Wooden Furniture Quotes

After dinner, Edwart took me upstairs to see his room. At the top of the stairs was a giant wooden cross. "Ironic, huh?" Edwart said. "Why?" I asked with trepidation, imagining that, at any second, Edwart would turn into dust, which I would then sweep up and disperse over my furniture so he would always be with me. "Because we're Jewish, of course--nonpracticing.

The dragonets found the carpenters to be even more fascinating than the furniture, and followed the poor men from pen to pen, crowding around to watch, tasting the wooden planks, trying to steal the tools. It made for an interesting day for everyone, as the boys tried to keep the dragonets away from the carpenters, and the dragonets tried to get at the carpenters, and the carpenters worked probably a great deal faster than they ever had in their lives, sure that the dragonets would go from tasting the wood to tasting them.

Every piece of wood in your house—from the windowsills to the furniture to the rafters—was once part of a living being, thriving in the open and pulsing with sap. If you look at these wooden objects across the grain, you might be able to trace out the boundaries of a couple of rings. The delicate shape of those lines tells you the story of a couple of years. If you know how to listen, each ring describes how the rain fell and the wind blew and the sun appeared every day at dawn.

You know about all the villainous people who are lurking in the hotel?” Klaus said, equally incredulously. “Yes,” Justice Strauss said. “We observed rings on all the wooden furniture, from people refusing to use coasters. Obviously there are many villains staying in the hotel.

Even ducks need warmth in sub-zero weather. Here's a winter tip for you for the next time the power grid gets intentionally knocked offline: Wooden furniture is just decorative firewood.

widespread material in existence. You can actually see the change in process if you look at street photography from before and after 1976. I know we have good reason to be sceptical of aesthetic nostalgia, but the fact remains that before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a

The main floor was a huge open room with a polished stone floor, wooden furniture, a large fireplace, and windows.

This was definitely a former cellar. One the far end was a shoddy, rickety altar that cavemen might have erected to worship a fire god. Two wooden columns flanked a large stone block cut into a perfect cube on a raised platform. On the left wall was a table that looked like cheap plastic lawn furniture covered with incense and prayer beads and other generic-looking knickknacks that someone could buy at a yoga studio. "Oh my God, my cult is so low-rent," moaned Magnus. "I am deeply shamed. I am disowning my followers for being evil and having no panache." "But it's not your cult," Alec said distractedly. He walked over to the side table and ran his finger along its surface. "There's a lot of dust. This place hadn't been used in a while." "I'm joking." said Magnus.

before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a material which when dyed does not take on colour but actually exudes colour, in an inimitably ugly way.

Furniture is like that. Used and enjoyed as intended, it absorbs the experience and exudes it back into the atmosphere, but if simply bought for effect and left to languish in a corner, it vibrates with melancholy. Furnishings in museums... are as unspeakably tragic as the unvisited inmates of old folk's homes. The untuned violins and hardback books used to bring 'character' to postwar suburban pubs crouch uncomfortably in their imposed roles like caged pumas in a zoo. The stately kitchen that is never or rarely used to bring forth lavish feasts for appreciative audiences turns inward and cold.

If other furniture items could see his actions that day, and if that same furniture then had dreams… well they’d have been horrific nightmares of wooden destruction at the hands of a metal clad monster, i.e. Dorian Thornbear.

Anyway, I have a new theory. Would you like to hear it? Ignore this paragraph if not. My theory is that human beings lost the instinct for beauty in 1976, when plastics became the most widespread material in existence. You can actually see the change in process if you look at street photography from before and after 1976. I know we have good reason to be sceptical of aesthetic nostalgia, but the fact remains that before the 1970s, people wore durable clothes of wool and cotton, stored drinks in glass bottles, wrapped food produce in paper, and filled their houses with sturdy wooden furniture. Now a majority of objects in our visual environment are made of plastic, the ugliest substance on earth, a material which when dyed does not take on colour but actually exudes colour, in an inimitably ugly way. One thing a government could do with my approval (and there aren’t many) would be to prohibit the production of each and every form of plastic not urgently necessary for the maintenance of human life. What do you think?

The noble old synagogue had been profaned and turned into a stable by the Nazis, and left open to the elements by the Communists, at least after they had briefly employed it as a 'furniture facility.' It had then been vandalized and perhaps accidentally set aflame by incurious and callous local 'youths.' Only the well-crafted walls really stood, though a recent grant from the European Union had allowed a makeshift roof and some wooden scaffolding to hold up and enclose the shell until further notice. Adjacent were the remains of a mikvah bath for the ritual purification of women, and a kosher abattoir for the ritual slaughter of beasts: I had to feel that it was grotesque that these obscurantist relics were the only ones to have survived. In a corner of the yard lay a pile of smashed stones on which appeared inscriptions in Hebrew and sometimes Yiddish. These were all that remained of the gravestones. There wasn't a Jew left in the town, and there hadn't been one, said Mr. Kichler, since 1945.

Thandi looks at the rag dolls and the coasters and key chains and handcrafted jewelry that Delores delicately places inside the basket. How would visitors know the real stories behind the faces of the wooden masks they'd buy to have on walls; the rag dolls they'd use to decorate unused furniture in their houses; the figurines they'd place on mantels that they can marvel at and then quickly forget?

Countless Victorian-era engravings notwithstanding, the Pilgrims did not spend the day sitting around a long table draped with a white linen cloth, clasping each other’s hands in prayer as a few curious Indians looked on. Instead of an English affair, the First Thanksgiving soon became an overwhelmingly Native celebration when Massasoit and a hundred Pokanokets (more than twice the entire English population of Plymouth) arrived at the settlement with five freshly killed deer. Even if all the Pilgrims’ furniture was brought out into the sunshine, most of the celebrants stood, squatted, or sat on the ground as they clustered around outdoor fires, where the deer and birds turned on wooden spits and where pottages—stews into which varieties of meats and vegetables were thrown—simmered invitingly.

Tillie found herself ushered in and plopped onto a wooden chair that creaked ominously. There were two desks in front of her on either side of a single window. They looked like they themselves had served during the war, perhaps seeing combat in some skirmish against German furniture, and now sat battered but unbowed, the one on the left jammed against the wall for partial support, a book stuffed under one leg which was noticeably shorter than the others.

The library was ... scattered with odd cushions and strange padded built-in furniture added a few years ago to placate the rioting students of the time, who could never seem to make up their minds whether they were angriest about Viet Nam, about being made to learn a foreign language, or about being made to sit at a hard wooden desk while they did it. The College, being unable to do anything about Viet Nam and unwilling to do anything about the foreign language requirement, had reformed the furniture in the library.

WRITER'S NIGHTMARE" "I felt a grip on my arm that shook my body, forcefully pulling me toward a tunnel of darkness.   The threat of consciousness stole my steady breath. For a moment I believed myself to be under siege; ripped from the sky in mid flight, my wings useless against the monstrous claws shredding my reality. I struggled to remain, to be left alone, aloft.  Reaching with wings that through the power of imagination were suddenly feathered arms, I grabbed at the air.  My hands clutched at something solid.  Wooden.  A desk.  My head spun as I held the furniture, suffering the illusion of falling.   "I was flying," I gasped, realizing suddenly that it had all been a dream. "My best fantasy ever." Lifting my head from its resting spot on the writing desk, I worked mentally to secure the fading images, hoping to capture their essence to memory before they faded away forever.  Bitterness tainted my heart against the hand that had jerked me into sensibility.  Why was I always so callously awakened while doing my best work?  Why not let me dream?

The widespread use of gold in religious artifacts may be of special significance. Gold is a useless metal. It is too soft to be used in tools or cookware. It is also rare and difficult to mine and extract, especially for primitive peoples. But from the earliest times gold was regarded as a sacred metal, and men who encountered gods were ordered to supply it. Over and over again the Bible tells us how men were instructed to create solid gold objects and leave them on mountaintops where the gods could get them. The gods were gold hungry. But why? Gold is an excellent conductor of electricity and is a heavy metal, ranking close to mercury and lead on the atomic scale. We could simplify things by saying that the atoms of gold, element 79, are packed closely together. If the ancient gods were real in some sense, they may have come from a space-time continuum so different from ours that their atomic structure was different. They could walk through walls because their atoms were able to pass through the atoms of stone. Gold was one of the few earthly substances dense enough for them to handle. If they sat in a wooden chair, they would sink through it. They needed gold furniture during their visits.

had found the only hippie-opera-singer-dream-cabin-in-the-woods in Westchester! It was perfection, and I knew exactly what to do to bring it to life. I took it on like I was an interior designer on one of those makeover shows. I picked out and paid for every piece of brand-new furniture, all the knickknacks and accouterments. I chose every detail, from light fixtures to paint colors, all in “Pat’s palette.” I hung wooden flower boxes outside and filled them with romantic wildflowers. I got photo prints made of her Irish family members and Irish crests, had them mounted and framed, and hung them ascending the wall along the staircase.

When I finally leave the market, the streets are dark, and I pass a few blocks where not a single electric light appears – only dark open storefronts and coms (fast-food eateries), broom closet-sized restaurants serving fish, meat, and rice for under a dollar, flickering candles barely revealing the silhouettes of seated figures. The tide of cyclists, motorbikes, and scooters has increased to an uninterrupted flow, a river that, given the slightest opportunity, diverts through automobile traffic, stopping it cold, spreads into tributaries that spill out over sidewalks, across lots, through filling stations. They pour through narrow openings in front of cars: young men, their girlfriends hanging on the back; families of four: mom, dad, baby, and grandma, all on a fragile, wobbly, underpowered motorbike; three people, the day’s shopping piled on a rear fender; women carrying bouquets of flapping chickens, gathered by their feet while youngest son drives and baby rests on the handlebars; motorbikes carrying furniture, spare tires, wooden crates, lumber, cinder blocks, boxes of shoes. Nothing is too large to pile onto or strap to a bike. Lone men in ragged clothes stand or sit by the roadsides, selling petrol from small soda bottles, servicing punctures with little patch kits and old bicycle pumps.

AESTHETIC SIMPLICITY For some people simplicity is an aesthetic value, so one further sense that might be attached to the notion of simple living is a preference for an uncomplicated, uncluttered living environment. Imagine, for instance, an apartment with white walls, white trim, bare wood floors, simple wooden furniture, plain white kitchenware, white towels in the bathroom, and white blankets on the simple wooden beds. Or a house where the brick walls and overhead beams are left exposed, the furniture is rustic, and any artwork on display is clearly local and amateurish. Or a study containing nothing but a desk and a chair. All these are interiors that people deliberately create for themselves. Simplicity of this sort is not necessarily frugal. The uncluttered apartment could be in the center of Paris; the plain wooden furniture might be custom-made. Wittgenstein designed a house in Vienna for his sister Margaret characterized by austere, almost minimalist aesthetic lines, yet built with no concern for cost. But although such setups may not be cheap, they make no exhibition of expense. And the styles have symbolic significance. They bespeak sympathy with the plain, the unpretentious, the unostentatious. They connote honesty, purity, and a mind focused on essentials. In the case of country retreats, closeness to nature may also be sought and expressed.

The leader of the Red Guards stepped up to Nien Cheng. “We are the Red Guards. We have come to take revolutionary action against you!” Nien Cheng held up the copy of the Constitution and looked the leader in the eye. “It’s against the Constitution to enter a private house without a search warrant.” The man grabbed the Constitution out of Nien’s hand and threw it on the floor. “The Constitution is abolished. It was a document written by the Revisionists within the Communist Party. We recognize only the teachings of our Great Leader Chairman Mao.” One of the Red Guards took the stick he was carrying and smashed the mirror hanging over a wooden chest in the entryway. Another guard replaced the mirror with a blackboard that bore a quotation from Mao: “When the enemies with guns are annihilated, the enemies without guns still remain. We must not belittle these enemies.”2 With that, the young guards tore through the house, smashing furniture, dumping shelves of books onto the floor, slashing priceless paintings by Lin Fengmian and Qi Baishi. On a rampage, the eager students looted the closets and drawers, tearing most of Nien Cheng’s clothing and linens. They overturned the bed mattresses and hacked them to pieces. Then they smashed her music recordings. Pressing on, they found the food pantry and dumped flour, sugar, and canned goods onto the ravaged clothing. They broke several bottles of red wine, pouring it over the mess.

Dinner was a family affair. And oh, how she enjoyed it! Who knew there was so much to talk about each day? She loved when the men shared stories about their work in the mines, while she often regaled them with stories about life in the castle when she was a small child or about the types of birds she spotted from the window. And then there were the questions. She found she had many! After staying silent for so long, there was much she longed to know, and she was always interested in learning more about the men and their lives. She wanted to know who had carved the beautiful wooden doorways and furniture around the cottage, and why the deer and the birds seemed to linger at the kitchen window while she prepped meals. "They must adore you, as we do," gushed Bashful. "And I you!" Snow would say. She found she could talk to them till the candle burned out each night. It felt like she was finally waking up and finding her voice after years of silent darkness. And while she promised the men she would not do more than her share of the housework, she couldn't help trying to find small ways to repay them for their kindness when she wasn't busy strategizing. Despite their protests, she prepared a lunch basket for them to take to work each day. She mended tiny socks. And secretly, she was using yarn and needles she had found to knit them blankets for their beds. It might have been summer, but she couldn't help noticing they had few blankets for the winter months.

Then his tears came once more, and feeling cold he went into his dressing-room to look for something to throw around his shoulders. But he had lost control of his hand so that it moved like a brainless creature and completely failed to carry out the small mathematical operation which consisted, because the inside of the wardrobe was dark, in fumbling a way through the different velvets, silks and satins of his mother's outmoded dresses which, since she had given up wearing them, for many years, she had put away in this piece of furniture, until it could feel the wooden jamb, far back, which separated these garments from his own, and, on reaching the second rough-surfaced coat, to take it from the hanger from which it depended. Instead, it tore down the first piece of fabric it encountered. This happened to be a black velvet coat, trimmed with braid, and lined with cherry-coloured satin and ermine, which, mauled by the violence of his attack, he pulled into the room like a young maiden whom a conqueror has seized and dragged behind him by the hair. In just such a way did Jean now brandish it, but even before his eyes had sent their message to his brain, he was aware of an indefinable fragrance in the velvet, a fragrance that had greeted him when, at ten years old, he had run to kiss his mother—in those days still young, still brilliant and still happy—when she was all dressed up and ready to go out, and flung his arms about her waist, the velvet crushed within his hand, the braid tickling his cheeks, while his lips, pressed to her forehead, breathed in the glittering sense of all the happiness she seemed to hold in keeping for him.

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Building with Its Face Blown Off How suddenly the private is revealed in a bombed-out city, how the blue and white striped wallpaper of a second story bedroom is now exposed to the lightly falling snow as if the room had answered the explosion wearing only its striped pajamas. Some neighbors and soldiers poke around in the rubble below and stare up at the hanging staircase, the portrait of a grandfather, a door dangling from a single hinge. And the bathroom looks almost embarrassed by its uncovered ochre walls, the twisted mess of its plumbing, the sink sinking to its knees, the ripped shower curtain, the torn goldfish trailing bubbles. It's like a dollhouse view as if a child on its knees could reach in and pick up the bureau, straighten a picture. Or it might be a room on a stage in a play with no characters, no dialogue or audience, no beginning, middle, and end– just the broken furniture in the street, a shoe among the cinder blocks, a light snow still falling on a distant steeple, and people crossing a bridge that still stands. And beyong that–crows in a tree, the statue of a leader on a horse, and clouds that look like smoke, and even farther on, in another country on a blanket under a shade tree, a man pouring wine into two glasses and a woman sliding out the wooden pegs of a wicker hamper filled with bread, cheese, and several kinds of olives.

Room eight contained a neatly made bed, a wash basin on a chest of drawers, and a desk, each piece of furniture simple but sturdy. Joe moved to the window and paused, looking out at the wreckage of Glipwood with a pang of sadness. Below the window lay what remained of Shaggy’s Tavern. The stone chimney stood like the trunk of an old petrified tree, the ground littered with planks, broken stools, and shattered bottles. Wincing at the creak of his footsteps on the wooden floor, he crept to the chest of drawers and slid it away from the wall. Behind the bureau was a small doorway. Joe looked around one last time and ducked inside, pulling the chest back into place behind him.

Pity" Amir sat on the same old wooden chair Roua still remembers vividly the furniture store where she bought that chair - less than a month after their wedding… The furniture store closed its doors a long time ago, Along with the doors of their stormy pre-marital love story perhaps in due to boredom or the shocks of the years… She would cut his hair, a habit that began when they were poor and Amir couldn’t afford a barber … Years went by and many things changed, But Roua kept cutting his hair on the same wooden chair almost once a month… He sat in his underwear She looked at his saggy skin that was getting looser and his belly getting slightly bigger with each haircut… She began wandering in her mind and wondering whether she ever loved him, or was it an overwhelming infatuation that turned into pity over the years without ever passing through the corridors of love? Her emotions kept swinging between love or pity with each snip … She was frightened to admit it was pity, for the price was almost her entire life… Yet she couldn’t sincerely determine it was love, for she hasn’t felt any love towards him for quite a time… Suddenly, she caught Amir looking at her as if he could read her mind… A tear involuntarily rolled down her eye as she continued cutting his hair… [Original poem published in Arabic on August 3, 2023 at ahewar.org]

Very slowly, I stalk closer toward the large window, and all of a sudden, I see a small flicker of orange light in the distance. I quint my eyes as I move closer to the glass, and then two eyes crash with mine. “Ah!” I screech as I fall backward onto the ground. “Oh, God. Oh, no!” It’s him. I crawl backward on my hands, my shoulder busting against a piece of wooden furniture before I knock over a lamp. He’s closer to the window now, and I see that he’s smoking a cigarette, blowing out the smoke against the glass as he watches me. Fog forms on the window from his hot breath, and he writes something in it. A warning. Run. But I’m frozen in place on the ground like a fucking idiot. And when my eyes rove down as I see something move, I realize that his hand is down his pants. Oh my God. He’s stroking himself!

Inside it looks like a nineteenth century palace, given the attention to detail and the elegance of the furniture: there are two carpets on the floor, more paintings in gilt frames, wooden furniture along the walls, and a large table with a flower arrangement in the center. All lit with spotlights. Andrea feels like he’s in another era and another season; it doesn’t look like a home in the mountains and there's no summer heat. He expects some nobility to appear. Indeed, standing next to the table is Ian. And he’s watching them. Andrea gasps silently. "Here we are," says Carlotta. "We’re very sorry for making you wait, Count." "Don’t worry, Carlotta," he says politely, moving closer. Ian’s wearing a white top with a black satin jacket and pants, also satin, with a stripe down the side. It creates a strange Casual Count effect that both stuns and disturbs Andrea. Always ambiguous, Ian doesn’t seem to want to adapt to anything. Not even a normal style. Was he not sure whether to go for a stroll or to a party? Andrea feels his brain smoking so much that it must be on fire. "These inconveniences can happen." He smiles at her and she blushes to the point of melting. Her knees buckle and she touches her face, embarrassed. Typical! Andrea grunts. "Can you introduce your friend to me?" says Ian. "Of course. He’s the guy.....," she stops. "Nearest to our Maicol." Ian looks at him and pretends not to know him. Andrea does the same. "Exactly," says Carlotta.

Muffled voices filtered through the closed door as Edmund greeted his wife. When less than a minute later, a very male groan accompanied the rhythmic creaking of a piece of furniture, she gaped. Not much for preliminaries, sixteenth century Scotsmen. Ignoring the sharp grunts of a male engaged in intercourse and the unsurprising lack of happy female noises, she retreated to the farthest place in the cottage from that door, which happened to be the workbench and raised stone hearth that formed the kitchen. She wasn’t about to waste an opportunity to study a late-medieval Scottish cottage. Just as she held up to the lantern light a sharp cleaver with a wooden handle polished from years of regular use, Darcy ducked in the front door. At the same time, Edmund shouted, “Aye! Christ, Fran, take my seed, lass. Take it. Aaarrghhhhh!” Then barely audible, “Glorious, woman. Ye’re glorious.” Darcy paled as his wide eyes jumped from the closed bedroom door to her. “If I had to listen to them go at it for another second, I was going to put myself out of my misery,” she quipped, wagging the cleaver. When his eyes went even wider, she said, “Joking, Darcy. I was joking.” She put down the cleaver and raised her hands. His eyes relaxed and the corner of his mouth lifted. He came to the workbench and picked up the enormous blade. “Well, so long as ye arena using it, mayhap I’ll carve the roast.

Being inside this cottage, with dark wooden walls and hand-carved furniture like my own home, cast a darkened stain onto my heart.

up the pathway to the front door.  She’d called and left him a message, letting him know that she was coming, and that she’d leave the documents with the housekeeper if he wasn’t there.  Ringing the doorbell, she couldn’t stop the blush that stole up her cheeks as she remembered the last time she’d been here.  Had it really been only two days ago?  It seemed like a lot longer.  Did he still have those stockings?  Surely he’d tossed them out by now.  And no, she hadn’t dared to purchase another pair.  Not after the last debacle.  When the door opened, she was bracing herself to face Hunter once again.  Her plan was to congratulate him, just as she would any other client, hand him the champagne and the closing documents, and then leave as quickly as possible.  Just as she would all of her other clients.  They were all trying to unpack, overwhelmed with the process but excited about their new purchase.  She very seriously doubted if anything overwhelmed Hunter, but she was going to go through her routine anyway.  All of her clients deserved the same treatment, and she shouldn’t slack off with Hunter simply because…well, because he could make her feel things that… “Goodness, come in out of the heat, my dear!” the housekeeper urged, waving Kara into the cool interior.  “Mr. West is out back in the pool, but he said he was expecting you and that you’d know the way.  If he needs anything at all,” she said, as she hefted a purse onto her shoulder that Kara suspected could substitute for a suitcase, “just tell him to give me a ring.” Kara opened her mouth to stop the woman as the two of them exchanged places, the housekeeper moving to the outside even as Kara was nudged inside.  Kara went so far as to lift her hand, trying to indicate that she wanted to say something, but the efficient woman bustled out of the house, closing the front door in the process.  Kara stared at the closed door for several long moments, wondering how that had just happened.  Her plan had been simple.  Just hand over the bottle and documents, convey her congratulations and head back.  What had just happened?  Kara turned around.  It felt strange to be standing here, alone, in Hunter’s house.  She’d been here two days ago, but the house hadn’t been his.  The man now owned the house, all the furniture, and the acres of land and waterfront.  It felt much more intimate now for some reason.  Looking around, she wished that she could just leave the documents on the kitchen counter or the rough, wooden coffee table that looked perfect next to the white sofas.  Everything felt and looked clean and comfortable, exactly as she would have decorated this area.  The pops of green were vibrant and exhilarating, a perfect accompaniment to the fresh, white furniture.  With a sigh, she turned away from the alluring great room décor and searched out the man of the moment.  As she stepped past the sofas, she saw him.  In the pool.  Without any clothes on! Oh goodness, she thought with a strangled breath.  It took her several moments to realize that she needed to inhale, her breath caught in her throat as she watched the man’s bare skin, and all the muscles, and…well, all of him!  Okay, so he wasn’t naked, he was wearing a bathing suit but his broad, muscular back and those arms…they were even more ridged with muscles than she’d thought.  He was spectacular!  Never in her wildest imaginings had she pictured him that buff, but there

step: In silence both raised their left arms in a kind of salute and passed straight through, as though the dark metal were smoke. The yew hedges muffled the sound of the men’s footsteps. There was a rustle somewhere to their right: Yaxley drew his wand again, pointing it over his companion’s head, but the source of the noise proved to be nothing more than a pure-white peacock, strutting majestically along the top of the hedge. “He always did himself well, Lucius. Peacocks . . .” Yaxley thrust his wand back under his cloak with a snort. A handsome manor house grew out of the darkness at the end of the straight drive, lights glinting in the diamond-paned downstairs windows. Somewhere in the dark garden beyond the hedge a fountain was playing. Gravel crackled beneath their feet as Snape and Yaxley sped toward the front door, which swung inward at their approach, though nobody had visibly opened it. The hallway was large, dimly lit, and sumptuously decorated, with a magnificent carpet covering most of the stone floor. The eyes of the pale-faced portraits on the walls followed Snape and Yaxley as they strode past. The two men halted at a heavy wooden door leading into the next room, hesitated for the space of a heartbeat, then Snape turned the bronze handle. The drawing room was full of silent people, sitting at a long and ornate table. The room’s usual furniture had been pushed carelessly up against the walls. Illumination came from a roaring fire beneath a handsome marble mantelpiece surmounted by a gilded mirror. Snape and Yaxley lingered for a moment on the threshold. As their eyes grew accustomed to the lack of light, they were drawn upward to the strangest feature of the scene: an apparently unconscious human figure hanging upside down over the table, revolving slowly as if suspended by an invisible rope, and reflected in the mirror and in the bare, polished surface of the table below. None of the people seated underneath this singular sight was looking at it except for a

She took me through the parlors and the kitchen, and I marveled at the beautiful ceiling molding, the wooden banisters up to the second floor, the crystalline chandelier in the dining room. The furniture was tasteful and sparse, plastic over the fainting couches and coffee tables and wingback chairs, so that as they stood in stasis they wouldn't collect dust. The second floor was just as gorgeous, the rooms all themed in different flowers. The yellow daffodil room was my favorite. The wall with the headboard had an entire mural of huge daffodils blooming across it. Junie's handiwork, I was sure. Just like the mural on the side of Frank's Auto Shop, and the logo for the Grumpy Possum, and even Gail's bar scene. She showed me all the different rooms, each with a different flower theme and a different focal color--- lavender and coral and sage. The pink ones--- roses--- matched Junie's pastel hair.

After the attack, US ships would be stripped of linoleum, bulkheads chipped to bare metal to remove flammable paint, wooden furniture was offloaded, paints, oils, and fuels better stored and better controlled, watertight integrity corrected and verified, and other measures taken—damage control quickly took precedence over habitability, comfort, or convenience. The susceptibility of ships to bombs and torpedoes would be greatly reduced as the war progressed.

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The furniture was army surplus, circa World War II: a spindly cot with a rock-hard mattress, a squat wooden night stand, an iron desk with corners sharp enough to put out an eye, a footlocker, and a folding chair.

For example, as a young twenty-four-year-old at the company he was asked to collaborate on a record player. The norm at the time was to cover the turntable in a solid wooden lid or even to incorporate the player into a piece of living room furniture. Instead, he and his team removed the clutter and designed a player with a clear plastic cover on the top and nothing more. It was the first time such a design had been used, and it was so revolutionary people worried it might bankrupt the company because nobody would buy it. It took courage, as it always does, to eliminate the nonessential. By the sixties this aesthetic started to gain traction. In time it became the design every other record player followed. Dieter’s design criteria can be summarized by a characteristically succinct principle, captured in just three German words: Weniger aber besser. The English translation is: Less but better. A more fitting definition of Essentialism would be hard to come by.

Dozens of shiny brass wall sconces created the sort of dim and atmospheric lighting I'd only ever seen in old movies and haunted houses. And the room wasn't just darkly lit. It was also just... dark. The walls were painted a dark chocolate brown that I vaguely remembered from art history classes had been fashionable in the Victorian era. A pair of tall, dark wooden bookshelves that must have weighed a thousand pounds each stood like silent sentinels on either end of the room. Atop each of them sat an ornate brass, malachite candelabra that would have seemed right at home in a sixteenth-century European cathedral. They clashed in style and in every other imaginable way with the two very modern-looking black leather sofas facing each other in the center of the room and the austere, glass-topped coffee table in the living room's center. The latter had a stack of what looked like Regency romance novels piled high at one end, further adding to the incongruity of the scene. Besides the pale green of the candelabras, the only other color to be found in the living room was in the large, garish, floral Oriental rug covering most of the floor; the bright red, glowing eyes of a deeply creepy stuffed wolf's head hanging over the mantel; and the deep-red velvet drapes hanging on either side of the floor-to-ceiling windows.

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Wood has sensual powers that cannot be quantified. It may even be that these powers are the most important properties of wood today. Through odour, colour, resonance and warmth, we develop a sentimental attachment to artefacts made of wood that often reaches beyond their practical use. It is difficult to know exactly why we make these attachments, not least because our appreciation of such properties is so subjective. For some, touching wood engenders a feeling of safety; for others, it is a reminder of the proximity of nature; for yet others, it is about connecting to the past. Perhaps, for all of us, it is some kind of biological response. After all, we came down from the trees and for 99.9 per cent of our time on earth we have lived in natural environments: our physiological functions remain finely tuned to nature. There have been plenty of studies that have attempted to better understand the power of wood: such studies have shown that in classrooms and offices with wooden furniture, blood pressure and pulse rates tend to drop – wood is thus responsible for reducing stress levels and improving quality of sleep.

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Ruth smiled still more broadly. ‘Good,’ she said. ‘Won’t be a mo.’ She moved a shiny copper pan from the bench on to the stove and began to stir it. Addie stared down at her feet. Snow slid from her shoes on to the tiled floor and quickly melted there. She glanced up. Had Ruth noticed? She hadn’t. She was deep in conversation with Penny, over by the stove. Addie pulled at her wet laces, took off her trainers. She held them up for a moment. Where was she supposed to put them? Nobody had said. She pushed them out of sight, under her chair, clutched her damp coat collar closer round her neck. She looked around. It was the kind of kitchen you see in films, or in magazines at the doctor’s surgery. Big tiles on the floor, big wooden furniture, big dark beams across the ceiling. There was an enormous fridge

As public schools in the United States began desegregating and students of different skin tones were photographed for yearbooks in the same frame, the technical fixes that could be employed when a Black child was photographed alone were not useful. In particular, Black parents, objecting to the fact that their children’s facial features were rendered blurry, demanded higher-quality images.20 But the photographic industry did not fully take notice until companies that manufactured brown products like chocolate and wooden furniture began complaining that photographs did not depict their goods with enough subtlety, showcasing the varieties of chocolate and of grains in wood.

Though it had stood empty for so long, the house remembered what it was like to belong to a family. It remembered the creak of stockinged feet on the stairs, the scent of white vinegar on the wooden floorboards and lemon polish on the furniture. It remembered the storms it had sheltered against and the heartbreaks it had endured. Now, it was left with nothing but the scent of lavender and death. While the town did not, the house remembered. And it did not forget.

1930s Functionalism/Modernism Exterior •Facade: Cube shapes and light-color plaster facades, or thin, standing wood panels. •Roof: Flat roof, sometimes clad in copper or sheet metal. •Windows: Long horizontal window bands often with narrow—or no—architraves; large panes of glass without mullions or transoms. Emphasis on the horizontal rather than on the vertical. Windows run around corners to allow more light and to demonstrate the new possibilities of construction and materials. •Outside door: Wooden door with circular glass window. •Typical period details: Houses positioned on plots to allow maximum access to daylight. Curving balconies, often running around the corner; corrugated-iron balcony frontage. Balcony flooring and fixings left visible. The lines of the building are emphasized. Interior •Floors: Parquet flooring in various patterns, tongue-and-groove floorboards, or linoleum. •Interior doors: Sliding doors and flush doors of lamella construction (vaulted, with a crisscross pattern). Masonite had a breakthrough. •Door handles: Black Bakelite, wood, or chrome. •Fireplaces: Slightly curved, brick/stone built. Light-color cement. •Wallpaper/walls: Smooth internal walls and light wallpapers, or mural wallpaper that from a distance resembled a rough, plastered wall. Internal wall and woodwork were light in color but rarely completely white—often muted pastel shades. •Furniture: Functionalism, Bauhaus, and International style influences. Tubular metal furniture, linear forms. Bakelite, chrome, stainless steel, colored glass. •Bathroom: Bathrooms were simple and had most of today’s features. External pipework. Usually smooth white tiles on the walls or painted plywood. Black-and-white chessboard floor. Lavatories with low cisterns were introduced. •Kitchen: Flush cupboard doors with a slightly rounded profile. The doors were partial insets so that only about a third of the thickness was visible on the outside—this gave them a light look and feel. Metal-sprung door latches, simple knobs, metal cup handles on drawers. Wall cabinets went to ceiling height but had a bottom section with smaller or sliding doors. Storage racks with glass containers for dry goods such as salt and flour became popular. Air vents were provided to deal with cooking smells.

It’s just—I’ve always felt a personal obligation to be doing something that is for the betterment of everyone. And the environment is like, well, what could be more important than that? So even though it’s frustrating sometimes, I couldn’t just stop and follow something that might be extremely interesting to me but didn’t help the world. Like my husband’s a furniture maker—he makes beautiful, really beautiful wooden furniture—chairs and beds and things that people just love. They’re works of art, really. And I feel so fortunate to be exposed to an artist and to all these ideas about how to make things so beautiful. My life is rounded out for me that way. At the same time, I know I could never do what he does because I have this deeprooted need to feel that my job is of public service. [Laughs] Sometimes I wish I was doing what he does, but I couldn’t. I just couldn’t. So I’ve done what I feel obligated to do. And, you know, I’m not always ecstatically happy, but I feel good about my job. And I think that’s the most important thing.

Stirling, Scotland, October 1619 "Kristina, wake up and ready yourself for a journey!" In her bedchamber, Kristina MacQueen jolted awake. Had she just heard her mother's voice? 'Twas impossible. Her mother had passed many years ago. The voice had been inside her dream. What had Ma meant about a journey? Kristina had not left the vicinity of her aunt and uncle's manor house in many months. Hearing the faint hoofbeats of many horses galloping in the distance, she sat up and listened. As each moment passed, the horses' hooves pounded closer and closer until they echoed off the cobblestones just outside the window. Her heart thumping and an eerie feeling prickling along her skin, she swung her feet toward the floor and sat on the edge of the bed. A fist battered violently at the home's entrance door below. "Saints. Who could that be?" she whispered. It had to be the middle of the night or the wee hours of the morn, for she heard no one moving about the house and her room was chilly. The visitor couldn't be the physician calling to treat Uncle Gilbert, who suffered from gout, rheumatism and various other ailments. Nay, he wouldn't bring that many horses with him on a house call. Maybe 'twas the creditors, come to expel them from their home. When her uncle's health had declined, so had his funds. Could it be news of her older sister? She had not heard from Anna in many months. Ready yourself for a journey, her mother had said in the dream. Good heavens! Had someone come for her, to take her to Anna? Heart hammering, Kristina leapt from the warm bed. Though she couldn't see, she knew the placement of the furniture in her room and could easily navigate the space without bumping into anything. After tiptoeing across the cold wooden floor in her stockings, she approached the door and turned the knob to open it a crack, then listened. The maids were in an uproar on the ground floor below. "What's the racket?" Aunt Matilda yelled as she tromped by Kristina's chamber and down the stairs. "Who is it?" she demanded near the front door. "Chief Blackburn MacCromar!" The snarled response was bellowed from outside, just below her window. A chill of terror and revulsion flashed through Kristina. "Saints, preserve us." She shut the door and barred it, her fingers trembling. She had not been near the malicious bastard in two years. He had finally come for her. Anxiety and nausea froze her to the spot. What would he do? Would he kill her for a certainty this time?

Rodolphe Salis was a tall, red-headed bohemian with a coppery beard and boundless charisma. He had tried and failed to make a success of several different careers, including painting decorations for a building in Calcutta. But by 1881 he was listless and creatively frustrated, uncertain where his niche might lie. More pressingly, he was desperate to secure a steady income. But then he had the ingenious idea to turn the studio which he rented, a disused post office on the resolutely working-class Boulevard de Rochechouart, into a cabaret with a quirky, artistic bent. He was not the first to attempt such a venture: La Grande Pinte on the Avenue Trudaine had been uniting artists and writers to discuss and give spontaneous performances for several years. But Salis was determined that his initiative would be different – and better. A fortuitous meeting ensured that it was. Poet Émile Goudeau was the founder of the alternative literary group the Hydropathes (‘water-haters’ – meaning that they preferred wine or beer). After meeting Goudeau in the Latin Quarter and attending a few of the group’s gatherings, Salis became convinced that a more deliberate form of entertainment than had been offered at La Grande Pinte would create a venue that was truly innovative – and profitable. The Hydropathe members needed a new meeting place, and so Salis persuaded Goudeau to rally his comrades and convince them to relocate from the Latin Quarter to his new cabaret artistique. They would be able to drink, smoke, talk and showcase their talents and their wit. Targeting an established group like the Hydropathes was a stroke of genius on Salis’s part. Baptising his cabaret Le Chat Noir after the eponymous feline of Edgar Allan Poe’s story, he made certain that his ready-made clientele were not disappointed. Everything about the ambience and the decor reflected Salis’s unconventional, anti-establishment approach, an ethos which the Hydropathes shared. A seemingly elongated room with low ceilings was divided in two by a curtain. The front section was larger and housed a bar for standard customers. But the back part of the room (referred to as ‘L’Institut’) was reserved exclusively for artists. Fiercely proud of his locality, Salis was adamant that he could make Montmartre glorious. ‘What is Montmartre?’ Salis famously asked. ‘Nothing. What should it be? Everything!’ Accordingly, Salis invited artists from the area to decorate the venue. Adolphe Léon Willette painted stained-glass panels for the windows, while Théophile-Alexandre Steinlen created posters. And all around, a disorientating mishmash of antiques and bric-a-brac gave the place a higgledy-piggledy feel. There was Louis XIII furniture, tapestries and armour alongside rusty swords; there were stags’ heads and wooden statues nestled beside coats of arms. It was weird, it was wonderful and it was utterly bizarre – the customers loved it.