a red light
“1. Why is a red light used for danger?
Answer: Because a bright colour that cannot be confused with anything else is essential.
2. Why is a red light used for advertising restaurants, cinemas, drinks, shops, pills, and everything else?
Answer: See above.”
—Fougasse and McCullough, from You Have Been Warned: A Complete Guide to the Road, London, 1935.
If we stop to gaze upon a star
“If we stop to gaze upon a star
People talk about how bad we are
Ours is not an easy age
We’re like tigers in a cage
What a town without pity can do.”
—Gene Pitney (1941–2006), from Town Without Pity, a big hit in 1963.
“the prettiest experiment in physics”
“His lectures were . . . far more than a course of instruction in formal penmanship. His discourse roamed far and wide: stars, philosophy, folktales—anything might find a place in them. ‘He related his subject,’ as Noel Rooke said, ‘to everything in heaven and earth’ because he saw it as essentially part of a whole. Since writing was an activity of man, the question of man’s life on earth and the kind of universe in which he found himself had, for him, an essential connection with the work in hand. Therefore his lecture could embrace almost any subject and must have considerably widened the horizons of those students—and they were numerous—whose educations had been conventionally narrow. At one class he would explain to them his view that ‘our reasoning itself is a game, like our chess or our mathematics’ or that it was not self-contradictory to say that ‘we are predestined to have free will’. At the next, in speaking of the roundness of the letter O, he would describe the experiment with a soap film and a loop of thread—the prettiest experiment in physics—which is used to demonstrate that a perfect circle encloses the greatest area that a closed loop can contain.”
—Priscilla Johnston from Edward Johnston, 1959, a biography of her father, the great type designer.
the signal light
“As I thus communed with myself, the signal light sprang up. The rose-coloured light, couleur de rose, emblem of sanguine hope, and the dawn of a happy day.”
—Sheridan Le Fanu (1814–1873), “The Room in the Dragon Volant,” from his collection of supernatural tales, In a Glass Darkly.
the hilarity of extemporized comedy
“No more brilliant spectacle than this masked ball could be imagined. Among other salons and galleries, thrown open, was the enormous perspective of the “Grande Galerie des Glaces”, lighted up on that occasion with no less than four thousand wax candles, reflected and repeated by all the mirrors, so that the effect was almost dazzling. The grand suite of salons was thronged with masques, in every conceivable costume. There was not a single room deserted. Every place was animated with music, voices, brilliant colours, flashing jewels, the hilarity of extemporized comedy, and all the sprited incidents of a cleverly sustained masquerade.”
—Sheridan Le Fanu (1814–1873), “The Room in the Dragon Volant,” from his collection of supernatural tales, In a Glass Darkly.
Big Blue Diamonds
“Big diamonds, big blue diamonds, how they sparkle
But what can they do to warm your soul?
When you’re lonesome in the moonlight, and need some lovin’
Big diamonds, big blue diamonds, are so cold.”
—Earl J. Carson, from Big Blue Diamonds, first recorded by Little Willie John in 1962. Covered by Sam The Sham and The Pharaohs in 1965, and Jerry Lee Lewis in 1973.
jets of transphysical unalloyed human connection
“‘Jesus loves you and so do I, God Bless You—a republican reader from Wake County’ wrote.
‘We pray for you in the house of Allah. We need you. Get better,’ another card said.
Old friends and total strangers wanted to hear my voice, establish I was actually alive and assist my recovery. A beautiful Italian cast silver Virgin Mary pendant arrived. Then I saw again what I’d seen from the darkened house on the edge: wormlike jets of pure gold powder and powdered tourmaline arcing across the sky toward me, presumably from other people. Some sling-shotted around the planet and out into the cosmos. The first time one came rocketing toward me, I estimated acceleration and mass. Wherever the thing hit, it was going to have the power of an artillery shell. Just before it struck, it disintegrated into a cone-shaped explosion of prismatic refracted light amid a snap of high-tension static.
I understood that these never before observed (by me) phenomena were jets of transphysical unalloyed human connection—OK, love, whatever. I understood what I was seeing, but the origin point was ubiquitously universal. That was the part that honestly spooked me.”
—Peter Eichenberger, on his recovery from a near-fatal bicycle accident in Raleigh, North Carolina. Published in the weekly Independent, March 1st, 2006. I know Peter, and I love him too.
Heterochromia.
Heterochromia (also known as a heterochromia iridis or heterochromia iridium) is an ocular condition in which one iris is a different color from the other (complete heterochromia), or where part of one iris is a different color from the remainder (partial heterochromia or sectoral heterochromia). It is a result of the relative excess or lack of pigment within an iris or part of an iris, which may be inherited or acquired by disease or injury.
—found at Wikipedia, the handy but anonymous guide to the Universe.
green days in forests and blue days at sea
“I will make you brooches and toys for your delight
Of bird-song at morning and star-shine at night.
I will make a palace fit for you and me,
Of green days in forests and blue days at sea.”
—Robert Louis Stevenson (1850–1894), from Romance.
The glow-worm
“‘Tell me, thou bonnie bird,
When shall I marry me?’
‘When six braw gentlemen
Kirkward shall carry ye.’
‘Who makes the bridal bed,
Birdie, say truly?’
‘The grey-headed sexton
That delves the grave duly.
The glow-worm o’er grave and stone
Shall light thee steady;
The owl from the steeple sing:
‘Welcome, proud lady!’’”
—Sir Walter Scott, (1771–1832).