A Quote by Marge Piercy

I mourn in grey, grey as the sleeted wind the bled shades of twilight, gunmetal, battleships, industrial paint. — © Marge Piercy
I mourn in grey, grey as the sleeted wind the bled shades of twilight, gunmetal, battleships, industrial paint.
My dream date would be what Christian Grey does in the Fifty Shades Of Grey' movie.
Completely committed to adapting 'Fifty Shades of Grey'. This is not a joke. Christian Grey and Ana: potentially great cinematic characters.
Just because everyone CAN publish a book these days, doesn't mean everyone SHOULD. The world doesn't need 1000 knock-offs of 50 Shades of Grey. I'm not so sure the world even needed ONE 50 Shades of Grey.
Even the sky was grey. Grey and grey and greyer. The whole world grey, everywhere you look, everything grey except the eyes of the bride. The eyes of the bride were brown. Big and brown and full of fear.
Yokohama does not improve on further acquaintance. It has a dead-alive look. It has irregularity without picturesqueness, and the grey sky, grey sea, grey houses, and grey roofs, look harmoniously dull.
Now, among the heresies that are spoken in this matter is the habit of calling a grey day a "colourless" day. Grey is a colour, and can be a very powerful and pleasing colour.... A grey clouded sky is indeed a canopy between us and the sun; so is a green tree, if it comes to that. But the grey umbrellas differ as much as the green in their style and shape, in their tint and tilt. One day may be grey like steel, and another grey like dove’s plumage. One may seem grey like the deathly frost, and another grey like the smoke of substantial kitchens.
To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour.
The paint for the grey paintings was mixed beforehand and then applied with different implements - sometimes a roller, sometimes a brush. It was only after painting them that I sometimes felt that the grey was not yet satisfactory and that another layer of paint was needed.
My uniform: grey suit, white shirt, grey tie and tie bar, grey cardigan and black wingtips.
Most of life is grey, with a little tiny bit of black and white. We're always subject to what I call the compression industry, which is an attempt to compress a million shades of grey with a little bit of black and white to just a hundred, or to ten, or to one!
When I first painted a number of canvases grey all over (about eight years ago), I did so because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed differences of quality among the grey surfaces - and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalizing a personal dilemma, they resolved it.
I want to play a character with grey shades.
See shades of grey... Act anyway
I turn my girl on like fifty shades of grey.
Life isn't black or white, it's all sorts of shades of grey.
The world isn't black and white, Annie, it's shades of grey.
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