A painting shows a towering mountain painted in bold but sparse strokes of black and ombre tones. At the bottom of the painting, a man stands in a boat, looking up at the mountain. Columns of Chinese characters fill the top of the frame.
She placed it on the shelf beside its sister, and pondered a thousand questions. Attend to what appears before you, she thought. That is what I must teach myself to do.
Madeleine Thien, The Book of Records, Chapter 3
A landscape photo. Much of the photo is fairly washed out by sun and sunstreaks, but you can see a grassy field and sillhouettes of a sporadic treeline in the distance. A dog is somewhat in shadow in the foreground. A line of yellow-to-gold extends from the center of the frame rightward, to its edge: the tops of a cornfield.
Half a century ago, during the rainy season, when I was seven years old, my father and I reached the Sea. It was evening and the buildings were coloured glass against the night. I remember that we disembarked into water, we crossed the sand, we entered a pale door of the sea.
Photo of a sculpture of a muscular man holding up the head of a woman. His gaze is cast downward. He is stepping upon her body. In the background are other sculptures, as it appears to be in a museum.
We must certainly leave for Rome tomorrow, Mrs. Johnson thought. She heard herself thinking it, at some distance, as though in a dream. She entered thus from that day a conscious duality of existence, knowing what she should and must do and making no motion toward doing it . . . to Mrs. Johnson the experience was strange and new. It confused her.
Elizabeth Spencer, The Light in the Piazza
An overlapping tangle of grass, clover, and other foliage. Although there is a lot of green, some of the clover is dark and dry.