soon be a daddy again, Steve seemed inspired to work even harder. Our zoo continued to get busier, and we had trouble coping with the large numbers. The biggest draw was the crocodiles. Crowds poured in for the croc shows, filling up all the grandstands. The place was packed. Steve came up with a monumental plan. He was a big fan of the Colosseum-type arenas of the Roman gladiator days. He sketched out his idea for me on a piece of paper. “Have a go at this, it’s a coliseum,” he declared, his eyes wide with excitement. He drew an oval, then a series of smaller ovals in back of it. “Then we have crocodile ponds where the crocs could live. Every day a different croc could come out for the show and swim through a canal system”--he sketched rapidly--“then come out in the main area.” “Canals,” I said. “Could you get them to come in on cue?” “Piece of cake!” he said. “And get this! We call it…the Crocoseum!” His enthusiasm was contagious. Never mind that nothing like this had ever been done before. Steve was determined to take the excitement and hype of the ancient Roman gladiators and combine it with the need to show people just how awesome crocs really were. But it was a huge project. There was nothing to compare it to, because nothing even remotely similar had ever been attempted anywhere in the world. I priced it out: The budget to build the arena would have to be somewhere north of eight million dollars, a huge expense. Wes, John, Frank, and I all knew we’d have to rely on Steve’s knowledge of crocodiles to make this work. Steve’s enthusiasm never waned. He was determined. This would become the biggest structure at the zoo. The arena would seat five thousand and have space beneath it for museums, shops, and a food court. The center of the arena would have land areas large enough for people to work around crocodiles safely and water areas large enough for crocs to be able to access them easily. “How is this going to work, Steve?” I asked, after soberly assessing the cost. What if we laid out more than eight million dollars and the crocodiles decided not to cooperate? “How are you going to convince a crocodile to come out exactly at showtime, try to kill and eat the keeper, and then go back home again?” I bit my tongue when I realized what was coming out of my mouth: advice on crocodiles directed at the world’s expert on croc behavior. Steve was right with his philosophy: Build it, and they will come. These were heady times. As the Crocoseum rose into the sky, my tummy got bigger and bigger with our new baby. It felt like I was expanding as rapidly as the new project. The Crocoseum debuted during an Animal Planet live feed, its premiere beamed all over the world. The design was a smashing success. Once again, Steve had confounded the doubters.

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.

We tend to be unaware that stars rise and set at all. This is not entirely due to our living in cities ablaze with electric lights which reflect back at us from our fumes, smoke, and artificial haze. When I discussed the stars with a well-known naturalist, I was surprised to learn that even a man such as he, who has spent his entire lifetime observing wildlife and nature, was totally unaware of the movements of the stars. And he is no prisoner of smog-bound cities. He had no inkling, for instance, that the Little Bear could serve as a reliable night clock as it revolves in tight circles around the Pole Star (and acts as a celestial hour-hand at half speed - that is, it takes 24 hours rather than 12 for a single revolution). I wondered what could be wrong. Our modern civilization does not ignore the stars only because most of us can no longer see them. There are definitely deeper reasons. For even if we leave the sulphurous vapours of our Gomorrahs to venture into a natural landscape, the stars do not enter into any of our back-to-nature schemes. They simply have no place in our outlook any more. We look at them, our heads flung back in awe and wonder that they can exist in such profusion. But that is as far as it goes, except for the poets. This is simply a 'gee whiz' reaction. The rise in interest in astrology today does not result in much actual star-gazing. And as for the space programme's impact on our view of the sky, many people will attentively follow the motions of a visible satellite against a backdrop of stars whose positions are absolutely meaningless to them. The ancient mythological figures sketched in the sky were taught us as children to be quaint 'shepherds' fantasies' unworthy of the attention of adult minds. We are interested in the satellite because we made it, but the stars are alien and untouched by human hands - therefore vapid. To such a level has our technological mania, like a bacterial solution in which we have been stewed from birth, reduced us. It is only the integral part of the landscape which can relate to the stars. Man has ceased to be that. He inhabits a world which is more and more his own fantasy. Farmers relate to the skies, as well as sailors, camel caravans, and aerial navigators. For theirs are all integral functions involving the fundamental principle - now all but forgotten - of orientation. But in an almost totally secular and artificial world, orientation is thought to be un- necessary. And the numbers of people in insane asylums or living at home doped on tranquilizers testifies to our aimless, drifting metaphysic. And to our having forgotten orientation either to seasons (except to turn on the air- conditioning if we sweat or the heating system if we shiver) or to direction (our one token acceptance of cosmic direction being the wearing of sun-glasses because the sun is 'over there'). We have debased what was once the integral nature of life channelled by cosmic orientations - a wholeness - to the ennervated tepidity of skin sensations and retinal discomfort. Our interior body clocks, known as circadian rhythms, continue to operate inside us, but find no contact with the outside world. They therefore become ingrown and frustrated cycles which never interlock with our environment. We are causing ourselves to become meaningless body machines programmed to what looks, in its isolation, to be an arbitrary set of cycles. But by tearing ourselves from our context, like the still-beating heart ripped out of the body of an Aztec victim, we inevitably do violence to our psyches. I would call the new disease, with its side effect of 'alienation of the young', dementia temporalis.

Don Pardo, the "Saturday Night Live" announcer whose career spanned the history of television and who made memorable appearances in sketches and music videos that played on the booming cadence of his voice for laughs, died Aug. 18 at his home in Tucson. He was 96.

What are they really trying to accomplish and why isn’t what they’re doing now working? What is causing their desire for something new? One simple way to think about these questions is through storyboarding. Talk to consumers as if you’re capturing their struggle in order to storyboard it later. Pixar has this down to a science: as you piece together your customers’ struggle, you can literally sketch out their story: Once upon a time . . . Every day . . . One day . . . Because of that, we did this . . . Because of this, we did that . . . Finally I did . . . You’re building their story, because through that you can begin to understand how the competing forces and context of the job play out for them. Airbnb’s founders clearly understood this. Before launching, the company meticulously identified and then storyboarded forty-five different emotional moments for Airbnb hosts (people willing to rent out their spare room or entire home) and guests. Together, those storyboards almost make up a minidocumentary of the jobs people are hiring Airbnb to do. “When you storyboard something, the more realistic it is, the more decisions you have to make,” CEO Brian Chesky told Fast Company. “Are these hosts men or women? Are they young, are they old? Where do they live? The city or the countryside? Why are they hosting? Are they nervous? It’s not that they [the guests] show up to the house. They show up to the house, how many bags do they have? How are they feeling? Are they tired? At that point you start designing for stuff for a very particular use case.

Rosetta stone, did not come from Iraq but from Iran, although it is Iraq that is the home of cuneiform writing. And this brings us to the story of the explorations and excavations leading to the decipherment of the cuneiform script and the rediscovery of the Mesopotamian civilizations. It will here be sketched only briefly-it has been told repeatedly and in detail during the past decades (see Bibliography for specific works)-in order to give the reader at least a glimpse into the picture as a whole

Each time that he tried to talk to her about his home and his father and mother and found that something held him back, he realized more and more the kind of thing that stood between them. Most of all did he realize it, with a sudden sickness of heart, when he got word that his father and mother wanted to come to Mariposa to see him and he had all he could do to head them off from it. Why? Why stop them? The reason was, simple enough, that Pupkin was ashamed of them, bitterly ashamed. The picture of his mother and father turning up in Mariposa and being seen by his friends there and going up to the Pepperleigh's house made him feel faint with shame.

Our neighbor, Hugo du Toit, was a very handsome Afrikaner, who, with his two sisters, was a close friend of Louis Botha, the first Prime Minister of the Union of South Africa, and also a close friend of General Jan Christiaan Smuts, the Prime Minister of the Union of South Africa from 1919 until 1924. He became a South African military leader during World War II. Although some accuse Smuts of having started apartheid, he later stood against it and was a force behind the founding of the United Nations. He is still considered one of the most eminent Afrikaners ever…. At his expansive farm house, Hugo had autographed photos of both men on his study wall. Parties were frequently held at my grandparents’ home and the thought of roasted turkeys and potatoes which Cherie had prepared, brings back warm memories of a delightful era, now lost forever.” The Colonial History of South Africa For many years South Africa was occupied primarily by Dutch farmers known as Boers who had first arrived in the Cape of Good Hope in 1652 when Jan van Riebeeck established the Dutch East India Company and later by British settlers who arrived in the Cape colony after the Napoleonic wars in the 1820’s, on board the sailing ships the Nautilus and the Chapman. For the most part the two got along like oil and water. After 1806, some of the Dutch-speaking settlers left the Cape Colony and trekked into the interior where they established the Boer Republics. There were many skirmishes between them, as well as with the native tribes. In 1877 after the First Boer War between the Dutch speaking farmers and the English, the Transvaal Boer republic was seized by Britain. Hostilities continued until the Second Boer War erupted in October of 1899, costing the British 22,000 lives. The Dutch speaking farmers, now called Afrikaners, lost 7,000 men and having been overrun by the English acknowledged British sovereignty by signing the peace agreement, known as the “Treaty of Vereeniging,” on May 31, 1902. Although this thumbnail sketch of South African history leaves much unsaid, the colonial lifestyle continued on for the privileged white ruling class until the white, pro-apartheid National Party, was peacefully ousted when the African National Congress won a special national election. Nelson Mandela was elected as the first black president on May 9, 1994. On May 10, 1994, Mandela was inaugurated as The Republic of South Africa's new freely elected President with Thabo Mbeki and F.W. De Klerk as his vice-presidents.

The Victorian sketches that have come to define Trader Joe’s merchandizing were cost control: books published before 1906 were pre-copyright and so free for Joe to repurpose with a funny caption. He spent hours cutting them out himself at his home easel.

I set up the skin of Estelle's bird number 5, the marbled godwit---- a migratory visitor to Florida, like me. I draw the beak twice as long as the head, tapering down to the width of a knitting needle, then fill in the back and wings with terrazzo mottling, brown and black and white. It has long legs and an exquisite neck. I hope this bird gets a prominent place in the exhibit. On my second sheet, a young woman kneels on black soil, her back to the viewer, dark hair in a chignon. She pulls at the weeds that crowd her precious bee balm, betony, dock, and rue. She wipes her cheek with the back of her wrist, avoiding the dirt on her glove. I should go see my mother today, but to be honest, I don't feel like it. Yes, she's an oldish person, displaced from her home, who might count on someone to come and break her solitude. But that journal entry... I simmered while Loni played... gives new color to my lifelong weariness. Godwit. I draw the bird flying blessedly north, displaying her gorgeous cinnamon wings.

My judgment is that the rich undergo cruel trials and bitter tragedies of which the poor know nothing. In the first place I find that the rich suffer perpetually from money troubles. The poor sit snugly at home while sterling exchange falls ten points in a day. Do they care? Not a bit. An adverse balance of trade washes over the nation like a flood. Who have to mop it up? The rich. Call money rushes up to a hundred per cent, and the poor can still sit and laugh at a ten cent moving picture show and forget it. But the rich are troubled by money all the time.

Oh, then Etch A Sketch it right out of your head.” Chelle

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her. She set off at once, a tall figure clad in a pair of blue denim jeans, a dark-blue suede jacket, and a soft scarf wrapped loosely around her face to protect her from the chilling, easterly spring wind. I stood and watched as she slowly dwindled in the distance, her head held high, alone apart from busy oyster catchers that followed her along the water’s edge.

In that same village, and in one of these very houses (which, to tell the precise truth, was sadly time-worn and weather-beaten), there lived, many years since, while the country was yet a province of Great Britain, a simple, good-natured fellow, of the name of Rip Van Winkle. He was a descendant of the Van Winkles who figured so gallantly in the chivalrous days of Peter Stuyvesant, and accompanied him to the siege of Fort Christina. He inherited, however, but little of the martial character of his ancestors. I have observed that he was a simple, good-natured man; he was, moreover, a kind neighbor, and an obedient henpecked husband. Indeed, to the latter circumstance might be owing that meekness of spirit which gained him such universal popularity; for those men are apt to be obsequious and conciliating abroad, who are under the discipline of shrews at home. Their tempers, doubtless, are rendered pliant and malleable in the fiery furnace of domestic tribulation, and a curtain-lecture is worth all the sermons in the world for teaching the virtues of patience and long-suffering. A termagant wife may, therefore, in some respects, be considered a tolerable blessing, and if so, Rip Van Winkle was thrice blessed.

As it is the fashion for modern tourists to travel pencil in hand, and bring home their portfolios filled with sketches, I am disposed to get up a few for the entertainment of my friends.

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. My memory of Diana is not her at an official function, dazzling with her looks and clothes and the warmth of her manner, or even of her offering comfort among the sick, the poor, and the dispossessed. What I remember best is a young woman taking a walk in a beautiful place, unrecognized, carefree, and happy. Diana increasingly craved privacy, a chance “to be normal,” to have the opportunity to do what, in her words, “ordinary people” do every day of their lives--go shopping, see friends, go on holiday, and so on--away from the formality and rituals of royal life. As someone responsible for her security, yet understanding her frustration, I was sympathetic. So when in the spring of the year in which she would finally be separated from her husband, Prince Charles, she yet again raised the suggestion of being able to take a walk by herself, I agreed that such a simple idea could be realized. Much of my childhood had been spent on the Isle of Purbeck in Dorset, a county in southern England approximately 120 miles from London; I remembered the wonderful sandy beaches of Studland Bay, on the approach to Poole Harbour. The idea of walking alone on miles of almost deserted sandy beach was something Diana had not even dared dream about. At this time she was receiving full twenty-four-hour protection, and it was at my discretion how many officers should be assigned to her protection. “How will you manage it, Ken? What about the backup?” she asked. I explained that this venture would require us to trust each other, and she looked at me for a moment and nodded her agreement. And so, early one morning less than a week later, we left Kensington Palace and drove to the Sandbanks ferry at Poole in an ordinary saloon car. As we gazed at the coastline from the shabby viewing deck of the vintage chain ferry, Diana’s excitement was obvious, yet not one of the other passengers recognized her. But then, no one would have expected the most photographed woman in the world to be aboard the Studland chain ferry on a sunny spring morning in May. As the ferry docked after its short journey, we climbed back into the car and then, once the ramp had been lowered, drove off in a line of cars and service trucks heading for Studland and Swanage. Diana was driving, and I asked her to stop in a sand-covered area about half a mile from the ferry landing point. We left the car and walked a short distance across a wooded bridge that spanned a reed bed to the deserted beach of Shell Bay. Her simple pleasure at being somewhere with no one, apart from me, knowing her whereabouts was touching to see. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her.

Ken Wharfe In 1987, Ken Wharfe was appointed a personal protection officer to Diana. In charge of the Princess’s around-the-clock security at home and abroad, in public and in private, Ken Wharfe became a close friend and loyal confidant who shared her most private moments. After Diana’s death, Inspector Wharfe was honored by Her Majesty Queen Elizabeth II at Buckingham Palace and made a Member of the Victorian Order, a personal gift of the sovereign for his loyal service to her family. His book, Diana: Closely Guarded Secret, is a Sunday Times and New York Times bestseller. He is a regular contributor with the BBC, ITN, Sky News, NBC, CBS, and CNN, participating in numerous outside broadcasts and documentaries for BBC--Newsnight, Channel 4 News, Channel 5 News, News 24, and GMTV. And so, early one morning less than a week later, we left Kensington Palace and drove to the Sandbanks ferry at Poole in an ordinary saloon car. As we gazed at the coastline from the shabby viewing deck of the vintage chain ferry, Diana’s excitement was obvious, yet not one of the other passengers recognized her. But then, no one would have expected the most photographed woman in the world to be aboard the Studland chain ferry on a sunny spring morning in May. As the ferry docked after its short journey, we climbed back into the car and then, once the ramp had been lowered, drove off in a line of cars and service trucks heading for Studland and Swanage. Diana was driving, and I asked her to stop in a sand-covered area about half a mile from the ferry landing point. We left the car and walked a short distance across a wooded bridge that spanned a reed bed to the deserted beach of Shell Bay. Her simple pleasure at being somewhere with no one, apart from me, knowing her whereabouts was touching to see. Diana looked out toward the Isle of Wight, anxious by now to set off on her walk to the Old Harry Rocks at the western extremity of Studland Bay. I gave her a personal two-way radio and a sketch map of the shoreline she could expect to see, indicating a landmark near some beach huts at the far end of the bay, a tavern or pub, called the Bankes Arms, where I would meet her. She set off at once, a tall figure clad in a pair of blue denim jeans, a dark-blue suede jacket, and a soft scarf wrapped loosely around her face to protect her from the chilling, easterly spring wind. I stood and watched as she slowly dwindled in the distance, her head held high, alone apart from busy oyster catchers that followed her along the water’s edge. It was a strange sensation watching her walking away by herself, with no bodyguards following at a discreet distance. What were my responsibilities here? I kept thinking. Yet I knew this area well, and not once did I feel uneasy. I had made this decision--not one of my colleagues knew. Senior officers at Scotland Yard would most certainly have boycotted the idea had I been foolish enough to give them advance notice of what the Princess and I were up to.

Genevieve…” He sat directly beside her, his flat abdomen exposed to the firelight, his expression suggesting he’d welcome eagles tearing at his flesh rather than endure her touch. “I wanted to sketch you without your shirt, but I was afraid to ask. I wanted to sketch you—” The look he gave her was rueful and tender. “You will be the death of me, woman.” He sounded resigned to his fate, and Jenny liked it when he called her woman in that exasperated, affectionate tone. She did not like it quite as well when he hoisted her bodily over his lap, so she sat facing him and his exposed, lacerated torso. “You will note the absence of any felines,” Elijah said, hands falling to his sides. “And yet, I must warn you, Genevieve, indulging your curiosity is still ill-advised.” He thought this was curiosity on her part, and some of it was, but not curiosity about what happened between women and men. Jenny’s curiosity was far more specific, and more dangerous than he knew: she wanted to know about Elijah Harrison, and about Elijah Harrison and Genevieve Windham. “My parents will be home in a few days, Elijah, possibly as soon as this weekend.” The notion made her lungs feel tight and the whisky roil in her belly. He trapped her hands and stopped her from tracing the muscles of his chest. “It’s all right. I understand. Explore to your heart’s content.” A pulse beat at the base of his throat. She touched two fingers to it. “It’s late, you don’t owe me—” He kissed her, a gentle, admonitory kiss, like Jock’s cautionary growl. She took his meaning: no more trying to coax enthusiasm from Elijah for her company, no more trying to inspire him to reassurances that he felt something special for her. He would permit her curiosity and nothing more. The

Lady Jenny, your turn.” She passed her sketch pad over to him, feeling a pang of sympathy for accused criminals as they stood in the dock. And yet, she’d asked for this. Gotten together all of her courage to ask for this one moment of artistic communion. “Well,” Mr. Harrison said, “isn’t he a handsome fellow? What do you think, ladies?” “You look like a papa,” Fleur observed. “Though our papa doesn’t sketch. He reads stories.” “And hates his ledgers,” Amanda added. “Is my hair that long in back?” “Yes,” Jenny said, because she’d drawn not only Elijah Harrison’s hands, but all of him, looking relaxed, elegant, and handsome, with Amanda crouched at his side, fascinated with what he created on the page. “I look…” He regarded the sketch in silence, while Jenny heard a coach-and-four rumbling toward her vulnerable heart. “I look… a bit tired, slightly rumpled, but quite at home. You are very quick, Lady Genevieve, and quite good.” Quite good. Like saying a baby was adorable, a young gentleman well-mannered. “The pose was simple,” Jenny said, “the lighting uncomplicated, and the subject…” “Yes?” He was one of those men built in perfect proportion. Antoine had spent an entire class wielding a tailor’s measure on Mr. Harrison’s body, comparing his proportions to the Apollo Belvedere, and scoffing at the “mistakes” inherent in Michelangelo’s David. Jenny wanted to snatch her drawing from his hand. “The subject is conducive to a pleasing image.” He passed the sketch pad back, but Jenny had the sense that in some way, some not entirely artistic way, she’d displeased him. The disappointment was survivable. Her art had been displeasing men since she’d first neglected her Bible verses to sketch her brothers. “You

Amateur musical performances were extremely important for all of us during the war, and my experience of them started at the age of ten or eleven, when my friends and I took part in a custom that was very popular back then but now seems to have died out altogether. It was carried out at Halloween, but instead of going round asking for trick or treats we did something called ‘Guising’. A group of us lads would go to the front door of a house we thought might be welcoming and politely ask if we could come in and perform. Our particular playlet was suggested by my father; it was one he had performed when he was a lad, although whether there was any deeper tradition behind the verses we recited I cannot say. We were all dressed up in costumes, with one boy dressed as a king with a cardboard crown on his head. Once all were in the house most of us would cluster behind the sitting-room door, then the first boy would enter the room on his own and say, ‘Red up sticks and red up stools here comes in a pack of fools, a pack of fools behind that door. Step in King George and clear the floor.’ The boy with the crown on his head would enter and recite, ‘King George is my name, sword and pistol by my side, I hope to win the game.’ The first boy would answer, ‘The game, sir, the game, sir, is not within your power. I will slash you and slay you within half an hour.’ These two boys would then have a duel with toy swords and the first boy would drop down as though dead, at which the king would kneel down and say, ‘Is there a doctor in the town?’ A small boy with a little attaché case would then pop out from behind the door saying, ‘My name is Doctor Brown, the best little doctor in the town. A little to his nose and a little to his bum, now rise up, jock, and sing a song.’ It was an absurd little sketch, but we used to get showered with pieces of cake and home-made toffees and fudge, and we would pass from house to house performing the same sketch. Even now I can recall the words perfectly.

It will produce branches and bear fruit and become a splendid cedar….” —Ezekiel 17:23 (NIV) I e-mailed my siblings: “Prayers appreciated for a talk I’m giving on Thursday afternoon.” Several responded, relaying the sentiment “God is with you, and so are we.” At the appointed hour, I encouraged participants to compare their prayers to trees. I displayed photographs and artists’ renderings of gnarly olive trees, weeping willows, deserted palms, orange-laden orchards…. I handed out colored pencils and suggested they draw a tree that represented their recent prayers. “Imagine Jesus as the trunk—the core ‘vine’—and your prayers as the branches. Then consider the big picture: Whom is your prayer tree shading or protecting? Where is it in the seasonal cycles—producing hopeful spring blossoms or mature fruit? Do your prayer-branches reach for the sky in praise or bend close to the ground with requests? Is your tree in a solitary setting, or do you prefer praying when you’re surrounded by peers, as in a grove?” Eventually I asked them to explain their pictures. A husband had sketched two leafy trees side by side, representing his prayers with his wife. A mother had envisioned a passel of umbrella-shaped twigs, symbolizing parental prayers of protection. When I was packing up, a woman who’d held back earlier showed me a nearly hidden detail of her flourishing tree. At the base of the trunk, underneath grassy cover, she’d outlined deep roots. “They represent the grounding of my family, my upbringing.” “Oh my!” I smiled. “You introduced a whole new dimension.” I drove home with a revitalized prayer—like limbs stretching upward with thanksgiving—for my natal family and many others who have enriched my relationship with God. Lord, thank You for the grounding of my faith through my family and the family of God. —Evelyn Bence Digging Deeper: Ps 103:17–18; Prv 22:6

always wanted, but it came with a price. He scanned the oak-paneled room. He had made the office his own. There was an old bookcase he had brought from home filled with law books. Paintings and sketches of the New York Harbor, the Kill Van Kull, and various Staten Island scenes and pictures of his family encircled the walls and usually kept him focused. He

Despite an icy northeast wind huffing across the bay I sneak out after dark, after my mother falls asleep clutching her leather Bible, and I hike up the rutted road to the frosted meadow to stand in mist, my shoes in muck, and toss my echo against the moss-covered fieldstone corners of the burned-out church where Sunday nights in summer for years Father Thomas, that mad handsome priest, would gather us girls in the basement to dye the rose cotton linen cut-outs that the deacon’s daughter, a thin beauty with short white hair and long trim nails, would stitch by hand each folded edge then steam-iron flat so full of starch, stiffening fabric petals, which we silly Sunday school girls curled with quick sharp pulls of a scissor blade, forming clusters of curved petals the younger children assembled with Krazy glue and fuzzy green wire, sometimes adding tissue paper leaves, all of us gladly laboring like factory workers rather than have to color with crayon stubs the robe of Christ again, Christ with his empty hands inviting us to dine, Christ with a shepherd's staff signaling to another flock of puffy lambs, or naked Christ with a drooping head crowned with blackened thorns, and Lord how we laughed later when we went door to door in groups, visiting the old parishioners, the sick and bittersweet, all the near dead, and we dropped our bikes on the perfect lawns of dull neighbors, agnostics we suspected, hawking our handmade linen roses for a donation, bragging how each petal was hand-cut from a pattern drawn by Father Thomas himself, that mad handsome priest, who personally told the Monsignor to go fornicate himself, saying he was a disgruntled altar boy calling home from a phone booth outside a pub in North Dublin, while I sat half-dressed, sniffing incense, giddy and drunk with sacrament wine stains on my panties, whispering my oath of unholy love while wiggling uncomfortably on the mad priest's lap, but God he was beautiful with a fine chiseled chin and perfect teeth and a smile that would melt the Madonna, and God he was kind with a slow gentle touch, never harsh or too quick, and Christ how that crafty devil could draw, imitate a rose petal in perfect outline, his sharp pencil slanted just so, the tip barely touching so that he could sketch and drink, and cough without jerking, without ruining the work, or tearing the tissue paper, thin as a membrane, which like a clean skin arrived fresh each Saturday delivered by the dry cleaners, tucked into the crisp black vestment, wrapped around shirt cardboard, pinned to protect the high collar.

The town is attracting a whole load of yobs who just want to roam around picking fights and getting into trouble. I’m not surprised Russell’s dad was really worried about him being out late.’ ‘Russell can look after himself, Dad. He’s not some sad little wimp.’ ‘He could be Mr Muscles Macho Man. It wouldn’t make any difference if a whole gang started in on him.’ ‘You’re getting totally paranoid, Dad.’ ‘Maybe. I don’t know. But how about if you and Russell met up after school and then he went back home around nine?’ ‘Dad! We’re not Eggs’s age!’ ‘I know, I know – but you’re as precious to me as Eggs and I don’t need another night like Thursday. Look, you’re still supposed to be in the doghouse for that. I’ll let you see Russell, but I’m going to stick to this nine o’clock curfew for the time being. I think that’s more than fair.’ ‘I don’t!’ ‘Well it gets dark by nine – so you couldn’t do any sketching then, could you?’ says Dad, smiling. I smile back weakly. I don’t know who’s bluffing who. But at least I can see Russell – even if it’s only in daylight! I go up to my bedroom and read his letter again. Several times more. Then I go downstairs and ring Nadine and tell her that it’s all OK and that Russell walked round and round the town looking for me, practically knocking at every house door. Nadine isn’t quite as impressed as I’d hoped. She’s got her Claudie album playing full blast (her family are obviously out) and she’s singing along instead of concentrating fully. I need to ask her something. ‘Nadine, do you really think Russell looks seriously shifty?’ Nadine herself sounds as if she’s doing some serious shifting the other end of the phone. ‘No, no, Ellie, not at all. I was just, you know, saying stuff to comfort you. I don’t think his eyes are too close together either. I think it was just his intense expression when he was sketching you.

Perhaps it does come back to valuing community, after all. Recent studies in science communication have suggested what I've sketched out in this chapter: that scientific literacy is not the variable that determines whether or not a group will accept the reality of a public health issue like vaccination or global warning: social groups are. While those individuals tested demonstrated a surprising ability to factually interpret scientific findings, they tended to eventually revert to in-group thinking about the issue, siding with whatever their main social group already believed. We humans are social, after all. Our social nature is why solitary confinement is potentially a human rights violation, why just about all of us wish we weren't having to stay home during the COVID crisis, why we all cling to Zoom meetings-why children yell at one another across balconies, starved for the sound of another child's voice. We all do the same dance of retreating to our social safety spaces. And if our 'safe' social group told us that our experience during the pandemic was a lie? Well, it seems we'd be more likely to believe our friends than science, because, as I've argued elsewhere...in times of desperate calamity, all we humans really have is one another. I have no answer to this twisted dilemma that the healthy carrier narrative, via the vehicle of COVID-19, has presented to us in the United States, but understanding the dilemma rightly is surely important.

Go to the Hall of Masters,” he wrote, “and look at the oldest paintings and its sketches. I have found him, have offered him my blood, and have been accepted as his Blood Slave. We are coming home as soon as his ship, The Sanguine, is ready for her shakedown cruise. His name is Kaen Yblis, and I cannot wait for you to meet him.

When was the last time I’d walked into an art store? I couldn’t remember. But this store was like entering Mecca. Every kind of medium you could dream of was there. And the sketch pads alone made me ache to take them all home. There’s something really special about an art store. Here you have colors and blank paper of every size and every color, every saturation and every combination at your fingertips. Everyone walks out of the store with essentially the same thing. But it’s what happens after it all leaves the store . . . the possibilities are endless. I couldn’t possibly count the amount of times that just being in an art store had inspired a new piece, or changed my direction on a current project. I honest-to-God breathed a sigh of relief just being in this store. How in the world had I ever been gone from this world for so long? Does anyone truly know the beauty of a brand-new box of perfectly sharpened, never-been-used colored pencils? Can anyone ever really appreciate the curve of a brand-new sable paintbrush, edge never before dipped into a vibrant cerulean acrylic and swirled across a virgin canvas? Simply put, it’s something I’d never take for granted again.

When John’s wife died in 1792, he had entrusted his eleven children to his oldest daughter, seventeen-year-old Kitty, unconcerned that they wore bright clothes, were rude to neighbours or joined hands across the road to hold up the Norwich coach. While the boys went away to school the girls studied at home at Earlham Hall, reading Rousseau, Voltaire and Paine, and sketching with the Norwich artist John Crome. Clever and forceful, they drank in the radical ideas of the Norwich Unitarian James Alderson and his daughter Amelia, who was a friend of Thomas Holcroft, John Horne Tooke and the Godwin circle, and would marry the painter John Opie in 1798. The Gurneys were well-known figures, not least because of their support for reform. But their political opinions made no difference to their careful, clever banking. One of the Gurneys’ regular East Anglian clients was James Oakes of Bury St Edmunds.

Questions and topics for discussion 1) What do you think it means to be a Bossypants? Do you know anyone personally that you would describe as a Bossypants and did the society you live in ever try to drown her? 2) The lessons Tina has learned from her work as a writer, a boss, a performer, and a producer are lessons that can be carried across a wide array of disciplines. (For instance, from her instructions about improv: Always speak in statements.) Which moments resonated the most for you? 3) In Chapter 4, Tina realizes that she has been guilty of holding her gay friends to a double standard—enjoying their company but still expecting them to stay in a “half-closet.” Have you ever had a moment like this? In a related question, do you think young pop stars today experience too much pressure to pretend to be a lesbian with Madonna? 4) While working at the YMCA in Chicago, Tina experienced some personal low points. But it also propelled her into pursuing her improv career. Have you ever experienced a similarly transformative period? During your transformation, did you ever spin around and pretend to be Wonder Woman? 5) What are some of your favorite SNL sketches or 30 Rock episodes? Should we just act them out? 6) Which other celebrities, besides Kim Kardashian, do you think may have been engineered by Russian scientists to sabotage our athletes? 7) Are there more specifics you would add to “The Mother’s Prayer for Its Daughter”? 8) Tina writes a love letter to Amy Poehler. Do you have friends who inspire you in the same way that Amy inspires Tina? ACTIVITY: Write a love letter to Amy Poehler and mail it to her home address (p. 291).

After the meal Daisy took Keith and me to the home of two Danish medical missionaries, who had invited us to hear the Queen's Christmas Broadcast. The Danes were two young women who spoke excellent English. They served tea and we ate small cookies, balancing our cups for a refill as we listened to the radio. We stood up for 'God Save the Queen' and then sat down to hear the Queen's words. And there, dear reader, you have a sketch of C. G. K. Lawson and Schuyler Jones--two miserable sinners--standing up to sing Christmas carols with three female missionaries.

Perhaps more than any other genre, horror gives its fans the gratifying daze of repetition. A ghost always begins by coming back against the calendar. Horror’s conventions are so ingrained that these films can speak in sketches — a narrative shorthand — where characters are types with familiar patterns of motivation, backstory, and behavior. This has been a major reason people criticize the genre, but I find the predictability of horror comforting. Each night at 3 am, I hear her weep outside my door. At home in the returning of a trope.

He spent the autumn of 1929 commuting back and forth between Berlin and Frankfurt. He met up with Adorno and his wife, Gretel Karplus, and Max Horkheimer and Lacis several times in a vacation home at the spa resort of Königstein. There Benjamin read to the group from the current sketches for the Arcades Project. Those weekends devoted to discussion in Königstein are now seen as the actual founding events of the so-called Frankfurt School, which would dominate German intellectual life for fifty years after the war.

The picture of Kehoe as an aloof, unsociable youth, however, seems to be contradicted by the evidence. Into his twenties, Andrew appears to have been an active participant in the communal gatherings known as Farmers’ Clubs. The American Farmers’ Club movement sprang up in the years following the Civil War. In contrast to city dwellers and townspeople, farm families in rural areas had little contact with their neighbors. To combat this social isolation—and promote the exchange of ideas within their community—they formed themselves into clubs that typically consisted of twenty to twenty-five families, each of which hosted a regular gathering at its home. These monthly get-togethers began with a dinner—invariably described as a “delicious repast” in the local newspapers—followed by a set program of musical performances, poetic and comic recitations, humorous sketches, the presentation of informative papers by club members or invited guests, and lively discussions on topics of practical concern to farmers.9

Lullabies came hard for me. My first night home from the hospital with Maxwell, I was afraid to sing to her because I didn’t know if I could sing quiet. I’ve never had to sing where I didn’t have to perform. Aim my voice for the back of the arena. I remember thinking, Should I just sing “The Star-Spangled Banner” quietly? If I tried “Amazing Grace,” I knew I would get the Spirit and bust her little eardrum. It was like I was in an SNL sketch about the over-singing pop-star mom. Whitney saved me.

Whatever the relevant mechanisms of testing, from simple trial and error to sketches, woodand-cardboard models, crude videos, simulations, minimum viable products, and maximum virtual products, test everything from the big ideas down to the small details. With good testing mechanisms that make failure relatively safe, take calculated risks and try new ideas.

Benefits of Outsourcing to Architectural Rendering Companies The demand for high-quality visuals has never been greater. Whether it’s showcasing a futuristic skyscraper or visualizing a cozy residential home, architectural renderings have become an essential tool for architects, developers, and interior designers. Let’s explore the key benefits of outsourcing architectural rendering services, and how it can enhance efficiency, creativity, and business growth. 1. Access to Expertise and Advanced Tools Professional architectural rendering companies employ experienced designers, architects, and visual artists who specialize in creating high-quality renderings. They bring a level of expertise that may not always be available in-house, ensuring that every project benefits from top-tier skills and creativity. Additionally, these companies use the latest software and technology for architectural 3D modeling and rendering, including tools like AutoCAD, SketchUp, and V-Ray. Outsourcing gives businesses access to these cutting-edge resources without the need for expensive investments in software or training. 2. Cost Efficiency Building an in-house rendering team can be costly. It requires hiring skilled professionals, purchasing software licenses, and maintaining powerful hardware for rendering tasks. By outsourcing to architectural rendering services, businesses can save significantly on overhead costs. Instead of managing full-time staff, companies pay only for the services they need, whether it’s a single project or ongoing support. This flexibility allows firms to allocate resources more effectively while still delivering high-quality visuals to clients. 3. Faster Turnaround Times Time is often a critical factor in architectural and real estate projects. Meeting tight deadlines can be challenging when handling rendering tasks internally. Architectural rendering companies are equipped to manage large workloads efficiently, ensuring timely delivery of projects without compromising on quality. Their streamlined workflows and dedicated teams allow businesses to focus on core activities like design and client engagement, while the rendering experts handle the technical aspects. 4. Enhanced Creativity and Innovation Collaborating with specialized 3D architectural visualization services brings fresh perspectives to your projects. These companies often work with diverse clients across various industries, which helps them stay updated on the latest trends and techniques. Outsourcing allows firms to benefit from this creative expertise, resulting in visually stunning and innovative renderings that captivate clients and stakeholders. Whether it’s experimenting with unique lighting effects or creating immersive virtual reality experiences, the possibilities are endless. 5. Scalability for Projects of All Sizes The flexibility of outsourcing makes it ideal for businesses that handle projects of varying scales. Whether you need renderings for a single-family home or a multi-story commercial complex, architectural rendering services can adapt to your requirements. Outsourcing also allows firms to scale their rendering capacity based on demand. For instance, during peak periods or large-scale projects, outsourcing ensures that deadlines are met without overburdening in-house teams. 6. Improved Client Communication Visual presentations play a crucial role in architectural projects. By outsourcing to architectural rendering companies, firms can deliver photorealistic visuals that help clients understand and engage with the design. Detailed renderings and architectural 3D modeling make it easier to explain concepts, showcase material choices, and demonstrate spatial layouts. This clarity fosters better communication, reduces misunderstandings, and builds trust with clients.

Something odd was happening to the queen’s body. Her bare feet were darkening to the greyish-white of the birch trees and growing knots, while moss crept up the side of her neck. Something moved in her hair—a host of aphids and small white moths seemed to be making themselves at home. Was this how all monarchs died? I thought of taking my notebook out to make a sketch, but shuddered away from the prospect. Perhaps Danielle de Grey was correct—there are things in Faerie that are not meant to be known.

Then I turned the page, and my breath whooshed out in shock. It was a drawing of me, wearing the dress I’d worn to the Rough Market. Flipping through several more pages I saw more drawings of me. Many more. I looked up at Stellon, who was biting his lip again. “You didn’t do these at the market,” I said. “You must have sketched them later. How did you draw them without a model to look at?” He hesitated, looked away toward the window, then let his gaze return to me. His expression was etched with uncertainty. “I did them when I got home. I’d never drawn from memory before—didn’t even know that I could. But I remembered your appearance so well… every detail.” My heart began thumping so loudly I worried he’d hear it. He apparently didn’t notice because he continued. “I didn’t want to lose those details to time. I found you so… beautiful… and I wanted something to look back on. To remember.