“Even the greatest parental love is, as an educational factor, more selfish than the slightest love of the paid educator. . . . Whereas parental love is animal, mindless and incapable of distinguishing between the child and the self, the teacher has concern for the child, and educationally that is incomparably more, even when no love is involved.”
—Franz Kafka, quoted in K: A Biography of Kafka, by Ronald Hayman, 1981.
—Franz Kafka, quoted in K: A Biography of Kafka, by Ronald Hayman, 1981.
“Astro black mythology
Astro timeless immortality
Astro thought in mystic sound
Astro black of outer space . . .
The universe is in my voice
The universe speaks through this song
To those of Earth and other worlds
Listen while you have a chance”
—Sun Ra, “Astro Black”, 1973.
“Shades of delight
Cocoa hue
Rich as the night
Afro blue”
—“Afro Blue”, Mongo Santamaria (music) & Oscar Brown Jr. (lyrics).
“It was raining that day
But beyond
The sun was carolling athwart the blue
And with a laugh we ran”
—Ada Johnston [Noel Coward], “Dawn”; Spangled Unicorn, 1932.
“Tarentella Tarentella
Have you seen my blue umbrella?
Fanny left it on the beach
Out of reach, out of reach.
Careless Fanny, careless Fanny
Come to Granny, come to Granny.”
—Jane Southerby Danks [Noel Coward], “Sicilian Study”; Spangled Unicorn, 1932.
“There she sits
Wao Ping
In her scarlet Pavilion
Watching the gold carp mouths
Opening tremulously
Dying of love”
“Holly berries twinkle red;
Oh! how red they are!
Parlourmaids with cheeks aglow
Scream beneath the mistletoe.”
“Artistic from birth, Julie de Poopinac inaugurated almost a revolution in colour schemes: her salle des populaces (room of the people), where she received supplicants for alms and various other favours, was upholstered in Godstone blue, with hangings of griffin pink; her salle a manger (dining-room) was a tasteful melange of elephant green, cerise, and burnt umber. Her salle de bains (bath-room) deserves special mention, owing to its bizarre mixture of mustard colour and veitch purple—while her chambre a coucher (bedroom) was a truly fitting setting for so brilliant a gem. The walls were lined with costly Bridgeport tapestries in brown and black, picked out here and there with beads and tufts of gloriously coloured wool. The bed curtains were of a soft Norwegian yellow, with massive tassels of crab mauve, while the carpet and upholstery were almost entirely Spanish crimson with headrests of Liverpool plush! It was here, of course, that she wrote most of her poems.”
“a promise of happiness
the promise of a promise
of happiness”
—Thomas A. Clark, “from Yellow”.
“The first song I knew
Told of skies forever blue
Clouds that disappear
My darling dear”
—Charlie Haden, “First Song”, 2007.
“All over the island there was a burgeoning of graffiti that took merry or malicious advantage of the fact that the Italians could not decipher the Cyrillic script. They mistook Rs for Ps, did not know that Gs can look like Ys or inverted Ls, had no idea what the triangle was, thought that an E was an H, construed theta as a kind of O, did not appreciate that the letter in the shape of a tent was the same as the one that looked like an inverted Y, were baffled by the three horizontal strokes that could also be written as a squiggle, knew from mathematics that pi meant 22 divided by 77, were unaware that E the wrong way round was an S, that the Y could also be written as a V and was in fact an E, were confused by the existence of an O with a vertical stroke that was actually an F, did not understand that the X was a K, failed utterly to find anything that might be meant by the elegant trident, and found that the omega reminded them of an earing. Ergo, conditions were ideal for the nocturnal splashing of white paint in huge letters on all available walls. . . .”
—Louis De Bernieres, Corelli’s Mandolin, 1994.
”We took a breezy excursion and gathered jonquils from the river slopes. Sweet marjoram grew in luxuriant profusion by the window that overlooked the Aztec city. Jaded zombies acted quietly, but kept driving their oxen forward.”
—Anonymous type specimen. The font is Hobo.
“What did she forget? Lily white, basic black, snow white, black beauty, white christmas, black friday, white supremacy, black power, the color purple, people-eater purple, the color of money, long green, lawn green, lorne green, Lohengrin, the color of your parachute, the color of my true love’s hair, puce, mars puce, mars chartreuse, mars bars, little-boy blue, blue bayou, blues in the night, paint-the-town red, do-it-up brown, james brown, dorian gray, red skelton, red october, tom clancy red, better-dead-than red, better-ill-than teal, greenberg, goldberg, long-john silver, mellow yellow, electrical banana, yellow peril, yellow fever, mayonnaise yellow, mustard, relish, and onions.
Ellen Cherry’s head was spinning.”
—Tom Robbins, Skinny Legs And All, 1990.
“The very first thing I remember in my early childhood is a flame, a blue flame jumping off a gas stove somebody lit. It might have been me playing around with the stove. I don’t remember who it was. Anyway, I remember being shocked by the whoosh of the blue flame jumping off the burner, the suddenness of it. That’s as far back as I can remember; any further back than this is just a fog, you know, just a mystery. But that stove flame is as clear as music in my mind. I was three years old.”
—Miles Davis, Miles: The Autobiography, 1990.
"There was an Atlantide country sunk under the sea, a race of men and women born under water, whose first vision of earth and people was water stained and veiled. This race of men and women spread later over the earth, with water heaved eyes. Their eyes were the color of water. There was to them, at night, a kind of sulphurous transparency, and it always seemed as if their bodies floated, as if the flesh and bones were not brittle but made of rubber. They swayed on their feet, the feet as light and boneless as the feet of dancers. They stood on boneless toes, listening for ever distant sounds. The bells of the Atlantide, with their faint, water covered tones, which they feared not to hear in the zinc-voiced earth city, among zinc-voiced men. They were always listening for certain sounds, and searching for certain colors. When you put them in a water green room, where there were plants, or perhaps gold fishes, or cactus, or perhaps many water filled bottles, they stood at the threshold like a man troubled with a memory and then they swam into the room. They walked with a swimming stride. They seemed to cut through the air with a wide slicing of fins, they seemed to sense a direction which took no account of walls.
My first vision of earth was water veiled. I am of the race of men and women who see all things through this curtain of sea, and my eyes are the color of water."
—Anais Nin, House of Incest, 1947.
“ ‘Indian red,’ she sang. “Mars red, venetian red, cadmium red, vermillion, and rose madder.’ There was alizarin crimson, magenta, and that thorn in the backside of the sinful, sister terra rosa.
There was cobalt blue, cerulean blue, prussian blue, ultramarine blue, and, with just a soupcon of garlic, french ultramarine blue.
‘Hansa yellow.’ She liked the sound of that one so well she sang it twice. ‘Hansa yellow’ (patron saint of jaundiced piano players). Then, ‘zinc yellow, lemon yellow, yellow ochre, mars yellow, naples yellow, and brilliant orange.
‘Thio violet, prism violet, mars violet, cobalt violet, dioxazine purple.’
Next, those nightmares of newlywed homemakers, raw sienna and burn sienna. (‘He likes his medium rare, boo-hoo.’) Raw umber and burn umber (‘There, there, dear, we’ll send out for pizza.’), van-dyke brown, brown madder, thalo copper, silver, gold oxide, and payne’s gray.
‘Viridian, o viridian! Green earth, cadmium green, hooker’s green’ (protectress of novice prostitutes) ‘and sap green’ (patron saint of voters who believe all Irish-American politicians are honest).
‘O sing mars black, lamp black, ivory black, and titanium white’ (blessed are the Caucasians who went down with the ship). ‘Sing iridescent white and light portrait pink.’ ”
—Tom Robbins, Skinny Legs And All, 1990.
“The light is green and its shine is mean. Shark light. Fecal light. The light by which the Reaper reads his list. The light our antecedents crawled out of the sloughs to get away from. A light filtered through old cabbage brains.
The torrent spit up Dirty Sock long enough for him to yell for aid, then sucked him down again into its rolling green barrel of funless foam monkeys.”
—Tom Robbins, Skinny Legs And All, 1990.
“Helicopter, helicopter, over my head,
I choose a color and the color is red.”
—Rope-jumping game played by children in Humboldt county, 1985; quoted by Martin Torgoff in Can’t Find My Way Home: America in the Great Stoned Age, 1945-2000, 2004.
“I take thy hand—this hand,
As soft as dove’s down and as white as it,
Or Ethiopian’s tooth, or the fann’d snow that’s bolted
By th’ northern blasts twice o’er.”
—William Shakespeare, A Winter’s Tale, 1611.
“His complexion is perfect gallows.”
—William Shakespeare, The Tempest, 1610-11.
“And that White Sustenance—Despair.”
—Emily Dickinson, ‘I Cannot Live With You’, 1924.
“A man that studies revenge keeps his own wounds green.”
—Francis Bacon.
“ ‘In the red’ frequently means financial loss, the color of the ink used to record the loss being used to indicate the loss itself. Then again, red is also associated with blood; and so through ferocious battles rivers of red routinely flow. Red is the color of the Russian flag, and hence a country can endure a red scare, or be subverted by reds. Red is a distinctive human hair color, and those who have it are often known by it. It is also the distinctive pigment in the plumage of Rhode Island chickens and Cincinnati baseball players. And when we get very angry, it is all that we see. On the other hand, we sometimes see nothing clearly after eating a bowl of red, on account of the tears the chili provokes. This string of reds could be continued indefinitely. . . . But we should probably stop before we see red sails in the sunset or scarlet women in the pink.”
—Arthur Quinn, Figures of Speech, 1982.
“Why make so much of fragmentary blue
In here and there a bird, or butterfly,
Or flower, or wearing-stone, or open eye,
When heaven presents in sheets the solid hue?”
—Robert Frost, ‘Fragmentary Blue’, Harpers Magazine, July 1920.
