When I was a little girl, ' I said, sitting down, 'the wallpaper in my room had pictures of Noah's story.' [... ] You know what's weird though? It's weird that the ark would be such a kids' story, you know? I mean, it's... really a story about death. Every person who isn't in Noah's family? They die. Every animal, apart from two of each on the boat? They die. They all die in the flood. Billions of creatures. It's the worst tragedy ever, ' I finished, my voice tied off by a knot in my chest.[... ] 'What the hell, 'I said, 'pardon my language, was that doing on my wallpaper?
Who can ever affirm, or deny that the houses which have sheltered us as children, or as adults, and our predecessors too, do not have embedded in their walls, one with the dust and cobwebs, one with the overlay of fresh wallpaper and paint, the imprint of what-has-been, the suffering, the joy?
Daphne du Maurier
Brit + Co tries to help women understand that they are creative and give them all sorts of opportunities to try their hand at something creative. We want it to be as easy as possible to start. If that means you uploading a pattern to Spoon flower and make wallpaper, that's great. You made it!
At this period, too, Leningraders resorted to their most desperate food substitutes, scraping dried glue from the underside of wallpaper and boiling up shoes and belts. (Tannery processes had changed, they discovered, since the days of Amundsen and Nansen, and the leather remained tough and inedible.)
As far as Death was aware, the sole reason for any human association with pigs and lambs was as a prelude to chops and sausages. Quite why they should dress up for children's wallpaper as well was a mystery. Hello, little folk, this is what you're going to eat... He felt that if only he could find the key to it, he'd know a lot more about human beings.
And there was, in those Ipswich years, for me at least, a raw educational component; though I used to score well in academic tests, I seemed to know very little of how the world worked and was truly grateful for instruction, whether it was how to stroke a backhand, mix a martini, use a wallpaper steamer, or do the Twist. My wife, too, seemed willing to learn. Old as we must have looked to our children, we were still taking lessons, in how to be grown-up.
You know, you can always do a three some.' 'A three some?' I frowned. 'No.' He shrugged. 'Just a thought.' 'Yeah, a dumb one, ' I spat. 'Hey! I didn't call your idea to re-wallpaper the kitchen a dumb idea!' 'You have a problem with the new paper?' I demanded. 'Pop, please, it's hideous, ' Trick said.
The wallpaper with which the men of science have covered the world of reality is falling to tatters. The grand whorehouse which they have made of life requires no decoration; it is essential that only the drains function adequately. Beauty, that feline beauty that has us by the balls in America, is finished.
Picture a place called the Karma Kafe and it'll save me the bother of describing it. There was nothing in it you wouldn't expect, from the Buddha flowerpots to the wallpaper decorated with symbols that probably said, "If you bought this just because it looked pretty, may Buddha piss in your coffee, you culturally ignorant moron.
Jem leaned closer against the chair, staring into the fire. "Better it were my hands," he said. Will shook his head. Exhaustion was muting the edges of everything in the room, blurring the flocked wallpaper into a single mass of dark color. "No. Not your hands. You need your hands for the violin. What do I need mine for?
Today I know that all things are watching, that nothing goes unseen, that even wallpaper has a better memory than human beings. It's not God in his heaven who sees everything. A kitchen chair, a clothes hanger, a half-filled ashtray, or the wooden replica of a woman named Niobe can serve perfectly well as an unforgetting witness to our every deed.
There's a terrible stillness. I notice a small tear in the wallpaper above her shoulder. I notice finger marks grimed on the light switch. Somewhere down in the house, a door opens and shuts. As Zoey turns to face me, I realize that life is made up of a series of moments, each one a journey to the end.
We depend on our surroundings obliquely to embody the moods and ideas we respect and then to remind us of them. We look to our buildings to hold us, like a kind of psychological mould, to a helpful vision of ourselves. We arrange around us material forms which communicate to us what we need "" but are at constant risk of forgetting what we need "" within. We turn to wallpaper, benches, paintings and streets to staunch the disappearance of our true selves.
Alain de Botton
We depend on our surroundings obliquely to embody the moods and ideas we respect and then to remind us of them. We look to our buildings to hold us, like a kind of psychological mould, to a helpful vision of ourselves. We arrange around us material forms which communicate to us what we need - but are at constant risk of forgetting what we need - within. We turn to wallpaper, benches, paintings and streets to staunch the disappearance of our true selves.
Alain de Botton
As for types like my own, obscurely motivated by the conviction that our existence was worthless if we didn't make a turning point of it, we were assigned to the humanities, to poetry, philosophy, painting -- the nursery games of humankind, which had to be left behind when the age of science began. The humanities would be called upon to choose a wallpaper for the crypt, as the end drew near.
When the voice of your friend or the page of your book sinks into democratic equality with the pattern of the wallpaper, the feel of your clothes, your memory of last night, and the noises from the road, you are falling asleep. The highly selective consciousness enjoyed by fully alert men, with all its builded sentiments and consecrated ideals, has as much to be called real as the drowsy chaos, and more.
The world is a clock winding down. I hear it in the wind's icy fingers scratching against the window. I smell it in the mildewed carpeting and the rotting wallpaper of the old hotel. And I feel it in Teacup's chest as she sleeps. The hammering of her heart, the rhythm of her breath, warm in the freezing air, the clock winding down.
Words are things. You must be careful, careful about calling people out of their names, using racial pejoratives and sexual pejoratives and all that ignorance. Don't do that. Some day we'll be able to measure the power of words. I think they are things. They get on the walls. They get in your wallpaper. They get in your rugs, in your upholstery, and your clothes, and finally in to you.
Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.
We need less posturing and more genuine charisma. Charisma was originally a religious term, meaning "of the spirit" or "inspired." It's about letting God's light shine through us. It's about a sparkle in people that money can't buy. It's an invisible energy with visible effects. To let go, to just love, is not to fade into the wallpaper. Quite the contrary, it's when we truly become bright. We're letting our own light shine.
One's home is like a delicious piece of pie you order in a restaurant on a country road one cozy evening - the best piece of pie you have ever eaten in your life - and can never find again. After you leave home, you may find yourself feeling homesick, even if you have a new home that has nicer wallpaper and a more efficient dishwasher than the home in which you grew up.
India, she now knew, would not be content staying in the background, was nobody's wallpaper, insisted in interjecting itself into everyone's life, meddling with it, twisting it, molding it beyond recognition. India, she had found out, was a place of political intrigue and economic corruption, a place occupied by real people with their incessantly human needs, desires, ambitions, and aspirations, and not the exotic, spiritual, mysterious entity that was a creation of the Western imagination.
The future is unwritten. there are best case scenarios. There are worst-case scenarios. both of them are great fun to write about if you' re a science fiction novelist, but neither of them ever happens in the real world. What happens in the real world is always a sideways-case scenario. World-changing marvels to us, are only wallpaper to our children.
I understood that people are trying to transform themselves all the time: the universal urge to be otherwise. So as not to look as they look, sound as they sound, be treated as they are treated, suffer in the ways they suffer, etc., etc., they change hairdos, tailors, spouses, accents, friends, they change their addresses, their noses, their wallpaper, even their forms of government, all to be more like themselves or less like themselves, or more like or less like that exemplary prototype whose image is theirs to emulate or to repudiate obsessively for life.
Meanwhile, as we read, two little girls slept as if couched on zephyrs on the south side of the parlor floor, in a room that had bunny wallpaper...and a bookcase crammed with the collected Beatrix Potter. Snow White was in a youth bed and Rose Red was in a crib, and next to them was the little blue and white guest room that one of them would have one day. Because I recognize emotions only in retrospect, I didn't know that I was happy. As always, there was something nagging at my mind's corners. But I did know that I had all that it is proper in this world to wish for.
You know those afternoons, " he asks, drawing a shaking breath, "where you're just going along, doing fine, and then afternoon comes and it feels like you've just got the wind knocked out of you and everything is wrong?" He sighs and slowly pushes himself so he's sitting upright. His shoulders are slumped. "That's all, " he says. "It's just one of those afternoons." We are silent for a minute. Then he lies back down on the couch. I should say I love him. I should say it will be all right. But it won't. I walk down the hall to my bedroom. I lie down on my side and stare at the wall, the blue-flowered wallpaper next to my nose. Despite my best efforts, I start to cry. I know those afternoons.
I was shown into a room. A red room. Red wallpaper, red curtains, red carpet. They said it was a sitting-room, but I don't know why they'd decided to confine its purpose just to sitting. Obviously, sitting was one of the things you could do in a room this size; but you could also stage operas, hold cycling races, and have an absolutely cracking game of frisbee, all at the same time, without having to move any of the furniture. It could rain in a room this big.
He returned in a moment with a phone, a high-end model that probably cost way more than hers. His cell phone wallpaper was an abstract artwork with lots of colorful circles and blots-Kandinsky, maybe, or Miro? She always got those two confused. She gave him points for not having a picture of some scantily-clad woman thrusting her boobs at the camera, like Steve had on his phone. Tacky. Nude-woman wallpapers were the cell phone equivalent of silver naked-lady mud flaps, in her opinion.
I was wary of my sister's cooking, which invariably consisted of a tubular pasta and economy cheese, charred black on the surface, with either tinned tuna or lardy mince lurking beneath the molten crust... So that evening, in a tiny flat in Tooting, I was pushed into the tiny kitchen where sixteen people sat crammed around a tiny trestle table designed for pasting wallpaper, one of my sister's notorious pasta bakes smouldering in its centre like a meteorite, smelling of toasted cat food.
Maloney looked around my room and nodded like he approved of the extravagance surrounding him: the inch-thick carpet with its diamond designs, the half moon flock of the wallpaper, and the antique furniture, polished to a museum quality shine. The two goons he brought with him flanked the door, equally impressed, I could tell by their dropped jaws and roving, wanton eyes. One of them set a briefcase on the floor beside him. Finally Maloney's eyes found me, and his expression turned from amazement to shock. 'I didn't expect you to be-' 'A Vampire?' I asked, feeling the touch of a smile form on my lips.
I am a plant, she said, I need fire, earth, water. Otherwise I will be stunted. And: Is marriage not such a stunting? The fire goes out. The wind grows weak. The earth dries out. The water dwindles. I would die. You too. She tossed her hair over her shoulders. Purple lavender. And what if it wasn't like that, I argued. What if the daily routine, our daily routine, is my promise to you? Your toothbrush next to mine. You get annoyed because I've forgotten to turn the light off in the bathroom. We choose wallpaper we think is horrible a year later. You tell me I'm getting a belly. Your forgetfulness. You've left your umbrella somewhere again. I snore, you can't sleep. In my dream I whisper your name... You tie my tie. Wave goodbye to me as I go to work. I think: you are like a fluttering flag. I think it with a stabbing pain in my heart. For Heaven's sake, is that not enough? Is that not enough to be happy? She turned away: Give me time. I'll think about it.
Milena Michiko FlaÅ¡ar
I like to judge people and it was clear to me that Colin's life has been about as exciting as a cluster headache. You can tell this just from his humour tumour which runs through every conversation you have with him. I got the impression that Colin had arrived at his early fifties resenting the fact that he's spent his entire career worshiping at the altar of Dynasty PLC. But he is now so indoctrinated by the world of corporate banking that he's forgotten how to express the real him. This is what a life working for large corporations does to people. The workplace is a place not to be you; it's a place to be the corporate you. The you that doesn't really exist. We all see this corporate you and pretend that it's a normal part of life. But we know that something isn't quite right. We know that the real you is slowly fading away like old wallpaper. The corporate you is a myth; just like Icarus. And yet we are powerless against it. All of us are powerless against the wrath of the corporate world.