White And Black Photo Quotes

At first we raced through space, like shadows and light; her rants, my raves; her dark hair, my blonde; black dresses, white. She's a purple-black African-violet-dark butterfly and I a white moth. We were two wild ponies, Dawn and Midnight, the wind electrifying our manes and our hooves quaking the city; we were photo negatives of each other, together making the perfect image of a girl.

You go through life thinking there's so much you need. Your favorite jeans and sweater. The jacket with the faux-fur lining to keep you warm. Your phone and your music and your favorite books. Mascara. Irish breakfast tea and cappuccinos from Trouble Coffee. You need your yearbooks, every stiffly posed school-dance photo, the notes your friends slipped into your locker. You need the camera you got for your sixteenth birthday and the flowers you dried. You need your notebooks full of the things you learned and don't want to forget. You need your bedspread, white with black diamonds. You need your pillow - it fits the way you sleep. You need magazines promising self-improvement. You need your running shoes and your sandals and your boots. Your grade report from the semester you got straight As. Your prom dress, your shiny earrings, your pendants on delicate chains. You need your underwear, your light-colored bras and your black ones. The dream catcher hanging above your bed. The dozens and dozens of shells in glass jars... You think you need all of it. Until you leave with only your phone, your wallet, and a picture of your mother.

SO MUCH (INSPIRED BY MR. WILLIAM CARLOS WILLIAMS) BY JACK So much depends upon a black kitten dotted with white beside a photo of my yellow dog

It hadn't occurred to me that my mother would die. Until she was dying, the thought had never entered my mind. She was monolithic and insurmountable, the keeper of my life. She would grow old and still work in the garden. This image was fixed in my mind, like one of the memories from her childhood that I made her explain so intricately that I remembered it as if it were mine. She would be old and beautiful like the black-and-white photo of Georgia O'Keeffe I'd once sent her. I held fast to this image for the first couple of weeks after we left the Mayo Clinic, and then, once she was admitted to the hospice wing of the hospital in Duluth, that image unfurled, gave way to the others, more modest and true. I imagined my mother in October; I wrote the scene in my mind. And then the one of my mother in August and another in May. Each day that passed, another month peeled away.

The other day I found her passport in her drawer when I was putting away my dad's laundered handkerchiefs. I wish I hadn't. For the purpose of my story, she should have it with her. I sat on my dad's bed and flipped through page after empty page. No stamps. No exotic locales. No travel-worn smudges or creases. Just the ID information and my mother's black-and-white photo which if it were used in a psychology textbook on the meaning of facial expressions would be labelled: Obscenely, heartbreakingly hopeful.

In the picture, Ava Gardner's tousled black hair obscured her right eye, and her full, closed lips were pulled slightly to the right, resulting in something less than a smile. They looked as if they'd been smeared shut with red paint, though the photo was in black and white. It wasn't so much a fuck-me face as a I've-been-there-and-back look, the kind of expression you see only on the most expensive whores.

for a typical inkjet printer, the real-life cost of ink ran from 5 cents per page for black-and-white to around 30 cents per page for photos.

footage of him and Bonnie Rae into an old black and white photo of Bonnie and Clyde, she began to tell their story, as if it were breaking news and

Every time the women appear, Snowman is astonished all over again. They're every known colour from the deepest black to whitest white, they're various heights, but each one of them is admirably proportioned. Each is sound of tooth, smooth of skin. No ripples of fat around their waists, no bulges, no dimpled orange-skin cellulite on their thighs. No body hair, no bushiness. They look like retouched fashion photos, or ads for a high priced workout program. Maybe this is the reason that these women arouse in Snowman not even the faintest stirrings of lust. It was the thumbprints of human imperfection that used to move him, the flaws in the design: the lopsided smile, the wart next to the navel, the mole, the bruise. These were the places he'd single out, putting his mouth on them. Was it consolation he'd had in mind, kissing the wound to make it better? There was always an element of melancholy involved in sex. After his indiscriminate adolescence he'd preferred sad women, delicate and breakable, women who'd been messed up and who needed him. He'd liked to comfort them, stroke them gently at first, reassure them. Make them happier, if only for a moment. Himself too, of course; that was the payoff. A grateful woman would go the extra mile. But these new women are neither lopsided nor sad: they're placid, like animated statues. They leave him chilled.

I liked it better when you couldn’t be so sure. When terrifying rumors were distant enough to be a UFO at the bottom of Loch Ness. When the horribly compelling train-wreck tragedies of less fortunate people’s lives were only as real as you let them be. Just a cover of a magazine, a black-and-white photo on some late-night commercial for a charity. Now confirmation is just a mouse click away.

If you tell Google that you would like to see images of ‘Black men’ the images that come up are all portrait photos of black men. Indeed, it takes more than a dozen rows of images before anybody who isn’t black comes up in the images. By contrast a search for ‘White men’ first throws up an image of David Beckham – who is white – but then the second is of a black model. From there every line of five images has either one or two black men in the line-up. Many of the images of white men are of people convicted of crimes with taglines such as ‘Beware of the average white man’ and ‘White men are bad’.

One of my great wishes is that people of the present will see those of the past as friendly (or irritating) acquaintances they can look to for advice. It’s easy to forget that people from the past weren’t the two-dimensional black-and-white photos or line drawings you might encounter in some dry textbooks. They weren’t just gray-faced guys in top hats. They were living, breathing, joking, burping people, who could be happy or sad, funny or boring, cool or the lamest people you ever met in your life. They had no idea they were living in the past. They all thought they were living in the present. Accordingly, like any person, past or present, could be, some of them were smart and kind and geniuses about medicine and also completely dull on a personal level. (I’m trying to come to terms with loving John Snow’s deductive brilliance and being absolutely certain I would never want to spend more than ten minutes talking to him.)

Meaning is also a colour and that’s why there are many colours in the black and white photos!

of huddled anonymity like old black and white photos I’d seen of bank crashes and bread lines in the 1930s.

I keep my photos in black and white because my life lost color after they died.

The best illustrated histories of the assassination are Twenty Days by Dorothy Meserve Kunhardt and Philip B. Kunhardt Jr., and Lincoln’s Assassins: Their Trial and Execution by James L. Swanson and Daniel R. Weinberg. Twenty Days contains more than three hundred black-and-white photos of the people and places connected to the assassination and Lincoln’s funeral.

Nine years ago, my sister handed me a paperback she had picked up in an airport shop on her way to India. It was a gloomy-looking book, with a black an white photo of a steam train approaching through fog on the cover. Cutting across the top of the photo was . . . an author's name I did not know: J.K. Rowling. I began to read the novel and by page three, I was hooked.

The final picture in the album was of Aunt Lovey and Uncle Stash, their black-and-white wedding photo. I hated that their picture came last, because it felt like they were saying goodbye.

The light falls on our family’s black-and-white photos, which have watched over me as long as memory serves me. The sight of them sends me some hope. Whatever happens today, they will be our witnesses.

He opened the back of the Polaroid and slid in the roll of film while his family arranged themselves on the Argent sofa. The upholstery was the color of faded mint, a fine setting for their brown skin, but the camera only took black-and-white photos. John on Elizabeth’s lap, May beside them. May didn’t know how to smile yet—all instructions to do so summoned an unsettling, gum-heavy display that would not have been out of place on a Bowery bum sleeping it off in a vestibule. “Sit still,” Elizabeth said.

I think I might have something for you today," he says, reaches beneath the counter, and his hand comes back with a book, clothbound cover the color of antique ivory, title and author stamped in faded gold and art deco letters. Best Ghost Stories by Algernon Blackwood, and she lifts it carefully off the countertop, picks it up the way someone else might lift a diamond necklace or a sick kitten, and opens the book to the frontispiece and title page, black-and-white photo of the author in a dapper suit, sadkind eyes and his bow tie just a little crooked.

I sat on my Dad's bed and flipped through the page after empty page. No stamps. No exotic locales. No travel-worn smudges or creases. Just the ID information and my mother's black and white photo which if it where used in a psychology textbook on the meaning of facial expressions would be labelled: Obscenely, heartbreakingly hopeful

There’s a photo of him onstage accepting the plaque, a big grin on his face, white teeth shining through black beard. I don’t recognize his shoes and his hair is shorter than I’ve ever seen it. Embarrassment creeps up my spine as I realize he probably wasn’t thinking about me at all in that moment. There isn’t a single moment when I’m not thinking about him.

She's nowt spesh, didn't even have any ornaments. All her walls were painted white, no wallpaper, just black and white photos in black frames, big things they were. There was no carpet on the floor, bare floorboards and she could only afford to have one flower in a vase. Who buys just one flower Lil? Bit of a cheapskate if you ask me. All top show and no knickers, I reckon.

I cut out the best of the ultrasound pictures and kept it on my bedside table. I would spend hours staring at it. It was such an inadequate, ugly image, so frustrating in its refusal to give me anything to hold on to, any way of envisioning who the baby would be. My body was making something in secret, and I was reduced to spying on my internal organs with these grainy black and white photos. But I hung on, faithful, waiting,

The jury was composed of eight blacks and four whites. Hoffa and his attorney, the legendary Edward Bennett Williams, struck only white jurors in the selection process. Hoffa had a black female lawyer flown in from California to sit at counsel table. He arranged for a newspaper, The Afro-American, to run an ad praising Hoffa as a champion of the “Negro race.” The ad featured a photo of Hoffa’s black-and-white legal team. Hoffa then had the newspaper delivered to the home of each black juror. Finally, Hoffa’s Chicago underworld buddy Red Dorfman had the legendary boxing champion Joe Louis flown in from his Detroit home. Jimmy Hoffa and Joe Louis hugged in front of the jury as if they were old friends. Joe Louis stayed and watched a couple of days of testimony. When Cye Cheasty testified, Edward Bennett Williams asked him if he had ever officially investigated the NAACP. Cheasty denied he had, but the seed was planted. Hoffa was acquitted. Edward

Not long ago, a whale biologist named Phillip Clapham sent me a photograph that illustrates the consequences of life without a doorman. Like most creatures that swallow their food whole, sperm whales have a limited-to-nonexistent sense of taste. The photo is a black-and-white still life of twenty-five objects recovered from sperm whale stomachs. It’s like Jonah set up housekeeping: a pitcher, a cup, a tube of toothpaste, a strainer, a wastebasket, a shoe, a decorative figurine.

When an organization confuses diversity or inclusion with reconciliation, it often shows up in an obsession with numbers. How many Black people are in the photo? Has the 20 percent quota been met, so that we can call ourselves multicultural? Does our publication have enough stories written by people of color? Are there enough people of color on the TV show? But without people of color in key positions, influencing topics of conversation, content, direction, and vision, whatever diversity is included is still essentially white—it just adds people of color like sprinkles on top. The cake is still vanilla.

When an organization confuses diversity or inclusion with reconciliation, it often shows up in an obsession with numbers. How many Black people are in the photo? Has the 20 percent quota been met, so that we can call ourselves multicultural? Does our publication have enough stories written by people of color? Are there enough people of color on the TV show? But without people of color in key positions, influencing topics of conversation, content, direction, and vision, whatever diversity is included is still essentially white - it just adds people of color like sprinkles on top. The cake is still vanilla.

September 10, 1965 Dear Francesca, Enclosed are two photographs. One is the shot I took of you in the pasture at sunrise. I hope you like it as much as I do. The other is of Roseman Bridge before I removed your note tacked to it. I sit here trolling the gray areas of my mind for every detail, every moment, of our time together. I ask myself over and over, “What happened to me in Madison County, Iowa?” And I struggle to bring it together. That’s why I wrote the little piece, “Falling from Dimension Z,” I have enclosed, as a way of trying to sift through my confusion. I look down the barrel of a lens, and you’re at the end of it. I begin work on an article, and I’m writing about you. I’m not even sure how I got back here from Iowa. Somehow the old truck brought me home, yet I barely remember the miles going by. A few weeks ago, I felt self-contained, reasonably content. Maybe not profoundly happy, maybe a little lonely, but at least content. All of that has changed. It’s clear to me now that I have been moving toward you and you toward me for a long time. Though neither of us was aware of the other before we met, there was a kind of mindless certainty humming blithely along beneath our ignorance that ensured we would come together. Like two solitary birds flying the great prairies by celestial reckoning, all of these years and lifetimes we have been moving toward one another. The road is a strange place. Shuffling along, I looked up and you were there walking across the grass toward my truck on an August day. In retrospect, it seems inevitable—it could not have been any other way—a case of what I call the high probability of the improbable. So here I am walking around with another person inside of me. Though I think I put it better the day we parted when I said there is a third person we have created from the two of us. And I am stalked now by that other entity. Somehow, we must see each other again. Any place, anytime. Call me if you ever need anything or simply want to see me. I’ll be there, pronto. Let me know if you can come out here sometime—anytime. I can arrange plane fare, if that’s a problem. I’m off to southeast India next week, but I’ll be back in late October. I Love You, Robert P. S., The photo project in Madison County turned out fine. Look for it in NG next year. Or tell me if you want me to send a copy of the issue when it’s published. Francesca Johnson set her brandy glass on the wide oak windowsill and stared at an eight-by-ten black-and-white photograph of herself.

Life will break your heart in a thousand ways, but there's still music and there's still dancing. There's still coffee and toast. There's still kissing and there are still late dinners on busy sidewalks. Twinkly lights, novels, old movies, soft blankets, black-and-white photos, French braids, salty hot french fries dipped in mayo and ketchup. We're still falling in love. We're still learning to forgive. We're still watching our kids learn and grow and stretch into their next selves. We're still watching the sun as it rises and as it sets, still watching the moon wax and wane. We're still trying, still hoping, still getting it wrong and getting it right.

Jackie’s path called for him to put aside both his ego and in some respects his basic sense of fairness and rights as a human being. Early in his career, the manager of the Philadelphia Phillies, Ben Chapman, was particularly brutal in his taunting during a game. “They’re waiting for you in the jungles, black boy!” he yelled over and over. “We don’t want you here, nigger.” Not only did Jackie not respond—despite, as he later wrote, wanting to “grab one of those white sons of bitches and smash his teeth in with my despised black fist”—a month later he agreed to take a friendly photo with Chapman to help save the man’s job. The thought of touching, posing with such an asshole, even sixty years removed, almost turns the stomach. Robinson called it one of the most difficult things he ever did, but he was willing to because it was part of a larger plan. He understood that certain forces were trying to bait him, to ruin him. Knowing what he wanted and needed to do in baseball, it was clear what he would have to tolerate in order do it. He shouldn’t have had to, but he did. Our own path, whatever we aspire to, will in some ways be defined by the amount of nonsense we are willing to deal with. Our humiliations will pale in comparison to Robinson’s, but it will still be hard. It will still be tough to keep our self-control.

cling to his arms. “You’re like a wire mesh monkey, you know that?” he says. “What the fuck are you talking about?” I sniffle. “They did these experiments, in, like, the sixties, where they took baby monkeys from their moms and then… didn’t you ever see those black-and-white photos?” “No.” “Some of the monkeys were raised with a fake terry cloth mom. And some were raised with a fake wire mesh mom.” “What’s your point?” “The ones raised by the wire mesh moms were fucked up. They were, like… forty percent more likely to brandish a knife.” “You’re an asshole.” He holds me for a bit in silence and then kisses my neck. “I’m coming back. So don’t freak out, my little wire mesh monkey.

deeply into pile carpeting that threatens to swallow us whole. A burnished steel FTW logo stretches across the wall with the tagline Feeding the World just below it. Black-and-white photos of basic foodstuffs dot the walls—bushels of maize and soybeans, fields of grain. Feeding the world, my ass, I think as we’re shuttled toward a meeting room. I’ve done some reading up on these folks. FTW is a commodity-trading firm that works to manipulate the futures market to drive up prices. There seems to be nothing that the world’s bankers believe they shouldn’t be free to exploit, including food staples. I imagine that in their perfect world, bankers would pocket a penny or two with every bite.

Sometimes, when I'm having a sort-through or a clear-out, I find photos of my youth, and it's a shock to see everything on black and white. I think my granddaughter believes we were actually grey-skinned, with dull hair, always posing in a shadowed landscape. But I remember the town as being almost too bright to look at when I was a girl. I remember the deep blue of the sky and the dark green of the pines cutting through it, the bright red of the local brick houses and the orange carpet of pine needles under our feet. Nowadays - though I'm not sure the sky is still occasionally blue and most of the houses are still there, and the trees still drop their needles - nowadays, the colours seem faded, as if I live in an old photograph.

For years I happily wrote nothing but carefully researched and argued cultural history. Now with fiction I can begin where the archives end. It’s like turning old black and white photos into a full-color video. Research reveals the past; fiction puts it in motion. And once history comes to life, it’s clear that people then wrestled with troubles a lot like our own. I love writing mysteries because they’re ultimately about justice, and what’s more complicated than guilt and innocence? I especially relish writing about crimes that pit the law against my characters’ moral code. In the end justice is often about power, and the struggle over who gets to decide what’s right or wrong makes for great stories in any genre. Historical mysteries are a great way into the life’s most meaty stuff.

The tulips are too excitable, it is winter here. Look how white everything is, how quiet, how snowed-in. I am learning peacefulness, lying by myself quietly As the light lies on these white walls, this bed, these hands. I am nobody; I have nothing to do with explosions. I have given my name and my day-clothes up to the nurses And my history to the anesthetist and my body to surgeons. They have propped my head between the pillow and the sheet-cuff Like an eye between two white lids that will not shut. Stupid pupil, it has to take everything in. The nurses pass and pass, they are no trouble, They pass the way gulls pass inland in their white caps, Doing things with their hands, one just the same as another, So it is impossible to tell how many there are. My body is a pebble to them, they tend it as water Tends to the pebbles it must run over, smoothing them gently. They bring me numbness in their bright needles, they bring me sleep. Now I have lost myself I am sick of baggage—— My patent leather overnight case like a black pillbox, My husband and child smiling out of the family photo; Their smiles catch onto my skin, little smiling hooks. I have let things slip, a thirty-year-old cargo boat stubbornly hanging on to my name and address. They have swabbed me clear of my loving associations. Scared and bare on the green plastic-pillowed trolley I watched my teaset, my bureaus of linen, my books Sink out of sight, and the water went over my head. I am a nun now, I have never been so pure. I didn’t want any flowers, I only wanted To lie with my hands turned up and be utterly empty. How free it is, you have no idea how free—— The peacefulness is so big it dazes you, And it asks nothing, a name tag, a few trinkets. It is what the dead close on, finally; I imagine them Shutting their mouths on it, like a Communion tablet. The tulips are too red in the first place, they hurt me. Even through the gift paper I could hear them breathe Lightly, through their white swaddlings, like an awful baby. Their redness talks to my wound, it corresponds. They are subtle : they seem to float, though they weigh me down, Upsetting me with their sudden tongues and their color, A dozen red lead sinkers round my neck. Nobody watched me before, now I am watched. The tulips turn to me, and the window behind me Where once a day the light slowly widens and slowly thins, And I see myself, flat, ridiculous, a cut-paper shadow Between the eye of the sun and the eyes of the tulips, And I have no face, I have wanted to efface myself. The vivid tulips eat my oxygen. Before they came the air was calm enough, Coming and going, breath by breath, without any fuss. Then the tulips filled it up like a loud noise. Now the air snags and eddies round them the way a river Snags and eddies round a sunken rust-red engine. They concentrate my attention, that was happy Playing and resting without committing itself. The walls, also, seem to be warming themselves. The tulips should be behind bars like dangerous animals; They are opening like the mouth of some great African cat, And I am aware of my heart: it opens and closes Its bowl of red blooms out of sheer love of me. The water I taste is warm and salt, like the sea, And comes from a country far away as health. --"Tulips", written 18 March 1961

Snowden called the NSA ‘self-certifying’. In the debate over who ruled the internet, the NSA provided a dismaying answer: ‘We do.’ The slides, given to Poitras and published by Der Spiegel magazine, show that the NSA had developed techniques to hack into iPhones. The agency assigned specialised teams to work on other smartphones too, such as Android. It targeted BlackBerry, previously regarded as the impregnable device of choice for White House aides. The NSA can hoover up photos and voicemail. It can hack Facebook, Google Earth and Yahoo Messenger. Particularly useful is geo-data, which locates where a target has been and when. The agency collects billions of records a day showing the location of mobile phone users across the world. It sifts them – using powerful analytics – to discover ‘co-travellers’. These are previously unknown associates of a target. Another

We have a civil rights photo collection in our house, a big, beautiful coffee table book with images so vivid they cause jaws to drop. When my daughters and their friends pick it up to look at the young Black boys and girls in the middle of a dangerous struggle, I remind them that our eyes are trained to look at the Black faces and their determination as they walk to school. But I tell them also to look at the white faces in the background: the young, jeering faces shouting slurs and throwing things. “All of those folks are now around your granddad’s age,” I tell my daughters. They’re still with us, and those people now walk around, every day, living with what they did, and either trying to rectify it in their brains, through penance, or voting for Donald Trump and passing that hatred down to their children’s children. That is this country. Them. We cannot afford to pretend they don’t live among us.

Anti-voting lawmakers perhaps weren’t intending to make it harder for married white women to vote, but that’s exactly what they did by requiring an exact name match across all forms of identification in many states in recent years. Birth certificates list people’s original surnames, but if they change their names upon marriage, their more recent forms of ID usually show their married names. Sandra Watts is a married white judge in the state of Texas who was forced to use a provisional ballot in 2013 under the state’s voter ID law. She was outraged at the imposition: “Why would I want to vote provisional ballot when I’ve been voting regular ballot for the last forty-nine years?” Like many women, she included her maiden name as her middle name when she took her husband’s last name—and that’s what her driver’s license showed. But on the voter rolls, her middle name was the one her parents gave her at birth, which she no longer used. And like that, she lost her vote—all because of a law intended to suppress people like Judge Watts’s fellow Texan Anthony Settles, a Black septuagenarian and retired engineer. Anthony Settles was in possession of his Social Security card, an expired Texas identification card, and his old University of Houston student ID, but he couldn’t get a new photo ID to vote in 2016 because his mother had changed his name when she remarried in 1964. Several lawyers tried to help him track down the name-change certificate in courthouses, to no avail; his only recourse was to go to court for a new one, at a cost of $250. Elderly, rural, and low-income voters are more likely not to have birth certificates or to have documents containing clerical errors. Hargie Randell, a legally blind Black Texan who couldn’t drive but who had a current voter registration card used before the new Texas law, had to arrange for people to drive him to the Department of Public Safety office three times, and once to the county clerk’s office an hour away, only to end up with a birth certificate that spelled his name wrong by one letter.

From the WIP, Behind The Fan... The two women flipped through the pictures as morbid curiosity took hold. The photos all signed by the women; ‘To Nicky with love, Nicky you make me smile, Nicky…Nicky…Nicky.’ They glanced at each other in disgust. The last photo was face down; Kim slowly turned it upright. She questioned why she even cared, what would one more picture of her grandfather’s paramour prove to her. The woman in the photo was stunning, a black and white image someone had hand colored. Her dark brown hair brushed into soft waves; glittering earrings caught the low light of the flash. It was a full body shot; the viewer was to believe she was nude behind two immense Ostridge feather fans. She looked confidently into the camera; standing proudly with her shoulders squared and back erect. Her long legs encased in silky hose attached by the satin straps of the garters. However, it was her eyes, clear crystal bright blue. They stood out in the aged photo engaging the viewer. They were mesmerizing. “Oh dear lord, it’s Grandma!

You go through life thinking there’s so much you need. Your favorite jeans and sweater. The jacket with the faux-fur lining to keep you warm. Your phone and your music and your favorite books. Mascara. Irish Breakfast tea and cappuccinos from Trouble Coffee. You need your yearbooks, every stiffly posed school-dance photo, the notes your friends slipped into your locker. You need the camera you got for your sixteenth birthday and the flowers you dried. You need your notebooks full of the things you learned and don’t want to forget. You need your bedspread, white with black diamonds. You need your pillow—it fits the way you sleep. You need magazines promising self-improvement. You need your running shoes and your sandals and your boots. Your grade report from the semester you got straight As. Your prom dress, your shiny earrings, your pendants on delicate chains. You need your underwear, your light-colored bras and your black ones. The watercolor sunset hanging above your bed. The dozens and dozens of shells in glass jars. You think you need all of it. Until you leave with only your phone, your wallet, and a picture of your mother.

A silver hairbrush, old and surely precious, with a little leopard's head for London stamped near the bristles. A white dress, small and pretty, the sort of old-fashioned dress Cassandra had never seen, let alone owned- the girls at school would laugh if she wore such a thing. A bundle of papers tied together with a pale blue ribbon. Cassandra let the bow slip loose between her fingertips and brushed the ends aside to see what lay beneath. A picture, a black-and-white sketch. The most beautiful woman Cassandra had ever seen, standing beneath a garden arch. No, not an arch, a leafy doorway, the entrance to a tunnel of trees. A maze, she thought suddenly. The strange word came into her mind fully formed. Scores of little black lines combined like magic to form the picture, and Cassandra wondered what it would feel like to create such a thing. The image was oddly familiar and at first she couldn't think how that could be. Then she realized- the woman looked like someone from a children's book. Like an illustration from an olden-days fairy tale, the maiden who turns into a princess when the handsome prince sees beyond her ratty clothing.

Something More Fragile Than This" Quick before our bodies turn themselves in, with a reverence reserved for the dead touch me because I want to remember how beautiful I am. While Spring snows around us, cracking her eggs on our windows, in her meager dress of yellowing-white, because I want to rise into today. So why the urge to render something more fragile than this? Why, always, the soul blowing glass? The soul, once again, filling the lungs with smoke because a memory of regret sweats in the plastic sleeve of a family album. Because there’s a snapshot caught between the pages of some thick book: my heavy 20 year old frame setting off the 60lb weight of a dying mother. Because somewhere, there’s a negative slide of my heart. Because and because and because I’m sure there’s a photo in some drawer that shows me dressed in black. But I want to devote myself to the mystery of this afternoon. I want to honor this falling night, worship the hour vanishing between six and seven. This moment where I’m standing against myself and against you with a taste in my mouth that’s yolk. With Bob Marley taking that one long drag on the refrigerator door.

I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?

house, already worrying my car might get stuck and what would happen if my car got stuck. From behind the storm clouds, the late afternoon sun arrived just in time to blind me as I slammed the door shut and walked toward the house, my gut cold. As I neared the front steps, a big momma possum shot out from under the porch, hissing at me. The thing unnerved me, that pointy white face and those black eyes looking like something that should already be dead. Plus momma possums are nasty bitches. It ran to the bushes, and I kicked the steps to make sure there weren’t more, then climbed them. My lopsided right foot swished around in my boot. A dreamcatcher hung near the door, dangling carved animal teeth and feathers. Just as the rain brings out the concrete smells of the city, it had summoned up the smell of soil and manure here. It smelled like home, which wasn’t right. A long, loose pause followed my knock on the door, and then quiet feet approached. Diondra opened the door, decidedly undead. She didn’t even look that different from the photos I’d seen. She’d ditched the spiral perm, but still wore her hair in loose dark waves, still wore thick black eyeliner that made her eyes look Easter-blue, like pieces of candy.

As I became older, I was given many masks to wear. I could be a laborer laying railroad tracks across the continent, with long hair in a queue to be pulled by pranksters; a gardener trimming the shrubs while secretly planting a bomb; a saboteur before the day of infamy at Pearl Harbor, signaling the Imperial Fleet; a kamikaze pilot donning his headband somberly, screaming 'Banzai' on my way to my death; a peasant with a broad-brimmed straw hat in a rice paddy on the other side of the world, stooped over to toil in the water; an obedient servant in the parlor, a houseboy too dignified for my own good; a washerman in the basement laundry, removing stains using an ancient secret; a tyrant intent on imposing my despotism on the democratic world, opposed by the free and the brave; a party cadre alongside many others, all of us clad in coordinated Mao jackets; a sniper camouflaged in the trees of the jungle, training my gunsights on G.I. Joe; a child running with a body burning from napalm, captured in an unforgettable photo; an enemy shot in the head or slaughtered by the villageful; one of the grooms in a mass wedding of couples, having met my mate the day before through our cult leader; an orphan in the last airlift out of a collapsed capital, ready to be adopted into the good life; a black belt martial artist breaking cinderblocks with his head, in an advertisement for Ginsu brand knives with the slogan 'but wait--there's more' as the commercial segued to show another free gift; a chef serving up dog stew, a trick on the unsuspecting diner; a bad driver swerving into the next lane, exactly as could be expected; a horny exchange student here for a year, eager to date the blonde cheerleader; a tourist visiting, clicking away with his camera, posing my family in front of the monuments and statues; a ping pong champion, wearing white tube socks pulled up too high and batting the ball with a wicked spin; a violin prodigy impressing the audience at Carnegie Hall, before taking a polite bow; a teen computer scientist, ready to make millions on an initial public offering before the company stock crashes; a gangster in sunglasses and a tight suit, embroiled in a turf war with the Sicilian mob; an urban greengrocer selling lunch by the pound, rudely returning change over the counter to the black patrons; a businessman with a briefcase of cash bribing a congressman, a corrupting influence on the electoral process; a salaryman on my way to work, crammed into the commuter train and loyal to the company; a shady doctor, trained in a foreign tradition with anatomical diagrams of the human body mapping the flow of life energy through a multitude of colored points; a calculus graduate student with thick glasses and a bad haircut, serving as a teaching assistant with an incomprehensible accent, scribbling on the chalkboard; an automobile enthusiast who customizes an imported car with a supercharged engine and Japanese decals in the rear window, cruising the boulevard looking for a drag race; a illegal alien crowded into the cargo hold of a smuggler's ship, defying death only to crowd into a New York City tenement and work as a slave in a sweatshop. My mother and my girl cousins were Madame Butterfly from the mail order bride catalog, dying in their service to the masculinity of the West, and the dragon lady in a kimono, taking vengeance for her sisters. They became the television newscaster, look-alikes with their flawlessly permed hair. Through these indelible images, I grew up. But when I looked in the mirror, I could not believe my own reflection because it was not like what I saw around me. Over the years, the world opened up. It has become a dizzying kaleidoscope of cultural fragments, arranged and rearranged without plan or order.

YOU GO THROUGH LIFE thinking there’s so much you need. Your favorite jeans and sweater. The jacket with the faux-fur lining to keep you warm. Your phone and your music and your favorite books. Mascara. Irish Breakfast tea and cappuccinos from Trouble Coffee. You need your yearbooks, every stiffly posed school-dance photo, the notes your friends slipped into your locker. You need the camera you got for your sixteenth birthday and the flowers you dried. You need your notebooks full of the things you learned and don’t want to forget. You need your bedspread, white with black diamonds. You need your pillow—it fits the way you sleep. You need magazines promising self-improvement. You need your running shoes and your sandals and your boots. Your grade report from the semester you got straight As. Your prom dress, your shiny earrings, your pendants on delicate chains. You need your underwear, your light-colored bras and your black ones. The watercolor sunset hanging above your bed. The dozens and dozens of shells in glass jars. The cab was waiting outside the station. The airport, I said, but no sound came out. “The airport,” I said, and we pulled away. You think you need all of it. Until you leave with only your phone, your wallet, and a picture of your mother.

Trust in the familiar seems to be matched by wariness of the unfamiliar. Jennifer Richeson of Northwestern University has conducted experiments in which white subjects had to interact in some way with a white or a black man before taking a mental test. Those who dealt with the black man got lower scores on the test, and their brain scans showed what Prof. Richeson called “heightened activity in areas of the brain associated with regulating our thoughts and emotions.” She interpreted this to mean that white subjects were struggling with the “awkwardness” or “exhaustion” of dealing with a black man, and that this interfered with their ability to take the mental test. Researchers at Harvard and New York University had white and black subjects look repeatedly at a series of photographs of black and white faces, all with neutral expressions. Every time the subjects looked at one particular black face and one particular white face they got a mild electric shock. Lie detector-type devices showed that subjects would sweat—a typical stress reaction—when they saw the two faces they associated with the shocks. The researchers showed the photo series several times again, but without the shocks. White subjects quickly stopped sweating when they saw the white face formerly associated with the shock, but continued to sweat when they saw the black face. Black subjects had the opposite reaction, continuing to sweat when they saw the white but not the black face. Mahzarin Banaji, the study’s leader, concluded that this was a sign of natural human wariness of unfamiliar groups.

The power behind words and voices is substantial to life! I dedicated this book to all of you readers before you even read it, to understand- the book of misunderstandings for the misunderstood. To have a voice, when you were made not have one or told not to have one. Maybe if you are like me, trying to get your voice back this is the story you need. Nonetheless, let us not fail to remember all the voices, which will never speak again, for being rejected and misunderstood.' 'Yes, be that voice with this book, this book is for you, to speak up, and be heard.' 'Why?' 'So, there are no more lost and forgotten voices of life. This book is a stepping stone to abolish bullying altogether, along with your help; we can take that step forward, and forget about the past!' 'At this time, I would like you all to take a moment of silence, to remember someone, that is no longer with us. So, they are not forgotten.' Preface: 'To understand, you must read between the lines of a story just like mine. My wronging if you do not read this book, is you'll find out fast that life is going to suck, and then you make the discovery, that you are going to die alone, and the hex- I have will now be on you.' 'At least that is what I thought; I thought I read, my story before it was written, and this note was the last thing that I was going to write. However, I never realized that there was so much more to life, which I did not appreciate. I came near a stone's throw away from the end. Yet I got additional unplanned lifespans. Yet, was the second chance what I needed?' 'Nevertheless, there were things that I concerned my mind with, which was not substantial to my existence.' 'If anything- learn from me. Try to do the virtuous things I did and not the mistakes I made. Though it is up to you to decide what was good or bad, it is what you feel and believe is morally right in your mind.' 'Yeah- I never really put any thought into what was going to happen to me someday, and the others that are part of my surroundings.' 'However, life goes on, and the existence of what was stands for nothing but- a memory of what you can and cannot have. If you are someone like me, but all I ever wanted was someone that appreciates me. They say life is free or is it. Do I want it- No- not really!' 'The existence of life…!' 'Is what I do not want to have anymore. There must be a way out of all this misery that I live in today? 'They say dying is easy, as well as lasting, and living is difficult and uncertain.' While- I am going to find out!' 'I guess life is all about what you want, need, and love.' 'Likewise, existing in life comes down to what you cannot have in it.' 'All I have to say is don't let anyone or anything pin you down, and make you less than whom you are. Always be whom you were meant to be, regardless of what they say… because who in the hell are they!' 'My story- is somewhat graphic at times, just like looking into a black and white photo of the past in a scrapbook. All the color in it washes away over time, one way or another. Besides all that is left is still frames that keep on fading, and distorting.' 'On the morning I was scheduled to die, I saw my life as if I had lived it to its whole. Oh, the captivating angel beamed lovingly as she roamed forward help me hang myself, a part of me felt death, and other parts of my mind, body, and soul felt as if it would never dye.

I remember a television program I saw once... The program was a documentary, about one of those wars. They interviewed people and showed clips from films of the time, black and white, and still photos... The interviews with people still alive then were in colour. The one I remember best was with a woman who had been the mistress of a man who had supervised one of the camps where they put the Jews, before they killed them. In ovens, my mother said... From what they said, the man had been cruel and brutal... The woman said she didn't notice much that she found unusual. She denied knowing about the ovens. ...He was not a monster, she said. People say he was a monster, but he was not one. What could she have been thinking about? Not much, I guess; not back then, not at the time. She was thinking about how not to think. The times were abnormal. She took pride in her appearance. She did not believe he was a monster. He was not a monster, to her. Probably he had some endearing trait: he whistled, off key, in the shower, he had a yen for truffles, he called his dog Liebchen and made it sit for little pieces of raw steak. How easy to invent a humanity, for anyone at all. What an available temptation. A big child, she would have said to herself. Her heart would have melted, she'd have smoothed the hair back from his forehead, kissed him on the ear, and not just to get something out of him either. The instinct to soothe, to make it better. There there, she'd say, as he woke from a nightmare. Things are so hard for you. All this she would have believed, because otherwise how could she have kept on living? She was very ordinary, under that beauty. She believed in decency, she was nice to the Jewish maid, or nice enough, nicer than she needed to be. Several days after this interview with her was filmed, she killed herself. It said that, right on television. Nobody asked her whether or not she had loved him. What I remember now, most of all, is the makeup.

Gage handed the braid back to Etienne. "Well, whoever’s hair this was must have been a redhead.” “Ellena Rose,” Miranda said. “She was a redhead.” There was a brief pause as everyone traded glances. Then Ashley scooted to the edge of the swing. “Miranda, how do you know that?” “I just…the playbill.” Parker gave a derisive snort. “Wow. It wasn’t even a photo of Ellena Rose.” Roo set down her lemonade and lit up a cigarette. “So you got her hair color from just a black-and-white sketch?” “Yes. She had red hair and different colored eyes--one green and one blue.” “Maybe she was wearing contacts,” Ashley suggested. Five stares aimed in her direction. Her smile began to fade. “She was a celebrity. Celebrities wear contacts to match their clothes.” “You know, Ash,” Roo stated, “even after all these years, your keen powers of perception continue to amaze me.

Our bus pulled in to a museum consisting of only one exhibit—a history of lynching. Every wall was filled with photographs of dark-skinned human beings swinging by their necks. A mother and son hanging over a bridge. Burned bodies swinging over dying fires. White children staring in wide-eyed wonder while their parents proudly point to the mutilated body behind them. The cruel smiles of white faces testifying to the joy of the occasion. We came across newspaper stories that advertised lynchings as community events. In another case we saw a postcard. On the front was a photo of a mutilated man still hanging from a rope. On the other side, a handwritten note: “Sorry we missed you at the barbecue.

It is Dangerous to Read Newspapers While I was building neat castles in the sandbox, the hasty pits were filling with bulldozed corpses and as I walked to the school washed and combed, my feet stepping on the cracks in the cement detonated red bombs. Now I am grownup and literate, and I sit in my chair as quietly as a fuse and the jungles are flaming, the underbrush is charged with soldiers, the names on the difficult maps go up in smoke. I am the cause, I am a stockpile of chemical toys, my body is a deadly gadget, I reach out in love, my hands are guns, my good intentions are completely lethal. Even my passive eyes transmute everything I look at to the pocked black and white of a war photo, how can I stop myself It is dangerous to read newspapers. Each time I hit a key on my electric typewriter, speaking of peaceful trees another village explodes.

Bakushan had only been open for a couple of months, but expectations were already sky-high. Still, few people had mentioned the food. Instead, everyone was writing about the up-and-coming chef, Pascal Fox. According to nearly every article, he'd dropped out of college and worked at top French restaurants around the world. Then, at twenty-five and on every "30 under 30" list in existence, he had received an offer to take over L'Escalier, a cathedral-ceilinged white-tablecloth institution in Midtown. But just as New York was ready to inaugurate him into a realm of Immortal Chefs synonymous with a certain level of luxurious precision, Pascal had said he would open a place on his own. He didn't have a location or a concept- or so he'd said in his interviews- just a conviction that he didn't want to fall into the trap of being yet another French chef at another fancy restaurant. So there we were, in front of his brand-new place. It was hard to label it. I had read neo-modernist and Asian-American eclectic. The food was hard to pin down, but the inside was just cool, at least from my sidewalk vantage point. It was 5:45 and already there was a forty-five-minute wait for a spot at one of the communal, no-reservation tables. I looked at the crowd while we waited and saw a couple of girls dressed in tight, short dresses. One of them held a food magazine with Pascal Fox's face on the cover against a blurred kitchen background. I stole a peek at the photo. His eyes were a deep black-brown with a streak of gold. His hair was charmingly messed up, longish bits going every which way, casting shadows on his sculpted cheekbones. That was the other thing. Pascal was exceedingly good-looking. I hadn't paid attention to the hype around his looks, but seeing these girls swoon over his photo made his handsomeness hard to ignore. And... the pictures. I'm only human.

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

There was a framed photograph hung on the wall in front of me, and when I said your name I saw you in the picture. Well, I saw your back, and your ling, bright ponytail fluttering. The image is black and white, and you're running, and you cast a number of shadows that cluster about you like a bouquet. There's a figure running a little ahead of you and at first that figure seems to be a shadow too, except that it casts a backward glance that establishes an entirely separate personality. The figure's features are wooden, but mobile-some sort of sprite moves within, not gently, but convulsively. A beauty that rattles you until you're in tears, that was my introduction to Rowan Wayland. You and the puppet-I decided it was a puppet- were leaping through an open door, and in the corner of that distant room was a cupboard, fallen onto its side There was a sign on the cupboard door. (I tilted my head: The sign read TOYS.) It's a photo in which lines abruptly draw back from each other and the ceilings and floors spin off in different directions, but for all the world that's pictured doesn't seem to be ending. You were both running in place, you blurred around the edges, and the puppet hardly blurred at all, and the puppet was looking back, not at you, but at me. It felt like the two of you were running for your lives, for fear I'd take them Or you could've been racing eaxh other home. TOYS, the sign reads, but signs aren't guarantees. Either way I wanted to go too, and wished the puppet would hold out its hand to me, or beckon me, or do something more than return my gaze with that strange tolerance

XVIII First reading H.D. A black and white photo mutely records your life's outline - but your heart is buried in mine You live in me - a dream fire that ever burns with lovely sparks & colors All from this little coal that jumped the grate and leapt in white hot at my eye

John Brooks.’ Immediately, I thought of the odds. First of just surviving in such a place, next of surviving and then becoming a cop. ‘Vertical ghettos, each one of them. Me and John used to say it was the only time when you had to take the elevator up when you were going to hell.’ I just nodded. This was out of my realm completely. ‘And that’s only if the elevators were working,’ he added. I realized that I never considered that Brooks might be a black man. There was no photo in the computer printouts and no reason to mention race in the stories. I had just assumed he was white and it was an assumption I would have to analyze later. At the moment, I was trying to figure out what Washington was trying to tell me by taking me here. Washington pulled into a lot next to one of the buildings. There were a couple of dumpsters coated with decades of graffiti slogans. There was a rusted basketball backboard but the rim was long gone. He put the car in park but left it running. I didn’t know if that was to keep the heat flowing or to allow us a quick getaway if needed. I saw a small group of teenagers in long coats, their faces as dark as the sky, scurry from the building closest to us, then cross a frozen courtyard and hustle into one of the other buildings. ‘At this point you’re wondering what the hell you’re doing here,’ Washington said then. ‘That’s okay, I understand. A white boy like you.’ Again I said nothing. I was letting him run out his line. ‘See that one, third on the right. That was our building. I was on fourteen with my grand-auntie and John lived with his mother on twelve, one below us. They didn’t have no thirteen, already enough bad luck ’round here. Neither of us had fathers. At least ones that showed up.’ I thought he wanted me to say something but I didn’t know what. I had no earthly idea what kind of struggle the two friends must have had to make it out of the tombstone of a building he had pointed at. I remained mute. ‘We were friends for life. Hell, he ended up marrying my first girlfriend, Edna. Then on the department, after we both made homicide and trained with senior detectives for a few years, we asked to be partnered. And damn, it got approved. Story about us in the

They stepped into the gloom and peered into the rows of cages. Luxuriant, curly fur covered some rabbits, so thick it weighed the tips of the ears down. Other pens housed pink-eyed albinos, their jaws working furiously on bits of hay poking out of their mouths. Earth's biodiversity never ceased to amaze him. One of the rabbits was easily the size of a dog. The label on its cage read FLEMISH GIANT. Giant was right. Quentin leaned close to one to snap a photo for his nieces, and the rabbit thumped its back feet on the metal cage. Next to the rabbit, Alisha jumped a mile, her sneakers skidding on the concrete as she danced away. Not so eager for the bunnies, then. Fine by him. The next barn housed horses. In one of the stalls, a huge horse regarded them through wise dark eyes, like a sentient Narnian beast. A black mane fell across its face, and feathery white hair fanned out around its hooves. "A Budweiser horse!" She laughed, pointing to the placard. "Clydesdale.

Waiting to be noticed by remaining black and white in a black and white world is not a rational strategy! Wear a different colour, make your faded destiny so colourful that it can be seen even from afar!

In Alf's close-up, he's less than a year old, almost unrecognizably puppyish. He gazes directly at James, head slightly cocked, bat ears unfolded in typical, unceasing alertness. His small black nose is shaped like a heart, the fur on his jowls shimmers, and the blaze on his chest is bright white and fluffy.

SOUVENIR: I am there swimming with sharks in a black and white photo of Italy the sun is free from clouds and I am smiling

Sankofa was the first time I felt the distance between history and myself collapsing. The black-and-white photos I had grown used to were now filled with color, associated with real places, places I had now walked. The inspiration to be part of their legacy was palpable, and the ways Christianity had been used to uphold all the evil of this history was not lost on me. Somehow, I just knew it was time to devote myself to the struggle.

And they were impressive. They were good-looking, fit, polished. They were the kind of couple you’d find on the glossy black-and-white photo that comes inside the frame before you replace it with the real, more unfortunate-looking photo of whoever you were—zits and all.

Mary had known what to do. She and Debbie had worked everything out in advance—whom to call and in what order: the funeral parlor, the credit card companies, the friends. There was already an obituary ready to go. Leonard’s photo would be in all the newspapers, on Twitter. It’d be in the black-and-white photo montage at the Oscars, with someone singing “Somewhere Over the Rainbow” in a ball gown. Alice made some of the calls to friends—she and Debbie split up the list. No one was surprised. Everyone was kind. Alice cried during the first few, nearly unable to get the words out, but then she got used to the rhythm of the conversation and found that she was able to make it through. That lasted a few minutes and then she was crying again. Alice hugged Mary longer than she’d ever hugged a relative stranger in her life. This was how people felt about their midwives, or platoon mates, or fellow hostages—they had seen things together that no one else would ever fully understand.

Yseult slumped in the chair close to the stove. The door of the Aga was open. Page by page she ripped up Aunt Lydia’s old photo albums and fed the old black-and-white photos to the flames.

Una’s book was The Worm and the Ring by Anthony Burgess, who Susan only knew for Clockwork Orange; Zoë, who was in her wheelchair at the head of the table, had a large old-looking volume called Book Repair and Restoration by Mitchell S. Buck propped up in front of her; Clement’s book Susan couldn’t identify as it was open flat on the table, but he was looking at a photo section in the middle of it, black-and-white photographs of castles or of one particular castle; Vivien was reading Red Moon and Black Mountain by Joy Chant, a hardcover with a very simple but fabulous blue-and-red dust jacket. It had to be the American first edition as Susan didn’t know it, and she immediately coveted it. Evangeline, who was closest to the door, had laid her book down faceup so Susan could easily read its title, Origins of the English Parliament by Peter Spufford;

What is home: It is the shade of trees on my way to school before they were uprooted. It is my grandparents’ black-and-white wedding photo before the walls crumbled. It is my uncle’s prayer rug, where dozens of ants slept on wintry nights, before it was looted and put in a museum. It is the oven my mother used to bake bread and roast chicken before a bomb reduced our house to ashes. It is the cafe where I watched football matches and played- Mg child stops me: Can a four-letter word hold all of these?

What is home: It is the shade of trees on my way to school before they were uprooted. It is my grandparents’ black-and-white wedding photo before the walls crumbled. It is my uncle’s prayer rug, where dozens of ants slept on wintry nights, before it was looted and put in a museum. It is the oven my mother used to bake bread and roast chicken before a bomb reduced our house to ashes. It is the cafe where I watched football matches and played- My child stops me: Can a four-letter word hold all of these?

And even though the photos are black and white, they gleam incandescent like all the colours of a royal flush. This island is a beautiful place, despite being filled with fools and savages. And if these photos of yours are the only ones that outlive you, maybe that’s an ace that you can keep.

pulled out an 8" x 10" black-and-white photo, a mug shot of a shady-looking character who gave every indication of being a veteran criminal. Bolick went on, “Guy’s name is Jack Leeper, a ten-time loser. Distant cousin to May Finnemore, even more distant to April. He grew up around here, drifted away a long time ago, became a career thug, petty thief, drug dealer, and so on. Got busted in California for kidnapping ten years ago, sentenced to life with no parole. Escaped two weeks ago. This afternoon we get a tip that he might be in this area.” Theo looked at the sinister face of Jack Leeper and felt ill. If this thug had April, then she was in serious trouble. Bolick continued, “Last night around seven thirty, Leeper here walks into the Korean Quick Shop four blocks away, buys cigarettes and beer, gets his face captured on the surveillance cameras.

Ian opens the box and moves the polystyrene strips to uncover a matryoshka. He’s astonished when he sees that it’s his face painted on it. "But...," he says. "Is it me?" He looks at Andrea, puzzled. "You’re very good." The look is from a photo of him at a party, before he knew him personally, that he found on the internet. He’s in a gray suit and has a cane, like a count from the olden days. "That's the Count," he says, and Ian looks at him and swallows. Andrea smiles. His gift holds a deep meaning that only the two of them understand. Ian opens the first doll and inside there is another. He gasps on seeing it. "That’s Dorian," says Andrea. He has painted Ian as he had looked on the night of his first event. When he wore the white Versace suit and Borsalino fedora. His hand trembling, Ian opens the doll to see the next one inside. "That's Ian," Andrea smiles, as does Ian when he sees himself portrayed with the black linen scarf and white sweater that he was wearing when they had met for the first time in Clusone. He has a serious look in the previous dolls while here he is cheerful. Ian shakes the doll a little and hears the wood rattle. He looks at Andrea, doubtful: they both know that their rapport finishes here. Andrea hasn’t discovered his innermost layer and sounderstands his perplexity. Ian seems to have to pluck up courage and then opens again. Inside there is the last, smallest doll, made from a single small piece of wood and known as the "seed". It dances in a large empty space, given that the doll above it is missing. It’s golden and doesn’t have a face. "That’s the soul," says Andrea. "One’s missing. That's why there's that little table with brushes in my room. I hope to do it soon. As soon as I can." Ian takes the little piece of wood and holds it in his fist. "Thank you, Andrea. It’s a wonderful gift," he says, tightening his jaw. "I eagerly await the last." He’s

I have wondered that even in the era of colour the black and white photographs are so appealing? I feel that as per saying - in black and white -they speak the truth.

At some point I must have fallen asleep on the couch I’d been sharing with Chase because an explosion on the TV jerked me awake. “It’s just the movie,” he whispered in my direction and ran his fingers over my cheek, “don’t move yet Princess.” “Don’t move? Why?” “I’m almost done, give me another minute or two.” I heard his hand moving back and forth across the paper slowly and waited until he kneeled down in front of the couch so his face was directly in front of mine. My breath caught and his electric blue eyes glanced down to my barely parted lips. His tongue absently wetted his lips and his teeth lightly bit down on his bottom one as his gaze roamed my face. “Why couldn’t I move?” I managed to ask when he started closing the distance between us. He abruptly stopped and blinked a few times, “Oh, um. Well … here. Just don’t freak out, okay? I wasn’t trying to be creepy.” “You’re not supposed to tell someone not to freak out, those words alone cause them to freak out.” Chase smirked, “Okay, well then don’t hit me or use your pressure point training on me again.” Before I could roll my eyes at him, he brought his sketch pad up in front of me and my jaw dropped. I felt my cheeks burn and he took that the wrong way. Snatching the pad of paper back up, he cursed softly. “I knew it was creepy.” “Chase,” I breathed and shook my head in an attempt to clear my thoughts, “that wasn’t creepy. Can I see it again?” When he didn’t make an attempt to move I reached my arm toward the book, “Please.” He handed it over with a sigh and looked at me with a sad smile, “I’m sorry, but you looked too perfect. I couldn’t let that opportunity pass.” My stupid blush came back with force when he said that and I focused at his drawing. It was amazing, somewhat embarrassing, but remarkable none the less. With the shading and the detail he’d captured of my upper body and face, it almost looked like a black and white photo. It was perfect. From my chest, throat and slightly open mouth to the way my hair fell around my face and my eyelashes rested against my cheeks, it was one hundred percent me. He even had my hand clutching the pillow under my head that was resting on his leg, as well as the blanket that had been pulled up to the swell of my breasts. Goose bumps covered my body as I realized he’d spent however long staring at, and replicating, every part of me while I’d been completely unaware. He was wrong, it wasn’t creepy, it was beautiful and strangely intimate. “Chase, it–” I cleared my throat and tried again, “It’s incredible.” Incredible didn’t cover it. “Yeah?” I looked up into his eyes and smiled, “Yeah.” We stayed there staring at each other, my mind and heart completely torn in two. One half desperately wanted to act on the feelings his drawing had stirred up in me, and the other was screaming at me to sit up and scoot away from him. Before I could try to make a decision, another series of explosions came from the TV and we both jolted away from each other. My

Someday Tatiana must tell Alexander how glad she is that her sister Dasha did not die without once feeling what it was like to love. Alexander. Here he is, before he was Tatiana’s, at the age of twenty, getting his medal of valor for bringing back Yuri Stepanov during the 1940 Winter War. Alexander is in his dress Soviet uniform, snug against his body, his stance at-ease and his hand up to his temple in teasing salute. There is a gleaming smile on his face, his eyes are carefree, his whole man-self full of breathtaking, aching youth. And yet, the war was on, and his men had already died and frozen and starved... and his mother and father were gone... and he was far away from home, and getting farther and farther, and every day was his last—one way or another, every day was his last. And yet, he smiles, he shines, he is happy. Anthony is gone so long that his daughters say something must have happened to him. But then he appears. Like his father, he has learned well the poker face and outwardly remains imperturbable. Just as a man should be, thinks Tatiana. A man doesn’t get to be on the President’s National Security Council without steeling himself to some of life’s little adversities. A man doesn’t go through what Anthony went through without steeling himself to some of life’s little adversities. In this hand Anthony carries two faded photographs, flattened by the pages of the book, grayed by the passing years. The kitchen falls quiet, even Rachel and Rebecca are breathless in anticipation. “Let’s see...” they murmur, gingerly picking up the fragile, sepia pictures with their long fingers. Tatiana is far away from them. “Do you want to see them with us, Grammy? Grandpa?” “We know them well,” Tatiana says, her voice catching on something. “You kids go ahead.” The grandchildren, the daughter, the son, the guests circle their heads, gaping. “Washington, look! Just look at them! What did we tell you?” Shura and Tania, 23 and 18, just married. In full bloom, on the steps of the church near Lazarevo, he in his Red Army dress uniform, she in her white dress with red roses, roses that are black in the monochrome photo. She is standing next to him, holding his arm. He is looking into the camera, a wide grin on his face. She is gazing up at him, her small body pressed into him, her light hair at her shoulders, her arms bare, her mouth slightly parted. “Grammy!” Rebecca exclaims. “I’m positively blushing. Look at the way you’re coming the spoon on Grandpa!” She turns to Alexander from the island. “Grandpa, did you catch the way she is looking at you?” “Once or twice,” replies Alexander. The other colorless photo. Tania and Shura, 18 and 23. He lifts her in the air, his arms wrapped around her body, her arms wrapped around his neck, their fresh faces tilted, their enraptured lips in a breathless open kiss. Her feet are off the ground. “Wow, Grammy,” murmurs Rebecca. “Wow, Grandpa.” Tatiana is busily wiping the granite island. “You want to know what my Washington said about you two?” Rebecca says, not looking away from the photograph. “He called you an adjacent Fibonacci pair!” She giggles. “Isn’t that sexy?” Tatiana shakes her head, despite herself glancing at Washington with reluctant affection. “Just what we need, another math expert. I don’t know what you all think math will give you.” And Janie comes over to her father who is sitting at the kitchen table, holding her baby son, bends over Alexander, leans over him, kisses him, her arm around him, and murmurs into his ear, “Daddy, I’ve figured out what I’m going to call my baby. It’s so simple.” “Fibonacci?” She laughs. “Why, Shannon, of course. Shannon.” The

OPENING THE DOOR to her mother’s bedroom, Haley was stunned to see that her mother was awake. Crisp, dog-eared black-and-white photos and hundreds of newer color photographs were scattered all over the bed and floor. An empty scrapbook lay on her mother’s bureau next to a box of tissues.

While the Right Bank of Paris has seen internationalism and the irrepressible rise of “bobos” (the Parisian form of hipsters) change its landscape in recent years, the Left Bank has been able to preserve the soul of the French capital. Walk through the Latin Quarter’s crooked cobblestone corridors or down the grand plane-tree-lined boulevards of St.-Germain-des-Prés and, more than once, you’ll think you’re inside a black-and-white Robert Doisneau photo. Cafe terraces, limestone buildings and nattily dressed locals create a timeless tableau. That’s not to say that Paris south of the dividing Seine is immune to change. But at least for now, the classic charms outweigh the contemporary influences. Friday 1.

There, in the “Early Days” section, is a photo the company sent to customers who purchased the flower deal. All fifteen Groupon employees, with Mason front and center, are standing behind a white poster board sporting a message inked in black marker: “We’re sorry!! —your friends [at] Groupon.” “The response we got back was, ‘Holy shit, there’s actually real people at that company,

A boring colourful photo is always black and white; an interesting black and white photo is always colourful!

And it felt like I was a black - and - white photo magically rippling into color wherever he touched me.

Piers Morgan Piers Morgan is a British journalist best known for his editorial work for the Daily Mirror from 1995 through 2004. He is also a successful author and television personality whose recent credits include a recurring role as a judge on NBC’s America’s Got Talent. A controversial member of the tabloid press during Diana’s lifetime, Piers Morgan established a uniquely close relationship with the Princess during the 1990s. The conversation moved swiftly to the latest edition of “Have I Got News for You.” “Oh, Mummy, it was hilarious,” laughed William. “They had a photo of Mrs. Parker Bowles and a horse’s head and asked what the difference was. The answer was that there isn’t any!” Diana absolutely exploded with laughter. We talked about which was the hottest photo to get. “Charles and Camilla is still the really big one,” I said, “followed by you and a new man, and now, of course, William with his first girlfriend.” He groaned. So did Diana. Our “big ones” are the most intimate parts of their personal lives. It was a weird moment. I am the enemy, really, but we were getting on well and sort of developing a better understanding of each other as we went along. Lunch was turning out to be basically a series of front-page exclusive stories--none of which I was allowed to publish, although I did joke that “I would save it for my book”--a statement that caused Diana to fix me with a stare, and demand to know if I was carrying a tape recorder. “No,” I replied, truthfully. “Are you?” We both laughed, neither quite knowing what the answer really was. The lunch was one of the most exhilarating, fascinating, and exasperating two hours of my life. I was allowed to ask Diana literally anything I liked, which surprised me, given William’s presence. But he was clearly in the loop on most of her bizarre world and, in particular, the various men who came into it from time to time. The News of the World had, during my editorship, broken the Will Carling, Oliver Hoare, and James Hewitt scoops, so I had a special interest in those. So, unsurprisingly, did Diana. She was still raging about Julia Carling: “She’s milking it for all she’s worth, that woman. Honestly. I haven’t seen Will since June ’95. He’s not the man in black you lot keep going on about. I’m not saying who that is, and you will never guess, but it’s not Will.” William interjected: “I keep a photo of Julia Carling on my dartboard at Eton.” That was torture. That was three fantastic scoops in thirty seconds. Diana urged me to tell William the story of what we did to Hewitt in the Mirror after he spilled the beans in the ghastly Anna Pasternak book. I dutifully recounted how we hired a white horse, dressed a Mirror reporter in full armor, and charged Hewitt’s home to confront him on allegations of treason with regard to his sleeping with the wife of a future king--an offense still punishable by death. Diana exploded again. “It was hysterical. I have never laughed so much.” She clearly had no time for Hewitt, despite her “I adored him” TV confessional.

One of the Least Transparent Administrations in History President Barack Obama promised the most transparent administration in history, but our experience over the eight years of his administration was that the executive branch and its federal agencies were black holes in terms of disclosure. President Obama and his minions made remarkable assertions of secrecy over everything from White House visitor logs to Fannie Mae and Freddie Mac, to Operation Fast and Furious and even the photos of a dead Osama bin Laden and the details of the Islamic burial ceremony used for one of the worst terrorist organizers of the modern age. Judicial Watch filed well over three thousand FOIA requests with the Obama administration, many of which went unanswered. Our staff attorneys never had a day that wasn’t hectic—they were forced to file and litigate more than 250 FOIA lawsuits in federal court. Getting the administration to comply with our requests for information and documents under FOIA was like pulling teeth. Many of these lawsuits were filed just to get a “yes or no” answer from the administration on whether they had any responsive records. Administratively, federal agencies put up additional hurdles and stonewalled even the most basic FOIA requests. In many cases, we faced tough litigation fights, with Justice Department and administration attorneys and officials fighting hard to resist turning over records they were obligated under the law to disclose. And in many cases, like our fight to get former Secretary of State Hillary Clinton’s emails, the administration seems to have misled Judicial Watch and federal judges, claiming that records did not exist that actually did exist or not conducting the legally required searches for the information and documents we were requesting.

You know you’re the only girl in this school who’s not white?” “Yeah? I didn’t realize.” This was a lie. Even with blue eyes, she could not pretend she blended in. “You and Nath, you’re practically the only Chinese people in the whole of Middlewood, I bet.” “Probably.” Jack settled back into his seat and rubbed at a small dent in the plastic of the steering wheel. Then, after a moment, he said, “What’s that like?” “What’s it like?” Lydia hesitated. Sometimes you almost forgot: that you didn’t look like everyone else. In homeroom or at the drugstore or at the supermarket, you listened to morning announcements or dropped off a roll of film or picked out a carton of eggs and felt like just another someone in the crowd. Sometimes you didn’t think about it at all. And then sometimes you noticed the girl across the aisle watching, the pharmacist watching, the checkout boy watching, and you saw yourself reflected in their stares: incongruous. Catching the eye like a hook. Every time you saw yourself from the outside, the way other people saw you, you remembered all over again. You saw it in the sign at the Peking Express—the man with a coolie hat, slant eyes, buckteeth, and chopsticks. You saw it in the little boys on the playground, stretching their eyes to slits with their fingers—Chinese—Japanese—look at these—and in the older boys who muttered ching chong ching chong ching as they passed you on the street, just loud enough for you to hear. You saw it when waitresses and policemen and bus drivers spoke slowly to you, in simple words, as if you might not understand. You saw it in photos, yours the only black head of hair in the scene, as if you’d been cut out and pasted in. You thought: Wait, what’s she doing there? And then you remembered that she was you. You kept your head down and thought about school, or space, or the future, and tried to forget about it. And you did, until it happened again.

ave you thought of your family photos as a collection? One of my tables held photos of many generations of women in our family. I displayed them in a variety of frames, and the mother-daughter-granddaughter theme pulled the collection together. No one could resist stopping and taking a peek. Group as black-and-white photos or formal or informal in groups. Another idea is to keep the same frames but change the photos for the seasons. If you have a ton of photos, rotate them so you can enjoy your entire collection. And for a designer touch, add a surprise to your grouping-something that doesn't "match," such as that silly picture of your Aunt Lily. The idea is to share yourself with others in a way that is interesting. ant to change your room? Put two lamps of different sizes on a side table with books, a small clock, a pot of flowers, or a ceramic creation. These change the look and provide better lighting. Your coffee table is an ideal spot for a plant or a terracotta pot with candles. For a softer look, add a throw rug made of mohair or wool-something warm and inviting. And I don't know about you, but I like bookshelves in the living room-complete with books, family pictures, and a mixture of the things I collect. I also love to frame favorite scriptures to welcome me as I go from room to room.

Belghazi arrived early that evening. I was enjoying a cocktail with Keiko in the lobby, where I had a view of the registration desk, and made him in an instant. He was swarthy, the legacy of an Algerian mother, and his hair, which had been long and unruly in the CIA file photo, was now shaved close to the scalp. I put him at about six feet and a hundred and eighty-five pounds. Dense, muscular build. He was wearing an expensive-looking blue suit, from the cut maybe Brioni or Kiton, and a white shirt open at the collar. In his left hand he gripped the handle of what looked like a computer briefcase, something in black leather, and I caught a flash of gold chain encircling his wrist. But despite the clothes, the accessories, the jewelry, there was no element of fussiness about him. On the contrary, his presence was relaxed, and powerful.

And now, in the waiting room of an OB/GYN office for a postmiscarriage checkup, I feel like a soldier in a field of visual landmines. Nowhere is safe to look. Not the black-and-white photos of cherubic babies on every single wall, or the rounded bellies protruding from proud mothers-to-be, all glowing and puffed up with their success of carrying a baby nearly to term—I can’t even look the receptionist in the eye, not wanting to see either her pity or judgment of my slack belly.

we were so thrilled about tomorrow that none of us noticed the sadness wash over Sandrine as if she was a colour photo fading to black-and-white.

Chocolate is a girl's best friend.' 'Consequently, I am going to polish off this entire chocolate pie, as well as sit here and cry, yes just sitting in my white tank top, and light pink comfy old short shorts, with the black drawstring in the fronts, tied, into a big floppy bow.' 'I sit looking at the TV, hugging my teddy bear. Tonight's movie lineup is 'Shawshank,' 'Misery,' 'The Notebook,' and 'A Walk to Remember.' While my black mascara from the day runs down my cheeks.' 'Life is not a fairytale, so maybe I can go next year. I know the prom is not going to happen either, yet I want to go at least once in my life. Yet, some get to go to prom, and dance for five years running. They go all four high school years.' 'Plus, they get asked for their date, which is still in school after they're out, even though they have gone many times before.' 'Then someone like me never gets the chance; that is not fair! I am not jealous; I just want to have the same opportunities, the photos, and the involvements.' 'I could envision in my mind the couples swaying to the music.' 'I could picture the bodies pressed against one another. With their hands laced with desire, all the girls having their poofy dresses pushed down by their partner's closeness, as they look so in love.' 'I know is just dumb dances, but I want to go. Why am I such a hopeless romantic? I could visualize the passionate kissing.' 'I can see the room and how it would be decorated, but all I have is the vision of it. That is all I have! Yeah, I think I know how Carrie White feels too, well maybe not like that, but close. I might get through that one tonight too because I am not going to sleep anywise.' 'So why not be scared shitless! Ha, that reminds me of another one, he- he.' 'I am sure that this night, which they had, would never be forgotten about! I will not forget it either. It must have- been an amazing night which is shared, with that one special person.' 'That singular someone, who only wants to be with you! I think about all the photographs I will never have. All the memories that can never be completed and all the time lost that can never be regained.' 'The next morning, I have to go through the same repetition over again. Something's changed slightly but not much; I must ride on the yellow wagon of pain and misery. Yet do I want to today?' 'I do not want to go after the night that I put in. I was feeling vulnerable, moody, and a little twitchy.' 'I do not feel like listening to the ramblings of my educators. Yet knowing if I do not show up at the hellhole doors, I would be asked a million questions, like why I did not show up, the next day I arrived there.

Black-and-white photos kill. Despite making up only 3 percent of posted photos, they see a 106 percent boost in likes. Consider going monochrome for your next pic.

In other words, you have a palette with only black, white, and grays. You will thinly paint the grisaille with these, or mixtures of these. Use your value scale to determine the value of each color in the composition and match it with the gray of the same value on your palette. Paint it in. Paint the entire composition in grays, matching values of colors with grays. Be meticulous in your matching. Be accurate. Take your time to get this right. Getting this right ensures that the next step will be a success. If you get the values right, just about everything else can go wrong and it will still be a good painting. You will know when you have finished the grisaille when it resembles a black and white photo.

The grisaille (gree-zah-yuh) is like painting a black and white picture of the scene. In fact, if you have your smart phone available, take a photo and, in the photo app, you can quickly remove the color to get a black and white version of the scene. This is not a bad practice because it gives you a quick look at the values. Still you need to determine the values for yourself. You need to know how to determine values by using some kind of value scale. Start by squeezing a pile of white paint at the top of your palette and a pile of black paint (mixture of burnt umber and blue, or premixed black) at the bottom. Between the white and the black, mix up at least three values of gray, ranging in value from white to black.

The aesthetics alone are inspiring. New York–based photographer Richard Barnes, best known for his starkly artistic portraits of Unabomber Ted Kaczynski’s cabin, released a captivating collection of black-and-white images of starling flocks over Rome in 2005. His photos are carefully framed against urban horizons. Some are simply beautiful, others sinister and Hitchcockian, but all are somehow magnetic (more on that later). In a statement accompanying Barnes’s images, author Jonathan Rosen observes, “Part of the fascination of the starlings is the way they seem to be inscribing some sort of language in the air, if only we could read it.

In Robert Noyce’s office there hung a black-and-white photo that showed a jovial crew of young scientists offering a champagne toast to the smiling William Shockley. The picture was taken on November 1, 1956, a few hours after the news of Shockley’s Nobel Prize had reached Palo Alto. By the time that happy picture was taken, however, Shockley Semiconductor Laboratories was a chaotic and thoroughly unhappy place. For all his technical expertise, Shockley had proven to be an inexpert manager. He was continually shifting his researchers from one job to another; he couldn’t seem to make up his mind what, if anything, the company was trying to produce. “There was a group that worked for Shockley that was pretty unhappy,” Noyce recalled many years later. “And that group went to Beckman and said, hey, this isn’t working. . . . About that time, Shockley got his Nobel Prize. And Beckman was sort of between the devil and the deep blue sea. He couldn’t fire Shockley, who had just gotten this great international honor, but he had to change the management or else everyone else would leave.” In the end, Beckman stuck with Shockley—and paid a huge price. Confused and frustrated, eight of the young scientists, including Noyce, Moore, and Hoerni, decided to look for another place to work. That first group—Shockley called them “the traitorous eight”—turned out to be pioneers, for they established a pattern that has been followed time and again in Silicon Valley ever since. They decided to offer themselves as a team to whichever employer made the best offer. Word of this unusual proposal reached an investment banker in New York, who offered a counterproposal: Instead of working for somebody else, the eight scientists should start their own firm. The banker knew of an investor who would provide the backing—the Fairchild Camera and Instrument Corporation, which had been looking hard for an entrée to the transistor business. A deal was struck. Each of the eight young scientists put up $500 in earnest money, the corporate angel put up all the rest, and early in 1957 the Fairchild Semiconductor Corporation opened for business, a mile or so down the road from Shockley’s operation.

He did look at his photos and decided he didn’t like any of them: all that black and white, all that same old stuff, characters trying to be characters. He said, Are you trying to be a character?

When Mike returned from Vietnam, Richard began hanging out with him. He was twelve. To Richard, Mike was special—a bona fide, real live hero, a man who’d gone into battle and come back victorious, with medals and Polaroid photos to prove he had been there and done it. In these pictures—which Mike showed Richard many times—there were Vietnamese women on their knees being forced to perform fellatio on Mike. In each he looked grimly at the camera and held a cocked .45 to the woman’s head, genuine fear in the woman’s eyes. Mike kept these black-and-white pictures, all bent by handling, in a shoebox at the top of a closet. He also kept eight shrunken heads he’d brought back from ’Nam in a battered suitcase under his bed. He told Richard he’d used the heads as pillows in Vietnam. Mike was married to a shapely Mexican-American redhead named Jessie with a full figure and strong personality.

Ligature marks,” she said. “Skin irritation. Duct tape.” Detective Berg knelt beside the body. “It’s Phoebe Canova.” Caitlin stepped back mentally, seeing the victim’s body in its entirety. Her field of vision continued to expand. Then goose bumps rose. Around Phoebe’s body, maybe six feet away, photos were stuck in the ground like headstones. They were Polaroids. Caitlin stepped back physically. The photos showed women in white nightgowns. They were blond. Some were alive and terrified. Most were dead. Rainey spoke in a low voice. “Holy Jesus. How long has this guy been killing?” Caitlin counted the photos. There were twelve.

I'm fucking done with this, Scott," I told him in a flat, emotionless voice. "I'm done with you terrorizing me. I'm done with the packages and the phone calls and the photos. I'm done. Kiss my ass, motherfucker." Bang. The gun kicked in my hand, but my aim was true. Scott inching closer had made sure of that for me. The bullet hit him clean between the eyes and sent his body sprawling across the black and white tiles of the foyer. For a moment, I stayed exactly where I was, my gun aimed at Scott's body.

Sankofa was the first time I felt the distance between history and myself collapsing. The black-and-white photos I had grown used to were now filled with color, associated with real places, places I had now walked.

They were the kind of couple you’d find on the glossy black-and-white photo that comes inside the frame before you replace it with the real, more unfortunate-looking photo of whoever you were—zits and all.