Textured Wall Quotes

....he said it was interesting. He used the word 'textured'. He said 'smooth' is boring but 'textured' was interesting, and the scar meant that I was stronger than whatever had tried to hurt me.

Erick had underestimated the distance, both to the ground and the cliff above me, yet the texture of the cliff wall was better than I'd hoped for. Vines and plants grew dense and well rooted, and there were many rocks and missing chunks of earth. I didn't know whether I could make it to the top on one leg or not, but I thought it was a great day to try.

The room was a compact, informal library. Books stood or were stacked on the shelves that ran along two walls from floor to ceiling, sat on the tables like knickknacks, trooped around the room like soldiers. They struck Malory as more than knowledge or entertainment, even more than stories or information. They were colour and texture, in a haphazard yet somehow intricate decorating scheme. The short leg of the L-shaped room boasted still more books, as well as a small table that held the remains of Dana's breakfast. With her hands on her hips, Dana watched Malory's perusal of her space. She'd seen the reaction before. 'No I haven't read them all, but I will.And no I don't know how many I have. Want coffee?' Let me just ask this. Do you ever actually use the services of the library?' Sure, but I need to own them. If I don't have twenty or thirty books right here, waiting to be read, I start jonesing. That's my compulsion.

He acted as if he could detect in her face nothing but its external beauties of form and texture. Whereas, of course, flesh is never wholly opaque; the soul shows through the walls of its receptacle.

Earlier today Brigid visited her favorite shop, Knit One Purl Too. She was running out of the fabulous purple Shibui yarn she’d bought last time. The minute she walked in the door and saw all the colorful skeins of yarn bundled along the walls, almost up to the ceiling, she felt her spirits lift. So much color, so much texture—such unlimited possibilities!

I close my eyes and feel the texture of brick on my fingers in my mind. I try to imagine the wall that surrounds your heart, so I can best devise a plan to breach it.

In many ways, the heart does resemble a house. It is divided into multiple chambers, separated by doors. The walls have a characteristic texture. The house is old, designed over many millennia. Hidden from view are the wires and pipes that keep it functioning. And though the house has no intrinsic meaning, it carries meaning because of the meanings we attribute to it.

Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. It was the best time of her life.

He meditated resentfully on the physical texture of life. Had it always been like this? Had food always tasted like this? He looked round the canteen. A low-ceilinged, crowded room, its walls grimy from the contact of innumerable bodies; battered metal tables and chairs, placed so close together that you sat with elbows touching; bent spoons, dented trays, coarse white mugs; all surfaces greasy, grime in every crack; and a sourish, composite smell of bad gin and bad coffee and metallic stew and dirty clothes. Always in your stomach and in your skin there was a sort of protest, a feeling that you had been cheated of something that you had a right to. It was true that he had no memories of anything greatly different. In any time that he could accurately remember, there had never been quite enough to eat, one had never had socks or underclothes that were not full of holes, furniture had always been battered and rickety, rooms underheated, tube trains crowded, houses falling to pieces, bread dark-coloured, tea a rarity, coffee filthy-tasting, cigarettes insufficient -- nothing cheap and plentiful except synthetic gin. And though, of course, it grew worse as one's body aged, was it not a sign that this was not the natural order of things, if one's heart sickened at the discomfort and dirt and scarcity, the interminable winters, the stickiness of one's socks, the lifts that never worked, the cold water, the gritty soap, the cigarettes that came to pieces, the food with its strange evil tastes? Why should one feel it to be intolerable unless one had some kind of ancestral memory that things had once been different?

Can a wall describe its own dimensions and texture, can a wall even sense its own existence, if not for the ball that constantly bounces off of it?

The walls were painted teal and had the texture of psoriasis.

The walls were shedding their texture and taking another in the pouncing feathers. Gwyn

Here is this! Here is this! Ecco Roma! Bursting out of the sun, streaking through space, skirting Venus, just over eight minutes old, but eternal, too, infinite—here comes the light, nameless and intangible, streaming 93 million unobstructed miles through the implacable black vacuum to break itself against a wall, a cornice, a column. It drenches, it crenellates, it textures.

Finally, as the sky began to grow light in the morning, I’d feel that I might be drifting off. But that wasn’t sleep. My fingertips were just barely brushing against the outermost edge of sleep. And all the while, my mind was awake. I would feel a hint of drowsiness, but my mind was there, in its own room, on the other side of a transparent wall, watching me. My physical self was drifting through the feeble morning light, and all the while it could feel my mind staring, breathing, close beside it. I was both a body on the verge of sleep and a mind determined to stay awake. The incomplete drowsiness would continue on and off all day. My head was always foggy. I couldn’t get an accurate fix on the things around me—their distance or mass or texture. The drowsiness would overtake me at regular, wavelike intervals: on the subway, in the classroom, at the dinner table. My mind would slip away from my body. The world would sway soundlessly. I would drop things. My pencil or my purse or my fork would clatter to the floor. All I wanted was to throw myself down and sleep. But I couldn’t. The wakefulness was always there beside me. I could feel its chilling shadow. It was the shadow of myself. Weird, I would think as the drowsiness overtook me, I’m in my own shadow. I would walk and eat and talk to people inside my drowsiness. And the strangest thing was that no one noticed. I lost fifteen pounds that month, and no one noticed. No one in my family, not one of my friends or classmates, realized that I was going through life asleep. It was literally true: I was going through life asleep. My body had no more feeling than a drowned corpse. My very existence, my life in the world, seemed like a hallucination. A strong wind would make me think that my body was about to be blown to the end of the earth, to some land I had never seen or heard of, where my mind and body would separate forever. Hold tight, I would tell myself, but there was nothing for me to hold on to.

At times, in that basement, she woke up tasting the sound of the accordion in her ears. She could feel the sweet burn of champagne on her tongue. Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her father's hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it.

On the first floor near the foot of the stairs, we have placed on the wall an antique mirror so old that it can't reflect anything anymore. Its surface, worn down to nubbled grainy gray stubs, has lost one of its dimensions. like me, its glimmerless. You can't see into it now, just past it. Depth has been replace by texture. The mirror gives back nothing and makes no productive claim upon anyone. The mirror has been so completely worn away that you have to learn to live with what it refuses to do. That's its beauty.

It was darker in the tower than any place Devnee had ever been. The dark had textures, some velvet, some satin. The dark shifted positions. The dark continued to breathe. The breath of the tower lifted her clothing like the flaps of a tent, and sounded in her ears like falling snow. It's the wind coming through the double shutters, Devnee told herself. But how could the wind come through? There were glass windows between the inside and outside shutters. Or were there? The windows weren't just holes in the wall, were they? What if there was no glass? What if things crawled through those open louvers, crept into the room, blew in with the cold that fingered her hair? What creatures of the night could slither through those slats? She had not realized how wonderful glass was, how it protected you and kept you inside. She knew something was out there.

...here comes the light, nameless and intangible, streaming 93 million unobstructed miles through the implacable black vacuum to break itself against a wall, a cornice, a column. It drenches, it crenellates, it textures, It throws the city into relief. The coins fall through the slot; the illumination box clicks on.

Finally, as the sky began to grow light in the morning, I’d feel that I might be drifting off. But that wasn’t sleep. My fingertips were just barely brushing against the outermost edge of sleep. And all the while, my mind was awake. I would feel a hint of drowsiness, but my mind was there, in its own room, on the other side of a transparent wall, watching me. My physical self was drifting through the feeble morning light, and all the while it could feel my mind staring, breathing, close beside it. I was both a body on the verge of sleep and a mind determined to stay awake. The incomplete drowsiness would continue on and off all day. My head was always foggy. I couldn’t get an accurate fix on the things around me—their distance or mass or texture. The drowsiness would overtake me at regular, wavelike intervals: on the subway, in the classroom, at the diner table. My mind would slip away from my body. The world would sway soundlessly. I would drop things. My pencil or my purse or my fork would clatter to the floor. All I wanted was to throw myself down and sleep. But I couldn’t. The wakefulness was always there beside me. I could feel its chilling shadow. It was the shadow of myself. Weird, I would think as the drowsiness overtook me, I’m in my own shadow. I would walk and eat and talk to people inside my drowsiness. And the strangest thing was that no one noticed. I lost fifteen pounds that month, and no one noticed. No one in my family, not one of my friends or classmates, realized that I was going through life asleep. It was literally true: I was going through life asleep. My body had no more feeling than a drowned corpse. My very existence, my life in the world, seemed like a hallucination. A strong wind would make me think that my body was about to be blown to the end of the earth, to some land I had never seen or heard of, where my mind and body would separate forever. Hold tight, I would tell myself, but there was nothing for me to hold on to.

She reached her doorstep. The key turned sweetly in the lock. That was the kind of thing one remembered about a house: not the size of the rooms or the color of the walls, but the feel of the door-handles and light-switches, the shape and texture of the banister-rail under one's palm; minute tactual intimacies, whose resumption was the essence of coming home.

Story is the most adequate way we have of accounting for our lives, noticing the obscure details that turn out to be pivotal, appreciating the subtle accents of color and form and scent that give texture to our actions and feelings, giving coherence to our meetings and relationships in work and family, finding our precise place in the neighborhood and in history.

A nutritive centre, anatomically considered, is merely a cell, the nucleus of which is the permanent source of successive broods of young cells, which from time to time fill the cavity of their parent, and carrying with them the cell wall of the parent, pass off in certain directions, and under various forms, according to the texture or organ of which their parent forms a part.

Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. It was the best time of her life.

Though the walls were glowing orange, the place still felt pitch-black. It shone in a way that didn’t cast light on anything but itself, which reminded me of photos I’d seen of coral during the night. The texture of the walls felt the same as the mushroom ghost, as though I had been eaten up by a giant balloon. I imagined the house sucking up all the air, suffocating me. After I died, it’d absorb me too.

I dreamed not long ago of that market with all its vivid textures. I walked through the stalls with a basket over my arms as always and went right to Edita for a bunch of fresh cilantro. We chatted and laughed and when I held out my coins she waved them off, patting my arm and sending me away. A gift, she said. Muchas gracias, señora, I replied. There was my favorite panadera, with clean cloths laid over the round loaves. I chose a few rolls, opened my purse, and this vendor too gestured away my money as if I were impolite to suggest paying. I looked around in bewilderment; this was my familiar market and yet everything had changed. It wasn't just for me—no shopper was paying. I floated through the market with a sense of euphoria. Gratitude was the only currency accepted here. It was all a gift. It was like picking strawberries in my field: the merchants were just the intermediaries passing on gifts from the earth. I looked in my basket: two zucchinis, an onion, tomatoes, bread, and a bunch of cilantro. It was still half empty, but it felt full. I had everything I needed. I glanced over at the cheese stall, thinking to get some, but knowing it would be given, not sold, I decided I could do without. It's funny: Had all the things in the market merely been a very low price, I probably would have scooped up as much as I could. But when everything became a gift, I felt self-restraint. I didn't want to take too much. And I began thinking of what small presents I might bring to the vendors tomorrow. The dream faded, of course, but the feelings of euphoria and then of self-restraint remain. I've thought of it often and recognize now that I was witness there to the conversion of a market economy to a gift economy, from private goods to common wealth. And in that transformation the relationships became as nourishing as the food I was getting. Across the market stalls and blankets, warmth and compassion were changing hands. There was a shared celebration of abundance for all we'd been given. And since every market basket contained a meal, there was justice.

Sshhhhh from rain, pitpitpit from hemlock, bloink from maple, and lastly popp of falling alder water. Alder drops make a slow music. It takes time for fine rain to traverse the scabrous rough surface of an alder leaf. The drops aren't as big as maple drops, not enough to splash, but the popp ripples the surface and sends out concentric rings. I close my eyes and listen to the voices of the rain. The reflecting surface of the pool is textured with their signatures, each one different in pace and resonance. Every drip it seems is changed by its relationship with life, whether it encounters moss or maple or fir bark or my hair. And we think of it as simply rain, as if it were one thing, as if we understood it. I think that moss knows rain better than we do, and so do maples. Maybe there is no such thing as rain; there are only raindrops, each with its own story.

I don't know how you hear music. I imagine that if you like music at all then it has, in your head, some kind of third dimension to it, a dimension suggesting space as well as surface, depth of field as well as texture. Speaking for myself, I used to hear "buildings"... three-dimensional forms of architectural substance and tension. I did not "see" these buildings in the classic synaesthetic way so much as sense them. These forms had "floors", "walls", "roofs", "windows", "cellars". They expressed volume. Music to me has always been a handsome three-dimensional container, a vessel, as real in its way as a Scout hut or a cathedral or a ship, with an inside and an outside and subdivided internal spaces. I'm absolutely certain that this "architecture" had everything to do with why music has always exerted such a hold over me. I think music was the structure in which I learned to contain and then examine emotion.

And I read something else," Jacob goes on. "There was this discussion of the story of Cain and Abel, from the Bible. After Cain kills his brother, God says, 'The bloods of your brother call out to me.' Not blood. Bloods. Weird, right? So the Talmud tries to explain it." "I can explain it," says William. "The scribe was drunk." "William!" cries Jeanne. "The Bible is written by God!" "And copied by scribes," the big boy replies. "Who get drunk. A lot. Trust me." Jacob is laughing. "The rabbis have a different explanation. The Talmud says it's 'bloods' because Cain didn't only spill Abel's blood. He spilled the blood of Abel and all the descendants he never had." "Huh!" "And then it says something like, 'Whoever destroys a single life destroys the whole world. And whoever saves a single life saves the whole world." There are sheep in the meadow beside the road. Gwenforte walks up to the low stone wall, and one sheep--a ram--doesn't run away. They sniff each other's noses. Her white fur beside the ram's wool--two textures, two colors, both called white in our inadequate language. Jeanne is thinking about something. At last, she shares it. "William, you said that it takes a lifetime to make a book." "That's right." "One book? A whole lifetime?" William nods. "A scribe might copy out a single book for years. An illuminator would then take it and work on it for longer still. Not to mention the tanner who made the parchment, and the bookbinder who stitched the book together, and the librarian who worked to get the book for the library and keep it safe from mold and thieves and clumsy monks with ink pots and dirty hands. And some books have authors, too, like Saint Augustine or Rabbi Yehuda. When you think about it, each book is a lot of lives. Dozens and dozens of them." Dozens and dozens of lives," Jeanne says. "And each life a whole world." "We saved five books," says Jacob. "How many worlds is that?" William smiles. "I don't know. A lot. A whole lot.

Our ghoulish mission was to search for bodies. It was rich hunting that day and the many thereafter. We started on a small scale—here a leg, there an arm, and an occasional baby—but struck a mother lode before noon. We cut our way through a basement wall to discover a reeking hash of over one hundred human beings. Flame must have swept through before the building’s collapse sealed the exits, because the flesh of those within resembled the texture of prunes. Our job, it was explained, was to wade into the shambles and bring forth the remains. Encouraged by cuffing and guttural abuse, wade in we did. We did exactly that, for the floor was covered with an unsavory broth from burst water mains and viscera. A number of victims, not killed outright, had attempted to escape through a narrow emergency exit. At any rate, there were several bodies packed tightly into the passageway. Their leader had made it halfway up the steps before he was buried up to his neck in falling brick and plaster. He was about fifteen, I think.

The impotence of liberal humanism is a symptom of its essentially contradictory relationship to modern capitalism. For although it forms part of the ‘official’ ideology of such society, and the ‘humanities’ exist to reproduce it, the social order within which it exists has in one sense very little time for it at all. Who is concerned with the uniqueness of the individual, the imperishable truths of the human condition or the sensuous textures of lived experience in the Foreign Office or the boardroom of Standard Oil? Capitalism’s reverential hat-tipping to the arts is obvious hypocrisy, except when it can hang them on its walls as a sound investment. Yet capitalist states have continued to direct funds into higher education humanities departments, and though such departments are usually the first in line for savage cutting when capitalism enters on one of its periodic crises, it is doubtful that it is only hypocrisy, a fear of appearing in its true philistine colours, which compels this grudging support. The truth is that liberal humanism is at once largely ineffectual, and the best ideology of the ‘human’ that present bourgeois society can muster. The ‘unique individual’ is indeed important when it comes to defending the business entrepreneur’s right to make profit while throwing men and women out of work; the individual must at all costs have the ‘right to choose’, provided this means the right to buy one’s child an expensive private education while other children are deprived of their school meals, rather than the rights of women to decide whether to have children in the first place.

Human history is the ancient story of the umbilical conflict between a lone individual versus a cabalistic society. A love-hate relationship defines our personal history with society, where the suppression of individuality for the sake of the collective good battles the notion that the purpose of society is to enable each person to flourish. A conspicuous feature of cultural development involves societies teaching children the sublimation of unacceptable impulses or idealizations, consciously to transform their inappropriate instinctual impulses into socially acceptable actions or behavior. The paradox rest in the concept that in order for any person to flourish they must preserve the spiritual texture of themselves, a process that requires the individual to resist societal restraint, push off against the community, and reject the walls of traditionalism that seek to pen us in. The climatic defining event in a person’s life represents the liberation of the self from crippling conformism, staunchly rebuffing capitulating to the whimsy of the super ego of society.

He sat in the chapel for hours picking his way through fugues. A dozen notes, hardly music. But then those few notes spoke to each other, subject and answer, by repetition, by diminution, by augmentation, even looping backwards on themselves in a course like the retrograde motion of Mars. He listened as if he had as many ears as fingertips, and, like a blind man, could feel textures that were barely there. At the end of two or three pages of music he would hear all the voices twining together in a construction of such dizzying power that the walls of the chapel could barely contain it.

The one continuous thing through Rome’s history, from the Etruscans to Pliny to Caravaggio to Pope John Paul to Henry and Owen, is the light: the light at dawn, at sunset. The light tiptoes across everything, exposing it anew, whispering, Here is this! Here is this! Ecco Roma! Bursting out of the sun, streaking through space, skirting Venus, just over eight minutes old, but eternal, too, infinite—here comes the light, nameless and intangible, streaming 93 million unobstructed miles through the implacable black vacuum to break itself against a wall, a cornice, a column. It drenches, it crenellates, it textures. It throws the city into relief.

It had all begun on the elevated. There was a particular little sea of roots he had grown into the habit of glancing at just as the packed car carrying him homeward lurched around a turn. A dingy, melancholy little world of tar paper, tarred gravel, and smoky brick. Rusty tin chimneys with odd conical hats suggested abandoned listening posts. There was a washed-out advertisement of some ancient patent medicine on the nearest wall. Superficially it was like ten thousand other drab city roofs. But he always saw it around dusk, either in the normal, smoky half-light, or tinged with red by the flat rays of a dirty sunset, or covered by ghostly windblown white sheets of rain-splash, or patched with blackish snow; and it seemed unusually bleak and suggestive, almost beautifully ugly, though in no sense picturesque; dreary but meaningful. Unconsciously it came to symbolize for Catesby Wran certain disagreeable aspects of the frustrated, frightened century in which he lived, the jangled century of hate and heavy industry and Fascist wars. The quick, daily glance into the half darkness became an integral part of his life. Oddly, he never saw it in the morning, for it was then his habit to sit on the other side of the car, his head buried in the paper. One evening toward winter he noticed what seemed to be a shapeless black sack lying on the third roof from the tracks. He did not think about it. It merely registered as an addition to the well-known scene and his memory stored away the impression for further reference. Next evening, however, he decided he had been mistaken in one detail. The object was a roof nearer than he had thought. Its color and texture, and the grimy stains around it, suggested that it was filled with coal dust, which was hardly reasonable. Then, too, the following evening it seemed to have been blown against a rusty ventilator by the wind, which could hardly have happened if it were at all heavy. ("Smoke Ghost")

A gentle breeze rustled through the leaves, bringing with it the scent of fresh-turned earth and lavender blossoms. Amanda drew to the side of the balcony, where she was completely concealed from view. As she leaned against the wall of the house, the rough texture of the red brick gently abraded her bare shoulders. She had worn a pale blue, corded-silk gown with a low-cut back, and draperies of gauze that crossed over the bodice in an X pattern. The long sleeves of the gown were made of more transparent gauze, while her hands were encased in white gloves. The flash of her bare arms beneath the filmy blue silk made Amanda feel sophisticated and daring.

This is not a barren place. Villanelle, whose talent is to look at everything at least twice, taught me to find joy in the most unlikely places and still to be surprised by the obvious. She had a knack of raising your spirits just by saying, 'Look at that,' and that was always an ordinary treasure brought to life. She can even charm the fishwives. So I go from my room in the morning and make the journey to the garden very slowly, feeling the walls with my hands, getting a sense of surface, of texture. I breathe carefully, smelling the air, and when the sun is up I turn my face that way and let it lighten me. . . . At the garden, although I have a spade and a fork, I often dig with my hands if it’s not too cold. I like to feel the earth, to squeeze it hard and tight or to crumble it between my fingers. There's time here to love slowly.

Griff entered the cave, sword in hand. He had no desire to frighten Astelle, but he had to be prepared for anything. She jumped up from her fireside position with a small stifled scream at his entry, then continued to back fearfully towards the shadowed wall. She was quite alone. Griff could sense no other presence – only hers, and the wonder of it. He sheathed his sword, and gazed upon his long-lost love. Her hair had lost all trace of colour while still retaining the texture of youth, giving the appearance of white silk. There was a pulsating light of a blue-lilac shade which clung to the crown of her head, reflecting in the hair – a soul – a lost spirit – someone who had loved her. She was almost as pale as death, for Torking took far too much blood from her, too frequently. She was also much thinner than she should have been, but for all of this, she was still the most beautiful sight of his life. Her body was ravaged with Torking's bites and claw-marks. She was still wearing his old cloak which Griff instantly recognised, though it was little more than a rag, wrapped around her body and tied on one shoulder. Her beautiful dark eyes, those which had so haunted his dreams, seemed over-large in her pale face, as she stared at him with a mingling of shock, disbelief and joy. Griff took a few hesitant steps towards her, unsure of his reception. ‘Astelle?’ His voice grated with emotion. How often had she yearned to hear him speak her name exactly in that way? ‘Astelle – is it really you?’ He was just as divinely handsome as she remembered, and he looked so fine – he looked magnificent in Gremlen battledress. In the flickering torchlight, the blue krulmesh armour glittered over the black leather tunic. The emerald sheen in his raven hair was vivid as ever. Best of all, his dark forest-green eyes were shining with love, and she suddenly understood that Griff was a hundred times more beautiful than Torking, for his eyes held everything that was good, fine and noble. Astelle's heart almost stopped beating as she gazed at him. Her eyes filled with tears, and her lip trembled as she tried to whisper his name.

Salo had a skin with the texture and color of the skin of an Earthling tangerine. Salo had three light deer-like legs. His feet were of an extraordinarily interesting design, each being an inflatable sphere. By inflating these spheres to the size of German batballs, Salo could walk on water. By reducing them to the size of golf balls, Salo could bound over hard surfaces at high speeds. When he deflated the spheres entirely, his feet became suction cups. Salo could walk up walls. Salo had no arms. Salo had three eyes, and his eyes could perceive not only the so-called visible spectrum, but infrared and ultraviolet and X-rays as well. Salo was punctual—that is, he lived one moment at a time—and he liked to tell Rumfoord that he would rather see the wonderful colors at the far ends of the spectrum than either the past or the future. This was something of a weasel, since Salo had seen, living a moment at a time, far more of the past and far more of the Universe than Rumfoord had. He remembered more of what he had seen, too. Salo’s head was round and hung on gimbals.

When I finally calmed down, I saw how disappointed he was and how bad he felt. I decided to take a deep breath and try to think this thing through. “Maybe it’s not that bad,” I said. (I think I was trying to cheer myself up as much as I was trying to console Chip.) “If we fix up the interior and just get it to the point where we can get it onto the water, at least maybe then we can turn around, sell it, and get our money back.” Over the course of the next hour or so, I really started to come around. I took another walk through the boat and started to picture how we could make it livable--maybe even kind of cool. After all, we’d conquered worse. We tore a few things apart right then and there, and I grabbed some paper and sketched out a new layout for the tiny kitchen. I talked to him about potentially finishing an accent wall with shiplap--a kind of rough-textured pine paneling that fans of our show now know all too well. “Shiplap?” Chip laughed. “That seems a little ironic to use on a ship, doesn’t it?” “Ha-ha,” I replied. I was still not in the mood for his jokes, but this is how Chip backs me off the ledge--with his humor.

‌* When the coughing stopped, there was nothing but the nothingness of life moving on with a shuffle, or a near-silent twitch. ‌* Mistakes, mistakes, it’s all I seem capable of at times ‌*No matter how many times she was told that she was loved, there was no recognition that the proof was in the abandonment. ‌*It’s much easier, she realized, to be on the verge of something than to actually be it ‌*When death captures me,” the boy vowed, “he will feel my fist on his face.”. ‌*he’d turned for one last look at his family as he left the apartment. Perhaps then the guilt would not have been so heavy. No final goodbye. No final grip of the eyes. Nothing but goneness. ‌ *Wrecked, but somehow not torn into pieces. ‌*Life had altered in the wildest possible way, but it was imperative that they act as if nothing at all had happened. ‌*“If we gamble on a Jew,” said Papa soon after, “I would prefer to gamble on a live one,” and from that moment, a new routine was born. *‌you should know it yourself—a young man is still a boy, and a boy sometimes has the right to be stubborn.” ‌*The fire was nothing now but a funeral of smoke, dead and dying, simultaneously. ‌*Even death has a heart.. ‌* In truth, I think he was afraid. Rudy Steiner was scared of the book thief’s kiss. He must have longed for it so much. He must have loved her so incredibly hard. So hard that he would never ask for her lips again and would go to his grave without them. ‌*There is death. Making his way through all of it. On the surface: unflappable, unwavering. Below: unnerved, untied, and undone. *‌That damn snowman,” she whispered. “I bet it started with the snowman—fooling around with ice and snow in the cold down there.” Papa was more philosophical. “Rosa, it started with Adolf.” *‌There were broken bodies and dead, sweet hearts. Still, it was better than the gas ‌*They were French, they were Jews, and they were you. ‌*Sometimes she sat against the wall, longing for the warm finger of paint to wander just once more down the side of her nose, or to watch the sandpaper texture of her papa’s hands. If only she could be so oblivious again, to feel such love without knowing it, mistaking it for laughter and bread with only the scent of jam spread out on top of it. *‌Himmel Street was a trail of people, and again, Papa left his accordion. Rosa reminded him to take it, but he refused. “I didn’t take it last time,” he explained, “and we lived.” War clearly blurred the distinction between logic and superstition. ‌*Silence was not quiet or calm, and it was not peace. ‌*“I should have known not to give the man some bread. I just didn’t think.” “Papa, you did nothing wrong.” “I don’t believe you. ‌ * I’m an idiot.” No, Papa. You’re just a man.. ‌*What someone says and what happened are usually two different things ‌* despised by his homeland, even though he was born in it ‌ *“Of course I told him about you,” Liesel said. She was saying goodbye and she didn’t even know it. ‌*Say something enough times and you never forget it ‌*robbery of his life? ‌*Those kinds of souls always do—the best ones. The ones who rise up and say, “I know who you are and I am ready. Not that I want to go, of course, but I will come.” Those souls are always light because more of them have been put out. More of them have already found their way to other places ‌*One could not exist without the other, because for Liesel, both were home. Yes, that’s what Hans Hubermann was for Liesel Meminger ‌*DEATH AND LIESEL It has been many years since all of that, but there is still plenty of work to do. I can promise you that the world is a factory. The sun stirs it, the humans rule it. And I remain. I carry them away.

When I finally calmed down, I saw how disappointed he was and how bad he felt. I decided to take a deep breath and try to think this thing through. “Maybe it’s not that bad,” I said. (I think I was trying to cheer myself up as much as I was trying to console Chip.) “If we fix up the interior and just get it to the point where we can get it onto the water, at least maybe then we can turn around, sell it, and get our money back.” Over the course of the next hour or so, I really started to come around. I took another walk through the boat and started to picture how we could make it livable--maybe even kind of cool. After all, we’d conquered worse. We tore a few things apart right then and there, and I grabbed some paper and sketched out a new layout for the tiny kitchen. I talked to him about potentially finishing an accent wall with shiplap--a kind of rough-textured pine paneling that fans of our show now know all too well. “Shiplap?” Chip laughed. “That seems a little ironic to use on a ship, doesn’t it?” “Ha-ha,” I replied. I was still not in the mood for his jokes, but this is how Chip backs me off the ledge--with his humor. Then I asked him to help me lift something on the deck, and he said, “Aye, aye, matey!” in his best pirate voice, and slowly but surely I came around. I can’t believe I’m saying this, but by the end of that afternoon I was actually a little bit excited about taking on such a big challenge. Chip was still deflated that he’d allowed himself to get duped, but he put his arm around me as we started walking back to the truck. I put my head on his shoulder. And the camera captured the whole thing--just an average, roller-coaster afternoon in the lives of Chip and Joanna Gaines. The head cameraman came jogging over to us before we drove away. Chip rolled down his window and said sarcastically, “How’s that for reality TV?” We were both feeling embarrassed that this is how we had spent our last day of trying to get this stinkin’ television show. “Well,” the guy said, breaking into a great big smile, “if I do my job, you two just landed yourself a reality TV show.” What? We were floored. We couldn’t believe it. How was that a show? But lo and behold, he was right. That rotten houseboat turned out to be a blessing in disguise.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

………………………………………….. Taylor was keenly aware of his vulnerability as he entered the cottage. He had no weapons, no friends, and no idea why he was there. If they wanted his head, it was theirs, and there was little he could do about it. And yet, he did not feel unsafe. He felt kept. Inside was a small, dimly lit room with just four or five candles planted here and there around it, including one in a long silver holder that stood atop a small, elegantly carved table in the center. Before the table was a stool, also beautifully carved, with another, similar one opposite. There was a stool in the corner as well, and two more next to a hardwood desk on the right. The walls were rough with the texture of the clay, and looked peach in the candlelight. There were arched doorways leading off to unlit corridors, and one large doorway behind the table, covered by a red velvet curtain. If it was going to be a sneak attack, Taylor would be an easy target. “Sit here,” the stout man said, motioning to the stool before the table. “And wait.” He did so, and the stout man walked off through the velvet curtain with his staff. A moment later Taylor could hear mutterings between him and another, but he could not make out what they were saying. For a few seconds there was silence, and Taylor became suddenly worried. Then, to his relief, the stout man reemerged and took his seat in the corner, his eyes set on the room from whence he had just come. Taylor, too, set his eyes on the curtain, unsure whether there would emerge a man or a wild beast, but curious nonetheless. His curiosity was answered when the

I grinned and slid my palm along the smooth curve of a fender. The finish was cherry red on my father’s version, but I liked the glint of the cold steel a little better. It gave the classic Mustang an angry glint that matched my mindset well, but I spent some time changing the surface quality in order to give the metal a sandblasted texture. Then I took another swig and gently placed the steel panels against the far wall of the workshop, and with a few shelves shifted to the side, most of the pieces were concealed from view. Once I’d finished the roof panel and both bumpers with the same slow and steady approach, I moved on to the hood and the trunk components next, as well as the compartment that would serve as the trunk itself. The first hood warped under the force of me shimmying it, but by the third try, I had it sturdy at half an inch thick with a gentle bevel along the edges. The entire top frame took only a few hours to create, and I grinned at Ruela as I tucked the last disassembled portion behind the vat of water in the corner. “Don’t tell Aeris,” I muttered to the wolfish beast. “He may know nothing about rifles, but he’s bound to notice there’s a slight difference in size going on here.

The wall was an eyesore in its newness, grayness, lack of grace. That much blank space might not set a regular person's blood racing, but to an artist, it's like opening up a new sketchpad, the kind with heavy textured paper. Impossible to leave it empty.

Eli returned to the river and paused for a moment midstream. His feet were balanced upon uneven stones. The current tumbled around him. The canyon walls were steep and jagged and solid. The colors beneath the surface stirred and glittered. He wanted to hold his face under water and breathe in their beauty. He dipped his fingers into the snow-cold transient texture and felt a tingle. He closed his eyes to see this sensation clearly. He breathed. He put his hand up to his face and felt the freshness enter his soul. Water droplets dripped from his skin and returned to the river. He opened his eyes as if they were separate from his body, separate from the tension of life, distant from any distraction. He breathed.

I want to take our museum bodies and turn them into art galleries to show us how lovely we are. I want to dust off the fingerprints of old lovers, take down the signs that name our bodies ancient history, turn every wounded object inside us into something that can still be looked at and seen as beautiful, not an object from an era we are glad we are not living through any more. I want us to love ourselves like we love art. I want whole gallery walls dedicated to our soft hearts, vermilion and crimson and indigo across canvas after canvas framed in gold. I want sculptures made from the tears we cried over losing everything. I want our skins to be a celebration: The texture is what makes this art, all these lines and blemishes and spots that show the artist's love. I don't want us to look at ourselves as forgotten things we hate any more. I want us to look at ourselves and see art.

Beauty is more than just pictures on a wall. It is also about colors that bring pleasure, smooth and nubby textures that reward the touch, the wafting fragrance of food in the oven that keeps us sniffing appreciatively, the comfort or excitement of music on the stereo. Beauty is found in the way we light the rooms (we keep a well-stocked shelf of candles and lighters in constant use), the books we open again and again, the way we arrange the furniture and set the table. It is found in natural objects we use for decorating potted plants, shells, autumn leaves, always fresh flowers or pine boughs brought in from our yard and open windows that draw the eye toward the beautiful outdoors.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.

When Kevin came to work with a bloody wound on his knee, they scanned that in too, to use as a wall texture

New Yorkers liked Sadik-Khan’s bike lanes and the plazas; they liked the 800 more acres of parks—though Parks had cut its staff 40% between 2008 and 2012 even as the Central Park Conservancy boasted a $183 million endowment—and three-quarters of a million more trees. A certain texture was gone though, easy to see on the Upper East Side where almost a third of the apartments between 49th and 70th between Fifth and Park were vacant ten months a year, owned by shell companies and LLCs. The neighborhood was a kind of jewelry store now, apartments tended and traded for their speculative value. Yet the idea of New York City was bigger and broader than it had ever been. By 2010, 37% of New York’s residents were immigrants, two-thirds living in Brooklyn and Queens, and as much as globalization had helped gut the city’s manufacturing base, they’d been at least as much responsible for hatching its evolutions as anything done at One Police Plaza or City Hall. While Wall Street had been mining wealth for itself, immigrants from around the world had rebuilt the day-to-day economy; from 1994 to 2004, businesses in neighborhoods like Flushing and Sunset Park grew by as much as 55%. Half of the city’s accountants

Meditation # 3 Writing Coffee! Today there are so many cafes to choose from. I’m in NYC now and have a choice of 5 ‘coffee shops’ within a 2-block radius. When I lived here over 20 years ago that would have looked more like 1 cafe in a 12-block radius. Not including Bodegas! Find your way to a cafe—by yourself. You’re allowed a newspaper, book or digital device of your choice but also bring along a pen and paper. Get your favorite hot beverage. Teas are nice, too! And relax. Mindfulness training reminds you to pause. To be observant. To not only look but to see. Try that now—if you are in a cafe. Notice everything! The walls—their color and texture, what’s hanging on them. Is there a theme? I.e. Do you notice photos of bread being made? Flowers in baskets? Coffee beans being harvested? What are the sounds? Do you hear a cappuccino machine frothing fresh milk? People talking? Music being streamed in the background? What are the smells? Are they heavenly? Breads? Dark roasts? What do you feel? Are there people around? Do you feel comfortable? Are you self-conscious? Take out your paper and write your responses down. All of them. Without judgment. You have just been creative!

Hi, Ivan.” He lowered his chin. “Hey.” His father swung back to him, speaking in Russian. Mine wasn’t perfect, but I had a good enough handle to understand him. “Who is this girl?” he spat. Ivan didn’t glance at me. “She’s no one important. Just this weird girl who follows me around,” he returned in Russian. His father chuffed. “Good. The last thing you need is a girlfriend. You have other things to concentrate on.” “Don’t worry about that. I’m not interested in having a girlfriend.” Then, he switched to English. “I have to ride with my dad to the airport. See you later.” They walked around me while I stood frozen, the Noro yarn between my fingers the only thing I felt. I squeezed it hard, grounding myself in the rich, familiar texture. My feet finally moved, taking me upstairs to my room. I tossed my bag down, kicked my shoes off, and yanked on my headphones. Curling up in the corner of my bed, my heavy blanket over my shoulders, I let my head fall back against the wall as rhythmic beats poured into my ears. Stupid, stupid, stupid.

He meditated resentfully on the physical texture of life. Had it always been like this? Had food always tasted like this? He looked round the canteen. A low-ceilinged, crowded room, its walls grimy from the contact of innumerable bodies; battered metal tables and chairs, placed so close together that you sat with elbows touching; bent spoons, dented trays, coarse white mugs; all surfaces greasy, grime in every crack; and a sourish, composite smell of bad gin and bad coffee and metallic stew and dirty clothes. Always in your stomach and in your skin there was a sort of protest, a feeling that you had been cheated of something that you had a right to. It was true that he had no memories of anything greatly different. In any time that he could accurately remember, there had never been quite enough to eat, one had never had socks or underclothes that were not full of holes, furniture had always been battered and rickety, rooms underheated, tube trains crowded, houses falling to pieces, bread dark-coloured, tea a rarity, coffee filthy-tasting, cigarettes insufficient — nothing cheap and plentiful except synthetic gin. And though, of course, it grew worse as one’s body aged, was it not a sign that this was NOT the natural order of things, if one’s heart sickened at the discomfort and dirt and scarcity, the interminable winters, the stickiness of one’s socks, the lifts that never worked, the cold water, the gritty soap, the cigarettes that came to pieces, the food with its strange evil tastes? Why should one feel it to be intolerable unless one had some kind of ancestral memory that things had once been different?

Matteo holds up a forkful of fish. "Just take this exquisite bite of fish. The way it plays on your tongue-- the salt, the richness, the luscious texture." Matteo takes his butter knife in his left hand and brushes a mound of pineapple fried rice on his fork. He holds it up in front of him, catching the light of the nearby overhead chandelier. It's like he's an appraiser scrutinizing a gemstone in the light. "And this rice. My oh my, this rice. The perfect complement to the delicately fried fish with its sweet chunks of succulent pineapple and salty bacon." He slaps his free hand on his knee and lets out a throaty chuckle that booms against the dining room walls. "Who would have thought to add bacon as a twist in fried rice?

Walls are more than stone and mortar. They are silent sentinels, their eyes following every movement, their mouths sealed yet harboring countless reminiscences. They're silent storytellers. They witness hushed secrets and grand pronouncements, absorbing the laughter and tears that reverberate within their confines. Their textures saying under its breath, of the lives lived within. The worn wallpaper narrating chronicles. The chipped paint flecks capture fleeting moments, and the floor creak with impressions unseen. The silence of walls holds the weight of history. A chronicle of lives lived within their embrace.

When I read Quin I recognise her fidgeting forensic polyvocal style as a powerful and bona fide expression of an unbearably tense and disorienting paradox that underscores everyday life in a working-class environment - on the one hand it's an abrasive and in-your-face world, yet, at the same time, much of it seems extrinsic and is perpetually uninvolving. One is relentlessly overwhelmed and understimulated all at the same time. Is it any wonder then, that such a paradox would engender a heightened aesthetic sensitivity that is as detached as it is perspicacious? Quin mentions somewhere in one of her shorter pieces the 'partition next to my bed', how it 'shook at night from the manoeuvres, snores of my anonymous neighbour.' If your immediate locale doesn't offer you much in terms of dependable boundaries it's not entirely inconceivable is it that you'll end up writing a kaleidoscopic sort of prose that is constantly shuffling the distinction between objects and beings, self and other, and conceives of the world in terms of form and geometry, texture and tone. The walls are paper-thin. You rarely have any privacy. And neither do you have the safety nets, the fenders, the filters, nor the open doors which people from affluent backgrounds enjoy from day one. When you are living with no clear sense of future, day-to-day life is precarious, disjointed, frequently invasive, and beyond your control.

I was back in disgust. I stood in the centre of the big room, naked, letting the heat strike me from the three points of heat, and I knew, and it was an illumination — one of those things one has always known, but never really understood before — that all sanity depends on this: that it should be a delight to feel the roughness of a carpet under smooth soles, a delight to feel heat strike the skin, a delight to stand upright, knowing the bones are moving easily under flesh. If this goes, then the conviction of life goes too. But I could feel none of this. The texture of the carpet was abhorrent to me, a dead processed thing; my body was a thin, meagre, spiky sort of vegetable, like an unsunned plant; and when I touched the hair on my head it was dead. I felt the floor bulge up under me. The walls were losing their density. I knew I was moving down into a new dimension, further away from sanity than I had ever been. I knew I had to get to the bed fast. I could not walk, so I let myself down on my hands and knees and crawled to the bed and lay on it, covering myself.

The slightly musky scent of his skin mingled with the crisp smell of starch from his necktie, a blend so alluring that she inched closer to inhale deeply. Nick stopped by the end of the street. His head turned, his shaven cheek brushing hers and making her skin tingle. "What are you doing?" "Your smell..." she said dreamily. "It's wonderful. I noticed it the first time we met, when you nearly knocked me off the wall." A laugh stirred in his throat. "I saved you from falling, you mean." Intrigued by the scratchy texture of his skin, Lottie pressed her lips beneath his jaw. She felt him swallow hard, the movement rippling against her mouth. It was the first time she had ever made an advance to him, and the small gesture was surprisingly effective. He stood there holding her tightly, his chest rising and falling in increasingly labored breaths. Intrigued by the notion that she could arouse him so easily, Lottie tugged at the knot of his necktie and kissed the side of his throat. "Don't, Lottie." She drew the tip of her fingernail over the hair-roughened skin, scraping delicately. "Lottie..." he tried again. Whatever he had intended to say was forgotten as she kissed his ear and took the lobe between her teeth in a soft bite. The carriage stopped before them, and the footman busied himself with seeing out the removable step. Schooling his features into a blank mask, Nick thrust Lottie inside the carriage and climbed in after her.

It was good for me to be afflicted. (Psalm 119:71) It is a remarkable occurrence of nature that the most brilliant colors of plants are found on the highest mountains, in places that are the most exposed to the fiercest weather. The brightest lichens and mosses, as well as the most beautiful wildflowers, abound high upon the windswept, storm-ravaged peaks. One of the finest arrays of living color I have ever seen was just above the great Saint Bernard Hospice near the ten-thousand-foot summit of Mont Cenis in the French Alps. The entire face of one expansive rock was covered with a strikingly vivid yellow lichen, which shone in the sunshine like a golden wall protecting an enchanted castle. Amid the loneliness and barrenness of that high altitude and exposed to the fiercest winds of the sky, this lichen exhibited glorious color it has never displayed in the shelter of the valley. As I write these words, I have two specimens of the same type of lichen before me. One is from this Saint Bernard area, and the other is from the wall of a Scottish castle, which is surrounded by sycamore trees. The difference in their form and coloring is quite striking. The one grown amid the fierce storms of the mountain peak has a lovely yellow color of a primrose, a smooth texture, and a definite form and shape. But the one cultivated amid the warm air and the soft showers of the lowland valley has a dull, rusty color, a rough texture, and an indistinct and broken shape. Isn’t it the same with a Christian who is afflicted, storm-tossed, and without comfort? Until the storms and difficulties allowed by God’s providence beat upon a believer again and again, his character appears flawed and blurred. Yet the trials actually clear away the clouds and shadows, perfect the form of his character, and bestow brightness and blessing to his life. Amidst my list of blessings infinite Stands this the foremost, that my heart has bled; For all I bless You, most for the severe. Hugh Macmillan

Lizzie told me ’tis important to use all of the senses in cooking.” “She is correct—the art of baking bread or preparing a proper dish is to remember to use your senses. You must feel the texture to know the consistency and taste it to know if you have the right amount. The aroma will tell you when it is done. Experience will teach you.” He turned to the oven and opened the door. Mary drew back from the heat, but he nudged her to look inside. The soot had turned to a white-hot ash on the walls of the oven and he nodded toward the

He wanted to know her. He wanted to put depth and shadow and texture to her outline. He wanted to discover the timbre of her voice, to watch her hands move as she talked, to know her stride, her pace, to hear her snap at him in annoyance, to feel her hand on his arm as she made him pause to look at something that had caught her eye. He wanted to know how she sat, how she held her cup, how she brushed her hair. He was surprised by how much he wanted to see her room, to know what color it was painted, what light it got, whether her desk was wide or narrow. He wanted to know how she moved in the world, so that he could recognize her in a crowd just from the way she tucked her hair behind her ear.

Imagine that you’re standing in the middle of the floor of a prison cell. Around you are solid concrete walls and a solid steel door. The only window is a small slit on the back wall of your cell, but it’s so high up above your head that you can’t see out of it unless you grip the ledge and haul yourself up with sheer brute strength. Imagine that you pull yourself up there by your fingertips, actually feeling what it would be like—the muscles in your hands, forearms, and biceps all activated and getting more exhausted by the second; the rough texture of the wall scraping your belly and thighs as you struggle to ascend; the cold steel of the window bars around your hands. When you finally pull yourself up above the ledge, you’re nearly blinded by a brilliant light from the outside. It’s the light of creation, and it bursts into the window and makes everything disappear. There’s only the light—no prison cell, no window, and no you. Nothing exists anymore but infinite light. That’s the meditation. Just like the pull-up or chin-up you’re imagining yourself doing, one repetition is probably not enough to do much. There aren’t any rules as to how many times you should visualize the above, but I think ten reps is a good start. And when that becomes easy, try working your way up to a hundred times. When you get truly proficient at it, you’ll notice a peculiar sensation. As you imagine the light obliterating everything (including you), you’ll start to feel as if you’ve been cast back into your own body—gently, yet forcefully. You’ll also experience a temporary state of being grounded in the present moment, in your physical form, with no stray thoughts whatsoever. Mindfulness has been increasing in popularity for the last decade or so, and people apply it in the context of just about anything these days—golf, cooking, running, tennis, parenting, and so on. Originating thousands of years ago

I was born to walk the Earth, experience the amazing beauty of this planet, and witness the splendor and magic of all things—to be overwhelmed by a ray of sunlight, touched by an encounter with a frog, and mystified by the texture of a rock wall. I was born to splash through the creeks, sing through the canyons, laugh with the squirrels, just as I did as a small child in the woods behind our family’s home. I was born to be a kid, and not take life too seriously, or get sidetracked by a career, a project, or anything that ties me down to the life of bills, shiny new toys, status, and pavement.

From the upper ledges there drifted down an endless rain of tiny luminous beetles. All night long the wind shook the skeins of dead ivy; and in the morning, as the sea fogs cleared, vast insects would appear in the distance, their reflections perfect in the wet sand of the tidal flats; they moved ponderously away before we could identify them. All this, as I have said, was contained at first in the outlines of ordinary things, much as a shadowy architecture of colonnades and alien galleries can be made out in the walls of an empty quarry, but as we moved north the landscape itself became thin and grey, textured like mucus, with the bones of some other landscape showing more or less clearly through. ‘The world is coming to bits,’ said Galen Hornwrack, and someone answered dryly, ‘The world is being exchanged for something else.

Dear Darkness, I am in a dark room, and the moon is nowhere in sight. I knew it was going to leave me again. Well, I guess it is not fair for me to assume. A little while ago, it was traveling side-by-side with me. The moon is my best friend. Maybe it is sad and looking for me too. It feels good to know someone cares. I hope the moon feels my energy and knows that I am okay—for now anyways. I have faith that I will see it tomorrow. This room is depressing. The girls here are afraid. I feel them staring at me. My hands are shivering, and I am cold. My fingers begin to feel like icicles. Once again, I will not rest tonight. I have so much on my mind. I wish someone would tell me it would be alright. I wish someone would tell me that I am not alone. The walls in this small room are closing in on me. It is hard for me to breathe. I am too young, but who cares. I am just another nobody that they never see. Just when I was losing the will to fight. I reached in my pocket—I cannot see what I am pulling out, but I would know the texture of a dandelion anywhere. Dear dandelion, you and the moon are my family. I am making a wish for you to keep Kace safe from harm. I know nobody will ever tell me this, but please let Kace know everything will be alright and that I am with him, and he is not alone. Thank you. Good night moon. Good night dandelion. All is well within my soul because I know you two are here.

Mrs. Medina looked at Lennie and realized now that she did truly love her, as you always love those few in your life who have rearranged your spirit, and little pricks of tears appeared in the corners of her eyes. She had expected this meeting with Lennie to show her what to do, to present her with something dramatic, a sign, a jolt that would shove her into action, indicate which way to go. But it wouldn't happen like that, she saw now. What would happen would be more like a slow undoing, thread by thread, of the texture and weave of her life, much like a poppy with its roots deeply embedded in a stone wall disengages itself, root by delicate root, to begin a new life in the soil.

Eli returned to the river and paused for a moment midstream. His feet were balanced upon uneven stones. The current tumbled around him. The canyon walls were steep and jagged and solid. The colors beneath the surface stirred and glittered. He wanted to hold his face under water and breathe in their beauty. He dipped his fingers into the snow-cold transient texture and felt a tingle. He closed his eyes to see this sensation clearly. He breathed. He put his river-wet hand up to his face and felt the freshness permeate his skin. Water droplets dripped from his face and returned to the river. He opened his eyes as if they were separate from his body, separate from the tension of life, distant from any distraction. He breathed.

Imagine a room you could go to for some time out, to switch off or to meditate. What would you find there?... - Windows and natural light - Views out onto greenery (or add some window planters) - A timber-clad wall or timber furniture to make the space feel warm and rich - Artwork containing biophilic fractals - An immersive planting arrangement where you can sit among the foliage - Soft, natural fabrics and textures - Adjustable lighting (salt lamps give off a lovely warm glow) - A scent diffuser - Carefully considered colors to suit the mood you wish to create - A lock on the door if you need it - Your favorite things that help you relax: perhaps a TV, a selection of things to read, or whatever you need in order to feel as though you've given yourself a break.

Though you refuse to look at the clock on the wall, you can feel them ticking by, slipping effortlessly from the room. Those seconds. You want to hold on to each one, to feel the texture of your life as it slinks regretfully away.

He took a stool two away from Enid. She didn’t look up from her drink or glance his way. On the other side of him a guy wearing a porkpie hat was bouncing his head up and down as though to music but no music was playing and he wasn’t wearing earphones. A rainbow of rusted license plates took up most of the back wall—probably plates representing all fifty states, but Simon wasn’t really up for checking. There were neon signs for Miller High Life and Schlitz. An oddly ornate chandelier hung from the ceiling. This place, like the inn, was all dark wood, but that was the only similarity, like this was the poorest of poor cousins of the inn’s rich dark wood. “What’ll you have?” The barmaid’s hair was the color and texture of the hay on that hayride and done in a quasi mullet that reminded Simon of an ’80s hockey player. She was either a hard forty-five or a soft sixty-five, and there was little question she had seen it all at least twice. “What kind of beer do you have?” he asked. “We have Pabst. And Pabst.” “You choose for me.

The truth of a house was this: It became a home when someone lived there, more so when many had lived there, their lives adding a kind of texture, sometimes invisible, in layer after layer. It was present in the way a house smelled: like the food of family dinners, the stink of cigarettes on the wall, the ripe pickled rank of body odor in a teen boy’s room. It was there in little dings and scratches, in the drywall dent of a fist someone threw, in the loving and loved dents found in a child’s playroom, in claw marks from pets scrabbling around hardwood floors. A house was just a place. A home had soul. It lived many lives, had many ghosts. Maybe they were happy ghosts. Maybe they were sad. Maybe it was a home filled with laughter—or one wet with blood and tears.

Fermina Daza could not understand why she was not picked up when she seemed so distressed, but the Captain explained that she was the ghost of a drowned woman whose deceptive signals were intended to lure ships off course into the dangerous whirlpools along the other bank. García Márquez, a Colombian novelist who had no need of the distinction between the living and the dead. What is real, and what is not? In this world is there really something like a wall separating reality from the unreal? I think there might be. No, not might—there is one. But it’s an entirely uncertain wall. Depending on circumstances and the person, its texture, its shape transforms. Like some living being.

When we measure the position of any object, we generally interact with it in some manner. If we search for the light switch in a dark room, we know we have located it when we touch it. If a bat is searching for a field mouse, it bounces sonar off its target and interprets the reflected wave. The most common instance of all is locating something by seeing it—by receiving light that has reflected off the object and entered our eyes. The key point is that these interactions not only affect us but also affect the object whose position is being determined. Even light, when bouncing off an object, gives it a tiny push. Now, for day-to-day objects such as the book in your hand or a clock on the wall, the wispy little push of bouncing light has no noticeable effect. But when it strikes a tiny particle like an electron it can have a big effect: as the light bounces off the electron, it changes the electron’s speed, much as your own speed is affected by a strong, gusty wind that whips around a street corner.

Was there anywhere better than a yarn store? And this one was exceptional, just organized enough to feel controlled but full of enough color and texture to be a riotous sensual feast. From the threshold I was lured forward by delicate skeins of mohair and long twists of tweed, soft woolens and shimmering silks in everything from vivid rainbows to elegant neutrals. Needles in various sizes, straight and circular, filled a row of glass jars on the wall, commodities that doubled as decor.

Nuances of shade and colour in the sand and rock; desert textures - fine, rough, ordered, chaotic, ridged with salt-crust; a broken and wind-swept landscape blends seamlessly into hidden valleys gentled with acacia trees; the smoothness of an ancient lake-bed followed by long struggles with soft sand; rolling hills tessellated with smooth black stones, so ordered it could be a mosaic; salt pans, still wet and yielding under our tyres, the surface cracked and wrinkled like elephant-skin; fine, milky, wind-blown dust so thick that the lower half of a body or motorbike simply disappears below waist height and strange half-people move mysteriously, seemingly unconnected with the ground; crisp-edged dunes lie on the hard desert surface, sculpted by the wind's hand; gnarled acacia trees, lonely patriarchs, seem to crouch and writhe against the heat, standing incongruous in the sand - disparate images flicker through my mind, blend and come together, separate and coalesce like slides flashed briefly against a wall and then they blend again.

Open your eyes,” he said. “I want you to know it’s me.” She obeyed, looking up at him. “As if it could be anyone else.” God, the unabashed affection in her gaze . . . It punctured all the defenses he’d built around his heart. A flood of emotions swamped him: anger, confusion, fear. And beneath it all, a foolish, sentimental sort of yearning. He hadn’t known he still was capable of yearning, for anything. She made him feel almost human again. He sank to his knees, pressing his cheek to the cool silk of her inner thigh. “Cecy, my darling. I could kiss you for that.” And he did. Spreading his fingers to frame the slit of her drawers, he pressed his mouth to her core. She bucked against him, and he clutched her hips tight, pinning her to the wall as he teased and tasted her flesh. Her gasp of delight made his pulse stutter. Slowly now. Don’t rush. Yes, he meant to give Cecily an indelible memory, but he was also taking one for himself. He drank in her intoxicating perfume— the scents of clean linen and soap, mingling with the sweet musk of her arousal. He stroked her languidly with his tongue, wanting to memorize her shape, her texture, her taste. Most of all, he took his time learning her, delighting in the smallest discoveries: a caress just so made her moan; a kiss to this spot made her hips convulse. Be it four years or forty— this would be a kiss to remember.

The room was small; a few phials and some dried herbs were ranged in shelves on the wall, which was hung with snow-white cloth of coarse texture. From the shelves Zicci selected one of the phials, and poured the contents into a crystal cup. The liquid was colorless, and sparkled rapidly up in bubbles of light; it almost seemed to evaporate ere it reached his lips. But when the strange beverage was quaffed, a sudden change was visible in the countenance of Zicci: his beauty became yet more dazzling, his eyes shone with intense fire, and his form seemed to grow more youthful and ethereal.

what was left of the head off-screen with it, leaving behind a perfectly framed Jackson Pollock, if the artist had used only reds and added texture with broken pottery and clumps of cauliflower. With no one to cut the feed, it kept going, streaming the same grisly static scene, animated only by the painfully slow sliding of those shards and clumps down the wall as they submitted to gravity. Deaths like it happened every day in America, enabled by the easy availability of firearms and the increasingly pointless search for anything that mattered

The sauce is made from the turtle soup stock she made, thickened into a glaze! Poured over the patty, it gives the meat a richer, more full-bodied flavor! "I mixed the turtle's blood in with the patty. It warms the body from the inside out. But that isn't all. I also added dried, powdered tortoise-shell to the patty. Tortoise-shell has long been a prime ingredient in vitality tonics in Chinese medicine." "Both the sauce and the patty are chock-full of turtle everything!" "No wonder the judges look that thoroughly satisfied." "I totally get it! She must've made one incredible burger!" "No. You cannot fully understand. Only those who have tasted this dish can understand its true essence." "What?" "The key to that power lies in the turtle's meat... with the plentiful amounts of gelatin found in it and the sticky sensation that creates!" "Huh?" "Stickiness?" "That is correct, sir. Thick, piping-hot sauce... how thick it is greatly affects the flavor of the dish. The higher the viscosity, the more full-bodied the flavor becomes. Both the burger patty and the sauce I made from turtle stock are filled with gelatin-rich turtle essence. At the back of the roof of the mouth is a collection of soft tissue... called the soft palate. It is one of the most sensitive areas in the entire human body! With every mouthful, the thick, chewy patty and sticky sauce... get pinned between the twin walls of the tongue and the soft palate... stimulating that most sensitive of areas with each seductive bite! In other words, this dish excites not only a person's sense of taste via flavor... ... it also seduces their sense of touch via texture!

you can find inspiration in anything if you look at it in the right way, marks and stretch in the walls can be used to discover a new texture, or you can experiment with stones and everyday objects. it just a matter of finding something that intrigues you visually and figuring out how you can explore these everyday findings and incorporate them into your way of working

I have been slowly losing the texture of my former life. The sight of my brothers swinging from the Bargello walls -- after a while they just became things to me. Straw men shedding their stuffing in the wind. Andrea's tormented face when I last saw him? It is just a shape, a pair of sunken cheekbones. I remember Papa's red cap but not the head underneath; I remember Domenica's hair, but she no longer turns around to face me. Even of Nonna all that remains is one grey braid sweeping her crooked back.

The “moss” is many different mosses, of widely divergent forms. There are fronds like miniature ferns, wefts like ostrich plumes, and shining tufts like the silky hair of a baby. A close encounter with a mossy log always makes me think of entering a fantasy fabric shop. Its windows overflow with rich textures and colors that invite you closer to inspect the bolts of cloth arrayed before you. You can run your fingertips over a silky drape of Plagiothecium and finger the glossy Brotherella brocade. There are dark wooly tufts of Dicranum, sheets of golden Brachythecium, and shining ribbons of Mnium. The yardage of nubbly brown Callicladium tweed is shot through with gilt threads of Campylium. To pass hurriedly by without looking is like walking by the Mona Lisa chatting on a cell phone, oblivious

The next time you feel anxiety and panic spiraling out of control, try this: stop, take a breath, and look around you. First, find five things in your environment that you can see. You might rest your eyes on the lamp in the corner, your own hands, a painting on the wall. Take a moment to really look at all these things: their textures, colors, shapes. Take your time to run your eyes over every inch and take it all in. Next, try to find four things in your environment that you can feel or touch. Feel the weight of your body against the chair, or the texture of the jacket you’re wearing, or reach out to feel how cool and smooth the glass of the car window feels against your fingers. Next, find three things that you can hear. Your own breath. The distant sound of traffic or birds. Next, find two things you can smell. This might be tricky at first, but notice that everything has a smell if you pay attention. Can you smell the soap on your skin or the faint earthy smell of the paper on your desk? Finally, find one thing that you can taste. Maybe the lingering flavor of coffee on your tongue. Even if you can’t find anything, just dwell for a moment on what your taste buds are sensing.