1
" For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day....
To me, it's all art, inside the studio and out. At least it is if we approach our lives that way. "
― Terri Windling
2
" The tavern keeper, a wiry man with a sharp-nosed face, round, prominent ears and a receding hairline that combined to give him a rodentlike look, glanced at him, absentmindedly wiping a tankard with a grubby cloth. Will raised an eyebrow as he looked at it. He'd be willing to bet the cloth was transferring more dirt to the tankard then it was removing. " Drink?" the tavern keeper asked. He set the tankard down on the bar, as if in preparation for filling it with whatever the stranger might order. " Not out of that," Will said evenly, jerking a thumb at the tankard. Ratface shrugged, shoved it aside and produced another from a rack above the bar. " Suit yourself. Ale or ouisgeah?" Ousigeah, Will knew, was the strong malt spirit they distilled and drank in Hibernia. In a tavern like this, it might be more suitable for stripping runt than drinking. " I'd like coffee," he said, noticing the battered pot by the fire at one end of the bar. " I've got ale or ouisgeah. Take your pick." Ratface was becoming more peremptory. Will gestured toward the coffeepot. The tavern keeper shook his head. " None made," he said. " I'm not making a new pot just for you." " But he's drinking coffee," Will said, nodding to one side. Inevitably the tavern keeper glanced that way, to see who he was talking about. The moment his eyes left Will, an iron grip seized the front of his shirt collar, twisting it into a knot that choked him and at the same time dragged him forward, off balance, over the bar,. The stranger's eyes were suddenly very close. He no longer looked boyish. The eyes were dark brown, almost black in this dim light, and the tavern keeper read danger there. A lot of danger. He heard a soft whisper of steel, and glancing down past the fist that held him so tightly, he glimpsed the heavy, gleaming blade of the saxe knife as the stranger laid it on the bar between them. He looked around for possible help. But there was nobody else at the bar, and none of the customers at the tables had noticed what was going on. " Aach...mach co'hee," he choked. The tension on his collar eased and the stranger said softly, " What was that?" " I'll...make...coffee," he repeated, gasping for breath. The stranger smiled. It was a pleasant smile, but the tavern keep noticed that it never reached those dark eyes. " That's wonderful. I'll wait here. "
3
" If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'.
A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray.
Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present. "
― Alain de Botton , The Art of Travel
4
" In the center of the room Sarra the demon hung upside down by one leg, its arms bound behind its back, its suit scuffed-looking. Beneath it, crawling around an intricately scribed circle, a woman with short, curly red hair drew binding symbols with a gold stick.She looked up as I fanned away the smoke that was billowing up from the crack in the tile. " You're a Summoner. Hullo. I'm Noelle. Did you know that you have mismatched eyes?" I walked around the demon. It glared at me. " Yes, I know. Why do you have Sarra strung up by one leg?" She drew another symbol. It flared bright green as soon as the stick lifted from the circle. " It was getting a bit stroppy with me. The Hanged Man always teaches them a few manners. It's retaliating with the smoke. Are those spirits I saw yours, then?" " Yes, they are. There are four others as well. I hate to be a bother, but I'm in a bit of a hurry, what with Christian being held by this one's master and all, so if you could possibly just give me the abbreviated version of what's going on here, I'll be on my way to rescue him." She leaned back on her heels and sucked the tip of her gold stick. " Asmodeus, eh?" The demon snarled. A chunk of ceiling fell behind me. We both ignored it. It just never does to give a demon the satisfaction of knowing it's startled you." It's a nasty bag of tricks, but I heard through the demonic grapevine that it was weakened and searching for a suitable sacrifice to regain its power," she added." Well, it can't have Christian; he's mine. Back to the demon, if you don't mind…" She looked up at Sarra, still sucking the stick. " It's a pretty specimen, isn't it? I like the hair gel. Nice touch. The mustache is a bit much, though, don't you think? Makes it look so smarmy." " Um…" " I'm destroying it, so I suppose it really doesn't matter." I blinked and avoided two wine bottles as they flew out of a rack when the demon hissed at the Guardian. "
