A Quote by Anna Louise Strong
It was as if I had worked for years on the wrong side of a tapestry, learning accurately all its lines and figures, yet always missing its color and sheen.
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Translation from one language to another is like viewing a piece of tapestry on the wrong side where though the figures are distinguishable yet there are so many ends and threads that the beauty and exactness of the work is obscured.
Translating from one language to another, unless it is from Greek and Latin, the queens of all languages, is like looking at Flemish tapestries from the wrong side, for although the figures are visible, they are covered by threads that obscure them, and cannot be seen with the smoothness and color of the right side.
I have drawn my whole life. My parents were in the tapestry restoration business, and as a young girl, I would draw in the missing parts of the tapestry that needed to be rewoven.
We all should know that diversity makes for a rich tapestry, and we must understand that all the threads of the tapestry are equal in value no matter what their color.
Fault lines run along color lines in American public life, and the women’s movement is no exception. Over the years, feminism has become more inclusive but there is still hard work to be done to include LGBT women and communities of color.
Fault lines run along color lines in American public life, and the women's movement is no exception. Over the years, feminism has become more inclusive but there is still hard work to be done to include LGBT women and communities of color.
Three years after my first trip to Haiti, I realized there was another emotional note that had to be reckoned with: the intense, vibrant color of these worlds. Searing light and intense color seemed somehow embedded in the cultures that I had begun working in, so utterly different from the gray-brown reticence of my New England background. Since then, I have worked predominantly in color.
I've always loved to prove people wrong. I want to be able to cross color lines, because in music, there really is no barrier.
I have drawn my whole life. My parents were in the tapestry restoration business, and as a young girl, I would draw in the missing parts of the tapestry that needed to be re-woven. My ability to draw made me indispensable to my parents.
So the books for the Englishman, as he listened intently or not, had gaps of plot like sections of a road washed out by storms, missing incidents as if locusts had consumed a section of tapestry, as if plaster loosened by the bombing had fallen away from a mural at night.
I worked on a weekly one-hour show live from Los Angeles called 'The Dixie Boat Show.' We only had one camera, so there was a lot of panning because it was always on, and anything that went wrong, from actors fluffing their lines to sets falling down in mid-scene, you let it go by.
I was always a person on my mother's hip in the kitchen. My mom really wanted her kids at her side as much as possible, and she worked in restaurants for over fifty years. And my grandfather had ten children, and he grew and prepared most of the food. My grandmother, on my mother's side, was the family seamstress and the baker. So my mom, the eldest child, was always in the kitchen with my grandpa and I was always in the production and restaurant kitchens and our own kitchen with my mom. And it's just something that has always spoken to me.
I'm pretty focused on my career, and if it comes down to hanging out with somebody or learning my lines, it's gonna be learning my lines.
In this respect a program is like a poem: you cannot write a poem without writing it. Yet people talk about programming as if it were a production process and measure "programmer productivity" in terms of "number of lines of code produced". In so doing they book that number on the wrong side of the ledger: we should always refer to "the number of lines of code spent".
Wow, just imagine missing school on the day when they were learning blue. You'd spend the rest of your life wondering what color the sky is.
We look at life from the back side of the tapestry. And most of the time, what we see is loose threads, tangled knots and the like. But occasionally, God's light shines through the tapestry, and we get a glimpse of the larger design with God weaving together the darks and lights of existence.
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