Wallpapers Quotes

This wallpaper is dreadful, one of us will have to go.

It is the same woman, I know, for she is always creeping, and most women do not creep by daylight.

Of course anyone who truly loves books buys more of them than he or she can hope to read in one fleeting lifetime. A good book, resting unopened in its slot on a shelf, full of majestic potentiality, is the most comforting sort of intellectual wallpaper.

Family love is messy, clinging, and of an annoying and repetitive pattern, like bad wallpaper.

But I've swallowed my pride before, that's for sure. I'm practically lined with my mistakes on the inside like a bad-wallpapered bathroom.

My wallpaper and I are fighting a duel to the death. One or the other of us has to go.

Creating is living doubly. The groping, anxious quest of a Proust, his meticulous collecting of flowers, of wallpapers, and of anxieties, signifies nothing else.

Words are things. You must be careful, careful about calling people out of their names, using racial pejoratives and sexual pejoratives and all that ignorance. Don’t do that. Some day we’ll be able to measure the power of words. I think they are things. They get on the walls. They get in your wallpaper. They get in your rugs, in your upholstery, and your clothes, and finally in to you.

But I MUST say what I feel and think in some way — it is such a relief! But the effort is getting to be greater than the relief.

A photograph shouldn't be just a picture, it should be a philosophy.

Either this wallpaper goes, or I do.

Reported as Oscar Wilde's last words on his death bed... This wallpaper is killing me. One of us has to go.

You cannot pretend to read a book. Your eyes will give you away. So will your breathing. A person entranced by a book simply forgets to breathe. The house can catch alight and a reader deep in a book will not look up until the wallpaper is in flames.

I see again my schoolroom in Vyra, the blue roses of the wallpaper, the open window.… Everything is as it should be, nothing will ever change, nobody will ever die.

It does not do to trust people too much.

Today I know that all things are watching, that nothing goes unseen, that even wallpaper has a better memory than human beings.

I wake with a jolt that sends a shock of pain through my ankle. Crying out, I look around me. Floral wallpaper. Am I at home? Who's that man in the chair by the door, reading .... "Twilight?" Leon blinks at me, putting the book down in his lap. 'You went from unconscious to judgemental very quickly there.

I cry at nothing, and cry most of the time.

A person entranced by a book simply forgets to breathe. The house can catch alight and a reader deep in a book will not look up until the wallpaper is in flames.

There are things in that paper that nobody knows but me, or ever will.

EATABLE MARSHMALLOW PILLOWS LICKABLE WALLPAPER FOR NURSERIES HOT ICE CREAMS FOR COLD DAYS COWS THAT GIVE CHOCOLATE MILK FIZZY LIFTING DRINKS SQUARE SWEETS THAT LOOK ROUND

Now why should that man have fainted? But he did,and right across my path by the wall, so that I had to creep over him every time!

Nobody would believe what an effort it is to do what little I am able, - to dress and entertain, and order things

It is the strangest yellow, that wallpaper! It makes me think of all the yellow things I ever saw - not beautiful ones like buttercups, but old foul, bad yellow things.

I never saw a worse paper in my life. One of those sprawling flamboyant patterns committing every artistic sin.

As for mother Eve - I wasn't there and can't deny the story, but I will say this. If she brought evil into the world, we men have had the lion's share of keeping it going ever since.

The monsters in our cupboards and our minds are always there in the darkness, like mould beneath the floorboards and behind the wallpaper, and there is so much darkness, an inexhaustible supply of darkness. The universe is amply supplied with night.

John laughs at me, of course, but one expects that in marriage.

I am glad my case is not serious! But these nervous troubles are dreadfully depressing. John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him.

When the voice of your friend or the page of your book sinks into democratic equality with the pattern of the wallpaper, the feel of your clothes, your memory of last night, and the noises from the road, you are falling asleep. The highly selective consciousness enjoyed by fully alert men, with all its builded sentiments and consecrated ideals, has as much to be called real as the drowsy chaos, and more.

It was Carrot who'd suggested to the Patrician that hardened criminals should be given the chance to 'serve the community' by redecorating the homes of the elderly, lending a new terror to old age and, given Ankh-Morpork's crime rate, leading to at least one old lady having her front room wallpapered so many times in six months that now she could only get in sideways.

There's a terrible stillness. I notice a small tear in the wallpaper above her shoulder. I notice finger marks grimed on the light switch. Somewhere down in the house, a door opens and shuts. As Zoey turns to face me, I realize that life is made up of a series of moments, each one a journey to the end.

You think you have mastered it, but just as you get well underway in following, it turns a back-somersault and there you are. It slaps you in the face, knocks you down, and tramples upon you. It is like a bad dream.

I'm sure I never used to be so sensitive. I think it is due to this nervous condition.

As far as Death was aware, the sole reason for any human association with pigs and lambs was as a prelude to chops and sausages. Quite why they should dress up for children’s wallpaper as well was a mystery. Hello, little folk, this is what you’re going to eat… He felt that if only he could find the key to it, he’d know a lot more about human beings.

This is the room of the wolfmother wallpaper.

I always lock the door when I creep by daylight.

Well, um, actually a pretty nice little Saturday, we're going to go to Home Depot. Yeah, buy some wallpaper, maybe get some flooring, stuff like that. Maybe Bed, Bath, & Beyond, I don't know, I don't know if we'll have enough time

fuck she pulled her dress off over her head and I saw the panties indented somewhat into the crotch. it's only human. now we've got to do it. I've got to do it after all that bluff. it's like a party-- two trapped idiots. under the sheets after I have snapped off the light her panties are still on. she expects an opening performance. I can't blame her. but wonder why she's here with me? where are the other guys? how can you be lucky? having someone the others have abandoned? we didn't have to do it yet we had to do it. it was something like establishing new credibility with the income tax man. I get the panties off. I decide not to tongue her. even then I'm thinking about after it's over. we'll sleep together tonight trying to fit ourselves inside the wallpaper. I try, fail, notice the hair on her head mostly notice the hair on her head and a glimpse of nostrils piglike I try it again.

The future is unwritten. there are best case scenarios. There are worst-case scenarios. both of them are great fun to write about if you' re a science fiction novelist, but neither of them ever happens in the real world. What happens in the real world is always a sideways-case scenario. World-changing marvels to us, are only wallpaper to our children.

I don't like to look out of the windows even--there are so many of those creeping women, and they creep so fast. I wonder if they all come out of that wallpaper as I did?

Impression — I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.

We depend on our surroundings obliquely to embody the moods and ideas we respect and then to remind us of them. We look to our buildings to hold us, like a kind of psychological mould, to a helpful vision of ourselves. We arrange around us material forms which communicate to us what we need — but are at constant risk of forgetting what we need — within. We turn to wallpaper, benches, paintings and streets to staunch the disappearance of our true selves.

John doesn't know how much I really suffer. He knows there is no reason to suffer, and that satisfies him. It is getting to be a great effort for me to think straight. Just this nervous weakness I suppose.

And his life was now, he felt, one monumental unreality, in which everything that did not matter - professional ambitions, the private pursuit of status, the colour of wallpaper, the size of an office or the matter of a dedicated car parking space - was treated with the greatest significance, and everything that did matter - pleasure, joy, friendship, loved - was deemed somehow peripheral.

Even though trauma has a way of becoming the wallpaper of my head, watch me drag the art out of my suffering. Watch me plant seeds down my spine and bloom into a garden of poetry from every horrible thing that has ever happened to me, all the nights my voice turned to cement and I couldn't say anything- Watch me build an empire from the ashes of everything that tried to destroy me.

As before the collapse, the setting sun brushed the tiles, brought out the warm brown glow on the wallpaper, and hung the shadow of the birch on the wall as if it were a woman's scarf.

Sunlight is bad,' he wheezes. 'It's the exact same stuff as breeds maggots in wounded soldiers' legs. And when there's no war on, it fades wallpaper.

It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide—plunge off at outrageous angles, destroy themselves in unheard of contradictions.

John does not know how much I really suffer. He knows there is no reason to suffer, and that satisfies him.

Abstract design is all right—for wallpaper or linoleum. But art is the process of evoking pity or terror, which is not abstract at all but very human.

I never saw so much expression in an inanimate thing before, and we all know how much expression they have! I used to lie awake as a child and get more entertainment and terror out of blank walls and plain furniture than most children could find in a toy-store.

My eyes fill with tears, but I exit the text, hitting the home screen. The wallpaper makes my mouth hang open. Our first kiss in Ronan’s party. I stare at Aiden with bafflement. “Why do you have this as the wallpaper?” “Because.” “I’ll change it for you.” He snatches the phone from between my fingers and tucks it in his pocket with a scowl. It’s as if I just offended him. “Absolutely not.” “Is it that important to you?” “It was the day I decided you’ll be mine till the day I die.

Maybe it was the converse of the way amputees feel pain in a missing limb. He really was there all those years, a flesh-and-blood presence streaming off the wallpaper, digging up the dogwoods, polishing the finials... smelling of sawdust and sweat and designer cologne. But I ached as if he were already gone.

I was shown into a room. A red room. Red wallpaper, red curtains, red carpet. They said it was a sitting-room, but I don’t know why they’d decided to confine its purpose just to sitting. Obviously, sitting was one of the things you could do in a room this size; but you could also stage operas, hold cycling races, and have an absolutely cracking game of frisbee, all at the same time, without having to move any of the furniture. It could rain in a room this big.

It is so hard to talk with John about my case, because he is so wise, and because he loves me so.

The wallpaper with which the men of science have covered the world of reality is falling to tatters. The grand whorehouse which they have made of life requires no decoration; it is essential that only the drains function adequately. Beauty, that feline beauty that has us by the balls in America, is finished.

Most men’s eyes, when you look at them critically, are not like that. They may look at you very expressively, but when you look at them, just as features, they are not very nice.

[The Yellow Wallpaper] was not intended to drive people crazy, but to save people from being driven crazy, and it worked.

Books enveloped the room floor to ceiling like wallpaper.

Houses are never just houses. I'm quite sure of this now. We leave particles behind, dust and dreams, fingerprints buried on wallpapers, our tread in the wear of the stairs. And we take bits of the houses with us. [...] We grow up. We stay the same. We move away, but we live forever where we were most alive.

We were convinced that she looked on with indifference if she noticed us at all. Today I know that everything watches, that nothing goes unseen, and that even wallpaper has a better memory than ours. It isn't God in His heaven that sees all. A kitchen chair, a coathanger, a half-filled ash tray, or the wooden replica of a woman named Niobe can perfectly well serve as an unforgetting witness to every one of our acts.

She was incomparable in her inspired loveliness. Her arms amazed one, as one can be astonished by a lofty way of thinking. Her shadow on the wallpaper of the hotel room seemed the silhouette of her uncorruption.

Women. No offense. But she doesn't even realize what she just said. These are her accomplishments. Challenges she's lived through. Shithead was just standing along for the ride. In the background. Like wallpaper. You can change the color of the walls anytime, and it might look different, but the room's still the same.

Who can ever affirm, or deny that the houses which have sheltered us as children, or as adults, and our predecessors too, do not have embedded in their walls, one with the dust and cobwebs, one with the overlay of fresh wallpaper and paint, the imprint of what-has-been, the suffering, the joy?

He is very careful and loving, and hardly lets me stir without special direction. I have a schedule prescription for each hour in the day; he takes all care from me, and so I feel basely ungrateful not to value it more.

I suppose at heart it was the haircut that did it; that exploded the ordinary order of things and showed me the possibilities that had been there all along, hidden among the patterns in the wallpaper. In a different age, we used to take acid for more or less the same reason.

It is strange how interiors reflect their dark turbulent past, how in their stillness bygone history tries to be reenacted, how the same situations repeat themselves with infinite variations, turned upside down and inside out by fruitless dialectic of wallpapers and hangings.

I think it’s bullshit that the only meaningful stories are the ones that are deep and pondering and boring, saying all this nonsense without ever saying anything, and you’re supposed to, like, read meaning into the yellow wallpaper or something.” She rolls her eyes. “You know what I think? I think sometimes the stories we need are the ones about taking the hobbits to Isengard and dog-human dudes with space heelies and trashy King Arthurs and gay ice-skating animes and Zuko redemption arcs and space princesses with found families and galaxies far, far away. We need those stories, too. Stories that tell us that we can be bold and brash and make mistakes and still come out better on the other side. Those are the kinds of stories I want to see, and read, and tell. ‘Look to the stars. Aim. Ignite’—that means something to me, you know?

Perhaps someone had once hoped to lighten the air of the blue room in Hill House with a dainty wallpaper, not seeing how such a hope would evaporate in Hill House, leaving only the faintest hint of its existence, like an almost inaudible echo of sobbing far away...

Its time we woke up,” pursued Gerald, still inwardly urged to unfamiliar speech. “Women are pretty much people, seems to me. I know they dress like fools - but who’s to blame for that? We invent all those idiotic hats of theirs, and design their crazy fashions, and what’s more, if a woman is courageous enough to wear common-sense clothes - and shoes - which of us wants to dance with her?

And there was you - your fair self, always delicately dressed, with white firm fingers sure of touch in delicate true work. I loved you then.

The front pattern does move—and no wonder! The woman behind shakes it!

I really have discovered something at last. Through watching so much at night, when it changes so, I have finally found out. The front pattern does move - and no wonder! The woman behind shakes it! Sometimes I think there are a great many women behind, and sometimes only one, and she crawls around fast, and her crawling shakes it all over. Then in the very ' bright spots she keeps still, and in the very shady spots she just takes hold of the bars and shakes them hard. And she is all the time trying to climb through. But nobody could climb through that pattern - it strangles so:...

India, she now knew, would not be content staying in the background, was nobody's wallpaper, insisted in interjecting itself into everyone's life, meddling with it, twisting it, molding it beyond recognition. India, she had found out, was a place of political intrigue and economic corruption, a place occupied by real people with their incessantly human needs, desires, ambitions, and aspirations, and not the exotic, spiritual, mysterious entity that was a creation of the Western imagination.

When I was a little girl,' I said, sitting down, 'the wallpaper in my room had pictures of Noah's story.' [...] You know what's weird though? It's weird that the ark would be such a kids' story, you know? I mean, it's...really a story about death. Every person who isn't in Noah's family? They die. Every animal, apart from two of each on the boat? They die. They all die in the flood. Billions of creatures. It's the worst tragedy ever,' I finished, my voice tied off by a knot in my chest.[...] 'What the hell,'I said, 'pardon my language, was that doing on my wallpaper?

This was not life, this was a nightmare.

Megan placed the eye loupe over the toile. Hoping to decipher the texture and composition she moved the loupe ever so meticulously. “This is so detailed.” A blue green eyeball suddenly stared back at her and blinked. Megan gasped.

Lyly placed her fingers over Patrick’s mouth. “Hush,” she whispered. “It was because of me and my family that you suffered-” Patrick’s arms closed around her. He placed his warm lips over hers. Her mind whirled and her heart pounded.

I cannot pretend to be the person they think I am for one more day. Slowly, over time, like wallpaper, the face I have shown the world has peeled away. I am a building on the brink of being condemned. I have tried for the longest time to hide it. To show only the best sides of myself in the most flattering light at the best time of the day.

The color is hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing.

Each time a person’s essence was captured, the copper pot glowed. Not once did the happy couples notice the pot as Joroku’s golden nails carved the intricate design. Just like when he cut the silhouette for Lyly and her friend, Patrick. They were too much in love to feel their souls bleed.

If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression—a slight hysterical tendency—what is one to do? . . . So I take phosphates or phosphites—whichever it is, and tonics, and journeys, and air, and exercise, and am absolutely forbidden to “work” until I am well again. Personally, I disagree with their ideas . . .

I am, unfortunately, one of those much-berated New England women who have learned to think as well as feel; and to me, at least, marriage means more than a union of hearts and bodies--it must mean minds, too.

Lyly screamed and ran to Tyler. “I can’t let you go until I tell you.” “Tell me what?” Tyler asked. “You’re the coolest boy I ever met. I will never forget you. I dreamt of a boy with two different colored brown eyes, and that boy showed me the way home. It was written in the stars, Tyler,” Lyly said. “I will remember you forever.

The rolled toile slowly climbed up the bathroom wall. Tearing the chewed gum into pieces, the little green arms and hands secured the toile to the wall. Soon, the two-foot by five-foot, green and yellow, Tuscany toile was displayed for view. Now, the toile just had to wait for the boy to wake and step a little closer.

I often wonder if I could see her out of all the windows at once. But, turn as fast as I can, I can only see out of one at one time. And though I always see her, she may be able to creep faster than I can turn! I have watched her sometimes away off in the open country, creeping as fast as a cloud shadow in a high wind.

POCKET-SIZED FEMINISM The only other girl at the party is ranting about feminism. The audience: a sea of rape jokes and snapbacks and styrofoam cups and me. They gawk at her mouth like it is a drain clogged with too many opinions. I shoot her an empathetic glance and say nothing. This house is for wallpaper women. What good is wallpaper that speaks? I want to stand up, but if I do, whose coffee table silence will these boys rest their feet on? I want to stand up, but if I do, what if someone takes my spot? I want to stand up, but if I do, what if everyone notices I’ve been sitting this whole time? I am guilty of keeping my feminism in my pocket until it is convenient not to, like at poetry slams or my women’s studies class. There are days I want people to like me more than I want to change the world. There are days I forget we had to invent nail polish to change color in drugged drinks and apps to virtually walk us home at night and mace disguised as lipstick. Once, I told a boy I was powerful and he told me to mind my own business. Once, a boy accused me of practicing misandry. You think you can take over the world? And I said No, I just want to see it. I just need to know it is there for someone. Once, my dad informed me sexism is dead and reminded me to always carry pepper spray in the same breath. We accept this state of constant fear as just another part of being a girl. We text each other when we get home safe and it does not occur to us that our guy friends do not have to do the same. You could saw a woman in half and it would be called a magic trick. That’s why you invited us here, isn’t it? Because there is no show without a beautiful assistant? We are surrounded by boys who hang up our naked posters and fantasize about choking us and watch movies we get murdered in. We are the daughters of men who warned us about the news and the missing girls on the milk carton and the sharp edge of the world. They begged us to be careful. To be safe. Then told our brothers to go out and play.

You know those afternoons," he asks, drawing a shaking breath, "where you’re just going along, doing fine, and then afternoon comes and it feels like you’ve just got the wind knocked out of you and everything is wrong?" He sighs and slowly pushes himself so he’s sitting upright. His shoulders are slumped. "That’s all," he says. "It’s just one of those afternoons." We are silent for a minute. Then he lies back down on the couch. I should say I love him. I should say it will be all right. But it won’t. I walk down the hall to my bedroom. I lie down on my side and stare at the wall, the blue-flowered wallpaper next to my nose. Despite my best efforts, I start to cry. I know those afternoons.

Penelope gulped down the tea she'd been in the process of sipping. Colin had a way of looking at a person, his green eyes so focused and intent that you felt as if you must be the only two people in the universe. Unfortunately for Penelope, it also seemed to have a way of reducing her to a stammering imbecile. If they were in the midst of a conversation, she could generally hold her own, but when he surprised her like that, turning his attention onto her just when she'd convinced herself she blended in perfectly with the wallpaper, she was completely and utterly lost.

Does that change things?” asked the old man. “Maybe Anansi’s just some guy from a story, made up back in Africa in the dawn days of the world by some boy with blackfly on his leg, pushing his crutch in the dirt, making up some goofy story about a man made of tar. Does that change anything? People respond to the stories. They tell them themselves. The stories spread, and as people tell them, the stories change the tellers. Because now the folk who never had any thought in their head but how to run from lions and keep far enough away from rivers that the crocodiles don’t get an easy meal, now they’re starting to dream about a whole new place to live. The world may be the same, but the wallpaper’s changed. Yes? People still have the same story, the one where they get born and they do stuff and they die, but now the story means something different to what it meant before.

After hearing the boy scream, the cats formed their pyramid in front of the glass door. Belle turned the handle while Harry and the others pushed the door open. They scrambled in and searched the room and small bathroom and shower. Bombarded with the boy’s scent, the cats continued to search. He had to be somewhere. A knock on the door startled the animals. Belle ran to the door and sniffed. “Food,” she whispered. “Must be for the boy.” “We must find that boy,” Harry said. “If the human enters, they will find us. Quickly, everyone, show time!” One-by-one, the cats crawled under the bed sheet and maneuvered between the opened books. “Just as in The Catman’s act,” Curry said, trying not to snicker. “Hush!” Belle scolded. Two moved upward, two downward, two to the right, and three to the left. Belle and Harry crouched in the middle. Allie crawled to the pillow and poked out her back and head. With her ears lowered, only her straggling black hair could be seen.

Take now the clockworks... The clockworks, being genuine and not much to look at, don't generate the drama of an Earth-tilt or a flying saucer, nor do they seem to offer any immediate panacea for humanity's fifty-seven varieties of heartburn. But suppose that you're one of those persons who feels trapped, to some degree, trapped matrimonially, occupationally, eductionally or geographically, or trapped in something larger than all those; trapped in a system, or what you might descrbie as an "incresingly deadening technocracy" or a "theater of paranoia and desperation" or something like that. Now, if you are one of those persons... wouldn't the very knowledge that there are clockworks ticking away behind the wallpaper of civilization, unbeknownst to leaders, organizers and managers (the President included), wouldn't that knowledge, suggesting as it does the possibility of unimaginable alternatives, wouldn't that knowledge be a bubble bath for your heart?

They say women have no conscience about laws, don't they?" Mrs. MacAvelly suggested. "Why should we?" answered her friend. "We don't make 'em—nor God—nor nature. Why on earth should we respect a set of silly rules made by some men one day and changed by some more the next?" (from According to Solomon)

When the tornado dwindled, a bolt of lightning streamed from Master Joroku’s sleeve. It wrapped around Patrick as if a noose. A flash and Patrick was yanked from Lyly’s arms. Patrick faded into the darkness then reappeared as a black mist. No wait … a cat! A black cat with glowing copper eyes. Joroku swiped his hand along the floor and Lyly’s feet jerked out from under her. She hovered delicately for only a moment over the paper. As Joroku moved his hands, Lyly spun as freely as a spinning wheel. Several times she twirled. As if with no friction, Lyly spun faster and faster. Joroku pounded his hand into the air and Lyly was sucked into the cloth paper. Lyly was gone.

I watched him as he lined up the ships in bottles on his deck, bringing them over from the shelves where they usually sat. He used an old shirt of my mother's that had been ripped into rags and began dusting the shelves. Under his desk there were empty bottles- rows and rows of them we had collected for our future shipbuilding. In the closet were more ships- the ships he had built with his own father, ships he had built alone, and then those we had made together. Some were perfect, but their sails browned; some had sagged or toppled over the years. Then there was the one that had burst into flames in the week before my death. He smashed that one first. My heart seized up. He turned and saw all the others, all the years they marked and the hands that had held them. His dead father's, his dead child's. I watched his as he smashed the rest. He christened the walls and wooden chair with the news of my death, and afterward he stood in the guest room/den surrounded by green glass. The bottle, all of them, lay broken on the floor, the sails and boat bodies strewn among them. He stood in the wreckage. It was then that, without knowing how, I revealed myself. In every piece of glass, in every shard and sliver, I cast my face. My father glanced down and around him, his eyes roving across the room. Wild. It was just for a second, and then I was gone. He was quiet for a moment, and then he laughed- a howl coming up from the bottom of his stomach. He laughed so loud and deep, I shook with it in my heaven. He left the room and went down two doors to my beadroom. The hallway was tiny, my door like all the others, hollow enough to easily punch a fist through. He was about to smash the mirror over my dresser, rip the wallpaper down with his nails, but instead he fell against my bed, sobbing, and balled the lavender sheets up in his hands. 'Daddy?' Buckley said. My brother held the doorknob with his hand. My father turned but was unable to stop his tears. He slid to the floor with his fists, and then he opened up his arms. He had to ask my brother twice, which he had never to do do before, but Buckley came to him. My father wrapped my brother inside the sheets that smelled of me. He remembered the day I'd begged him to paint and paper my room purple. Remembered moving in the old National Geographics to the bottom shelves of my bookcases. (I had wanted to steep myself in wildlife photography.) Remembered when there was just one child in the house for the briefest of time until Lindsey arrived. 'You are so special to me, little man,' my father said, clinging to him. Buckley drew back and stared at my father's creased face, the fine bright spots of tears at the corners of his eyes. He nodded seriously and kissed my father's cheek. Something so divine that no one up in heaven could have made it up; the care a child took with an adult. 'Hold still,' my father would say, while I held the ship in the bottle and he burned away the strings he'd raised the mast with and set the clipper ship free on its blue putty sea. And I would wait for him, recognizing the tension of that moment when the world in the bottle depended, solely, on me.

Taking architecture seriously therefore makes some singular strenuous demands upon us. It requires that we open ourselves to the idea that we are affected by our surroundings even when they are made of vinyl and would be expensive and time-consuming to ameliorate. It means conceding that we are inconveniently vulnerable to the color of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread. At the same time, it means acknowledging that buildings are able to solve no more than a fraction of our dissatisfactions or prevent evil from unfolding under their watch. Architecture, even at its most accomplished, will only ever constitute a small, and imperfect (expensive, prone to destruction, and morally unreliable), protest against the state of things. More awkwardly still, architecture asks us to imagine that happiness might often have an unostentatious, unheroic character to it, that it might be found in a run of old floorboards or in a wash of morning light over a plaster wall—in undramatic, frangible scenes of beauty that move us because we are aware of the darker backdrop against which they are set.

I want to marry you, Malda - because I love you - because you are young and strong and beautiful - because you are wild and sweet and - fragrant, and - elusive, like the wild flowers you love. Because you are so truly an artist in your special way, seeing beauty and giving it to others. I love you because of all of this, because you are rational and highminded and capable of friendship - and in spite of your cooking!” “But - how do you want to live?” “As we did here - at first,” he said. “There was peace, exquisite silence. There was beauty - nothing but beauty. There were the clean wood odors and flowers and fragrances and sweet wild wind. And there was you - your fair self, always delicately dressed, with white firm fingers sure of touch in delicate true work. I loved you then.

It is a big, airy room, the whole floor nearly, with windows that look all ways, and air and sunshine galore. It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children, and there are rings and things in the walls. The paint and paper look as if a boys' school had used it. It is stripped off--the paper--in great patches all around the head of my bed, about as far as I can reach, and in a great place on the other side of the room low down. I never saw a worse paper in my life. One of those sprawling flamboyant patterns committing every artistic sin. It is dull enough to confuse the eye in following, pronounced enough to constantly irritate and provoke study, and when you follow the lame uncertain curves for a little distance they suddenly commit suicide--plunge off at outrageous angles, destroy themselves in unheard of contradictions. The color is repellant, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur tint in others. No wonder the children hated it! I should hate it myself if I had to live in this room long.

I say is someone in there?’ The voice is the young post-New formalist from Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that hesitant knocking of when you know perfectly well someone’s in there, the bathroom door composed of thirty-six that’s three times a lengthwise twelve recessed two-bevelled squares in a warped rectangle of steam-softened wood, not quite white, the bottom outside corner right here raw wood and mangled from hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic spirals of pale blue smoke from the elephant-colored rubble of ash and little blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent her sliding down along the wall past knotted washcloth, towel rack, blood-flower wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated sky’s blue that’s left her uprightly fetal with chin on knees in yet another North American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer, she’s holding the bottle, recalling vividly its slogan for the past generation was The Choice of a Nude Generation, when she was of back-pocket height and prettier by far than any of the peach-colored titans they’d gazed up at, his hand in her lap her hand in the box and rooting down past candy for the Prize, more fun way too much fun inside her veil on the counter above her, the stuff in the funnel exhausted though it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold edge to pull herself up as the white- party-noise reaches, for her, the sort of stereophonic precipice of volume to teeter on just before the speaker’s blow, people barely twitching and conversations strettoing against a ghastly old pre-Carter thing saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance where their acknowledgement of her commands seems like magic, both clogs simply gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair of the flame she’s eaten now trailing like the legs of wasps through the air of the glass she uses to locate the de-faced veil and what’s inside it, loading up the cone again, the ashes from the last load make the world's best filter: this is a fact. Breathes in and out like a savvy diver… –and is knelt vomiting over the lip of the cool blue tub, gouges on the tub’s lip revealing sandy white gritty stuff below the lacquer and porcelain, vomiting muddy juice and blue smoke and dots of mercuric red into the claw-footed trough, and can hear again and seems to see, against the fire of her closed lids’ blood, bladed vessels aloft in the night to monitor flow, searchlit helicopters, fat fingers of blue light from one sky, searching.