4
" both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done. "
― Steve Martin , An Object of Beauty
6
" From her handbag she takes a round gilt compact with violets on the cover. She opens it, unclosing her other self, and runs her fingertip around the corners of her mouth, left one, right one; then she unswivels a pink stick and dots her cheeks and blends them, changing her shape, performing the only magic left to her.
Rump on a packsack, harem cushion, pink on the cheeks and black discreetly around the eyes, as red as blood as black as ebony, a seamed and folded imitation of a magazine picture that is itself an imitation of a woman who is also an imitation, the original nowhere, hairless lobed angel in the same heaven where God is a circle, captive princess in someone's head. She is locked in, she isn't allowed to eat or shit or cry or give birth, nothing goes in, nothing comes out. She takes her clothes off or puts them on, paper doll wardrobe, she copulates under strobe lights with the man's torso while his brain watches from its glassed-in control cubicle at the other end of the room, her face twists into poses of exultation and total abandonment, that is all. She is not bored, she has no other interests. "
― Margaret Atwood , Surfacing
7
" This kindness, this stupid kindness, is what is most truly human in a human being. It is what sets man apart, the highest achievement of his soul. No, it says, life is not evil!
This kindness is both senseless and wordless. It is instinctive, blind. When Christianity clothed it in the teachings of the Church Fathers, it began to fade; its kernel became a husk. It remains potent only while it is dumb and senseless, hidden in the living darkness of the human heart – before it becomes a tool or commodity in the hands of preachers, before its crude ore is forged into the gilt coins of holiness. It is as simple as life itself. Even the teachings of Jesus deprived it of its strength.
But, as I lost faith in good, I began to lose faith even in kindness. It seemed as beautiful and powerless as dew. What use was it if it was not contagious?
How can one make a power of it without losing it, without turning it into a husk as the Church did? Kindness is powerful only while it is powerless. If Man tries to give it power, it dims, fades away, loses itself, vanishes. "
― Vasily Grossman , Life and Fate
11
" ...crossed the room to where a selection of implements was arranged on a table top. These could have been mistaken for the trade tools of a cook, physician, or torturer, save for the fact that the surface on which they rested was a slab of polished pink marble, topping a white and gilt dressing table-cum-sculpture, done up in the new, hyper-Baroque style named Rococo. It was adorned, for example, with several cherubs, bows drawn, eyes asquint, as they drew beads on unseen targets, butt cheeks polished to a luster with jeweler’s rouge. It had, in other words, all the earmarks of a gift that had been sent to the princess by someone with a lot of money who did not know her very well. "
― Neal Stephenson
