Quotes about evocation

A collection of quotes on the topic of evocation, art, time, other.

Quotes about evocation

“In contrast to the flux and muddle of life, art is clarity and enduring presence. In the stream of life, few things are perceived clearly because few things stay put. Every mood or emotion is mixed or diluted by contrary and extraneous elements. The clarity of art—the precise evocation of mood in the novel, or of summer twilight in a painting—is like waking to a bright landscape after a long fitful slumber, or the fragrance of chicken soup after a week of head cold.”

Yi-Fu Tuan (1930) Chinese-American geographer

Passing Strange and Wonderful: Aesthetics, Nature, and Culture, ch. 10 (1993).

Life, Art, Mood, Summer

“Art is not to be looked at. Art is looking at us. What is art to others is not necessarily art to me. Nor for the same reason and vice versa. What was art to me or was not some time ago might have lost that value or gained it in the meantime and maybe again though art is not an object but experience. To be able to perceive it we need to be receptive. Therefore art is there where art meets us now. The content of art is visual formulation of our relation to life. The measure of art, the ratio of effort to effect, the aim of art revelation and evocation of vision.”

Josef Albers (1888–1976) German-American artist and educator

Homage to the square' (1964), Oral history interview with Josef Albers' (1968)

Life, Art, Effort, Time

“To handle a language skillfully is to practice a kind of evocative sorcery.”

Charles Baudelaire (1821–1867) French poet

“It is in the United States that one may better see, if one has the taste for it, the vast Jewish panic, the mad anguish that strangles, the camouflaged arrogance, at the slightest evocation of a possibility of their regulation for the general world-wide good.”

Louis-ferdinand Céline (1894–1961) French writer

50
L'Ecole des cadavres (1938)

World, Madness

“That spirit, that feeling for one's comrades in the snow, the moonlight, under the blossoms, is also basic to the tea ceremony. A tea ceremony is a coming together in feeling, a meeting of good comrades in a good season. I may say in passing, that to see my novel Thousand Cranes as an evocation of the formal and spiritual beauty of the tea ceremony is a misreading. It is a negative work, and expression of doubt about and warning against the vulgarity into which the tea ceremony has fallen.”

Yasunari Kawabata (1899–1972) Japanese author, Nobel Prize winner

Japan, the Beautiful and Myself (1969)

Beauty, Feeling, Tea, Season

“Calica keeps cursing the filth and, whenever he treads on one of the innumerable turds lining the streets, he looks at his dirty shoes instead of at the sky or a cathedral outlined in space. He does not smell the intangible and evocative matter of which Cuzco is made, but only the odor of stew and excrement. It's a question of temperament.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Letter to his mother from Cuzco, Peru (22 August 1953); as quoted in "Making of a Marxist" in The Guardian (16 June 2001) http://books.guardian.co.uk/extracts/story/0,,507694,00.html

Shoe, Question

“Prehistoric images speak to us more evocatively than any other element of the archeological record: colorful, vibrant paintings of horses, of bison, of a panoply of animals and humans that often seem alive and in motion. And yet there is a dimension of unreality about them… The images seem plucked from life… often arranged chaotically to our eye, frequently superimposed… sometimes apparently incomplete. …There is an enigma in these images, a profound challenge to our understanding of the past.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Life, Color, Understanding, Past

“I was reading of chaos that contained order; of information as the primal, creative force; of systems that, by design, fell apart so they could renew themselves; and of invisible forces that structured space and held complex things together. These were compelling, evocative ideas, and they gave me hope, even if they did not reveal immediate solutions.”

Margaret J. Wheatley (1941) American writer

Source: Leadership and the New Science (1992), p. 2

Hope, Idea, Reading

“Structure joins the evocative concept of paradigm, a disarmingly simple dialectic of scientific change (long periods of paradigmatic "normal science" punctuated by short "revolutions"), and the apparent authority of historical example to show that major conceptual shifts in the natural sciences are effected not by logical argument alone but also by appeals to worldviews, religion, metaphysical commitments, notions of simplicity and order, and so on. The view that science, like other thought systems, advances or retreats through rhetoric and persuasion, not by logical necessity, was a revelation to people who had never practiced it or studied its history. The book comforted social scientists who wanted to assimilate their discipline to physics, Luddites who blamed social problems on scientists and engineers, and everyone who rejected authority. It repelled the philosophers of science at which it was aimed for the good reason that it undercut their belief that scientific knowledge advances by the application of rational criteria to the products of observation and experiment.”

John L. Heilbron (1934) American historian

Thomas Samuel Kuhn: 18 July 1922-17 June 1996 (1998)

People, Books, Religion, History

“The statement of ideas in a poem may have to do with logic. More profoundly, it may be identified with the emotional progression of the poem, in terms of the music and images, so that the poem is alive throughout.
Another, more fundamental statement in poetry, is made through the images themselves — those declarations, evocative, exact, and musical, which move through time and are the actions of a poem.”

Muriel Rukeyser (1913–1980) poet and political activist

Source: The Life of Poetry (1949), p. 31

Music, Idea, Time

“While the enslavement of African Americans was an unavoidable historical fact, so was the historical record of their courage in the face of mortal danger, their strength before seemingly insurmountable odds, their faith when confronted with conditions that had driven others to faithless despair, and their evocation of beauty and genius under oppressive circumstances that did not encourage either.”

Aberjhani (1957) author

(African Americans, p. 45).
Book Sources, The Wisdom of W.E.B. Du Bois (2003)

Faith, Beauty, Courage, Despair

“Against this view, it is still possible to identify some cultural continuities. Kitromilides himself alludes to some of them, when he mentions “inherited forms of cultural expression, such as those associated with the Orthodox liturgical cycle and the images of emperors, the commemoration of Christian kings, the evocation of the Orthodox kingdom and its earthly seat, Constantinople, which is so powerfully communicated in texts such as the Akathist Hymn, sung every year during Lent and forming such an intimate component of Orthodox worship...“ (Kitromilides 1998, 31). There are other lines of Greek continuity. Despite the adoption of a new religion, Christianity, certain traditions, such as a dedication to competitive values, have remained fairly constant, as have the basic forms of the Greek language and the contours of the Greek homeland (though its centre of gravity was subject to change). And John Armstrong has pointed to the “precocious nationalism” that took hold of the Greek population of the Byzantine Empire under the last Palaeologan emperors and that was directed as much against the Catholic Latins as against the Muslim Turks—an expression of medieval Greek national sentiment as well as a harbinger of later Greek nationalism. But again, we may ask: was this Byzantine sentiment a case of purely confessional loyalty or of ethnoreligious nationalism?”

Anthony D. Smith (1939–2016) British academic

See Armstrong 1982, I74—8I cf. Baynes and Moss 1969, 119—27, and Carras 1983.
Source: The Nation in History (2000), p. 42-43.

Religion, Communication, Change, Loyalty

“The discipline of poetry may be expected first to teach the evocative power of words, to introduce the student, if we may so put it, to the mighty power of symbolism, and then to show him that there are ways of feeling about things which are not provincial either in space or time.”

Richard M. Weaver (1910–1963) American scholar

“The Power of the Word,” pp. 52-53.
Language is Sermonic (1970)

Way, Feeling, Time

“Before us, art relied on memory, an anxious re-evocation of an Object lost (happiness, love, a landscape), and hence was nostalgic, static, charged with suffering and distance. With Futurism, instead, art is turning into art-action, which is to say, into will, optimism, aggression, possession, penetration, delight, brutal reality within art (example: onomatopoiea; —example: noise-tuners = motors), geometrical splendor of forces, projections forward. Thus, art is becoming Presence, new Object, new reality created with the abstract elements of the universe. The hands of the passéist artist used to suffer for the sake of the lost Object; our hand will twitch for the new Object to be created. That is why the new Object (the plastic complex) has miraculously appeared in your hands.”

Filippo Tommaso Marinetti (1876–1944) Italian poet and editor, founder of the Futurist movement

Quote in: Fortunato Depero & Giacomo Balla 'The Futurist Reconstruction of the Universe' in: Direzione del Movimento Futurista, March 11, 1915. Transl. Caroline Tisdall, 1973.
1910's

Love, Art, Optimism, Reality

“Art is a refining and evocative translation of the materials of the world.”

Gwendolyn Brooks (1917–2000) American writer

Black Poetry Writing (1975)

World, Art

“Magical shadow with symbolic powers!
A voice from the distant past, an evocation,
Is it not mine prepared for incantation?”

Stéphane Mallarmé (1842–1898) French Symbolist poet

Nurse.
Hérodiade (1898)

Distant, Past

“I cannot write anything about landscape without writing about the human figure and the human spirit inhabiting the landscape, for me, the whole art sculpture is a fusion of these two element – the balance of sensation and the evocation of man in his universe. Every work in sculpture is either a figure I see, or a sensation I have, whether in Yorkshire, Cornwall or Greece, or the Mediterranean.”

Barbara Hepworth (1903–1975) English sculptor

'Studio International 171' – June 1966; as quoted in Voicing our visions, - Writings by women artists, ed. by Mara R. Witzling, Universe New York 1991, p. 280
1961 - 1975

Art, Universe

“The mystery story is a kind of writing that need not dwell in the shadow of the past and owes little if any allegiance to the cult of the classics. It is a good deal more than unlikely that any writer now living will produce a better historical novel than Henry Esmond, a better tale of children than The Golden Age, a sharper social vignette than Madame Bovary, a more graceful and elegant evocation than The Spoils of Poynton, a wider and richer canvas than War and Peace or The Brothers Karamazov. But to devise a more plausible mystery than The Hound of the Baskervilles or The Purloined Letter should not be too difficult. Nowadays it would be rather more difficult not to.”

Raymond Chandler book The Simple Art of Murder

Introduction
The Simple Art of Murder (1950)

War, Children, Age, Peace

“I could never aspire to Syd's crazed insights and perceptions. In fact for a long time I wouldn't have dreamt of claiming any insights whatsoever. I'll always credit Syd with the connection he made between his personal unconscious and the collective group unconscious. It's taken me 15 years to get anywhere near there. Even though he was clearly out of control when making his two solo albums, some of the work is staggeringly evocative. It's the humanity of it all that's so impressive. It's about deeply felt values and beliefs. Maybe that's what 'Dark Side of the Moon' was aspiring to. A similar feeling.”

Roger Waters (1943) English songwriter, bassist, and lyricist of Pink Floyd

quoted in Lost In The Woods by Julian Palacios, 1997
Roger Keith "Syd" Barrett

Feeling, Time, Personality

“We," he said, not without complacency, "are different. We attest the divine paradox. We are barren only to be fertile. We proclaim the primary reality of the world of the spirit which has an infinitude of mansions for an infinitude of human souls. And you too are different. Your destiny is of the rarest kind. You will live to proclaim the love of Christ for man and man for Christ in a figure of earthly love." Preacher's rhetoric; it would have been better in Italian, which thrives on melodious meaninglessness.
I said, with the same weariness as before, "My destiny is to live in a state of desire both church and state condemn and to grow sourly rich in the purveying of a debased commodity. I've just finished a novel which, when I'd read it through in typescript, made me feel sick to my stomach. And yet it's what people want -- the evocation of a past golden time when there was no Mussolini or Hitler or Franco, when gods were paid for with sovereigns, Elgar's Symphony Number One in A flat trumpeted noblimente a massive hope in the future, and the romantic love of a shopgirl and a younger son of the aristocracy portended a healthful inflection but not destruction of the inherited social pattern. Comic servants and imperious duchesses. Hansom cabs and racing at Ascot. Fascists and democrats alike will love it. My destiny is to create a kind of underliterature that lacks all whiff of the subversive.”

Anthony Burgess (1917–1993) English writer

"Don't," Carlo said, "underestimate yourself."
Fiction, Earthly Powers (1980)

Love, God, People, Health

“Since all models are wrong the scientist cannot obtain a "correct" one by excessive elaboration. On the contrary following William of Occam he should seek an economical description of natural phenomena. Just as the ability to devise simple but evocative models is the signature of the great scientist so overelaboration and overparameterization is often the mark of mediocrity.”

George E. P. Box (1919–2013) British statistician

Source: Science and Statistics (1976), p. 792

Nature

“The first era of the Upper Paleolithic, the Aurignacian, is notable for several reasons, one of which is the absence of painted caves. …One of the most evocative pieces from this era, from the Abri Blanchard in southwestern France, is a flute. Music must have been an integral part of Upper Paleolithic life too.”

Richard Leakey (1944) Kenyan paleoanthropologist, conservationist, and politician

Origins Reconsidered: In Search of What Makes Us Human (1992)

Life, Music, Parting, Painting

“When poetry loses its ability to enchant, it shrinks into what is just an elaborate form of argumentation. When verse casts its particular spell, it becomes the most evocative form of language.”

Dana Gioia (1950) American writer

Essays, Can Poetry Matter? (1991), Poetry as Enchantment (2015)

“There are benefits to be gained from the ambiguities of scientific discourse. Of the four previously identified functions served by ambiguity, two remain outside the boundaries of scientific work. The function of attaining enlightenment through the intuition of indeterminacy belongs to mysticism, or perhaps to philosophy and poetry, not to the disciplined activity of science. And the protection of one's meanings and intentions through ambiguously opaque utterance, while perhaps useful as a protective ploy in scientific competition, cannot be sanctioned as appropriate conduct for a scientific enquirer. Through its two other functions, however — the evocative representation of complex meanings and the bonding of a community through diffuse symbols — ambiguity has long served and will continue to serve the general objectives of scientific activity. It is useful for scientific formulations to express an abundance of meanings, for these can ignite a cluster of insights that in turn lead to novel explorations.”

Donald N. Levine (1931–2015) sociologist

Donald N. Levine (1988), The Flight from Ambiguity: Essays in Social and Cultural Theory. p. 218; Partly cited in: David L. Sills, ‎Robert King Merton (2000), Social Science Quotations: Who Said What, When, and Where. p. 129-130

Communication, Science

“If you believe in God, if you believe in miracles, then you believe in magic. You believe in magic. People argue against that all of the time, but that’s actually true. If you look up a collection of dictionaries, online it is easy to do. Open up a bunch of them, and see where they all agree, find the points in the context where all of the dictionaries agree. You will discover that if you compare the definitions between a miracle and magic, you will see that they are both the ‘evocation of supernatural forces or entities to control or forecast natural events in ways which are inexplicable by science because they defy the laws of physics, meaning they are physically impossible.’ That’s what both miracle and magic mean. So miracle is the same things as magic in the same way a boat is a yacht is if it is big enough.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Exclusive Interview with Aron Ra – Public Speaker, Atheist Vlogger, and Activist https://conatusnews.com/interview-aron-ra-past-president-atheist-alliance-america/, Conatus News (May 17, 2017)

God, People, Law, Way

“Magic and art tend to share a lot of the same language. They both talk about evocation, invocation, and conjuring. If you’re trying to conjure a character, then maybe you should treat that with the respect that you would if you were trying to conjure a demon. Because if an image of a god is a god, then in some sense the image of a demon is a demon. I’m thinking of people like Malcolm Lowry, the exquisite author of Under the Volcano. There are kabbalistic demons that are lurking all the way through Under the Volcano, and I assume they were probably similar forces to the ones that eventually overwhelmed Lowry’s life, such as the drinking and the madness. When I hear alcoholics talk about having their demons, I think that they’re probably absolutely literally correct.”

Alan Moore (1953) English writer primarily known for his work in comic books

The Believer interview (2013)

Life, God, People, Alcohol

“He was carried away by that mania of the storyteller, who never knows which stories are more beautiful—the ones that really happened and the evocation of which recalls a whole flow of hours past, of petty emotions, boredom, happiness, insecurity, vanity, and self-disgust, or those which are invented, and in which he cuts out a main pattern, and everything seems easy, then begins to vary it as he realizes more and more that he is describing again things that had happened or been understood in lived reality.”

Italo Calvino book The Baron in the Trees

The Baron in the Trees (1957), Chapter 16; English translation: Archibald Colquhoun (1959).

Beauty, Reality, Past, Happiness

“There is in the word, in the logos, something sacred which forbids us to gamble with it. To handle a language skilfuly is to practice a kind of evocative sorcery.”

Charles Baudelaire Théophile Gautier

Il y a dans le mot, dans le verbe, quelque chose de sacré qui nous défend d'en faire un jeu de hasard. Manier savamment une langue, c'est pratiquer une espèce de sorcellerie évocatoire. XIV: "Théophile Gautier" http://fr.wikisource.org/wiki/Th%C3%A9ophile_Gautier_%28L%E2%80%99Art_romantique%29, as translated in The Idea of Poetry in France : From Houdar de La Motte to Baudelaire (1958) by Margaret Gilman, p. 263 Variant translations: There exists in the word, in the verb, something sacred which prohibits us from viewing it as a mere game of chance. To manipulate language with wisdom is to practice a kind of evocative sorcery. As quoted in Poetry of Grammar and Grammar of Poetry (1981) by Walter de Gruyter There is in a word, in a verb, something sacred which forbids us from using it recklessly. To handle a language skillfully is to practice a kind of evocative sorcery. There is in a word, in a verb, something sacred which forbids us from using it recklessly. To handle a language cunningly is to practice a kind of evocative sorcery. L'art romantique (1869)

“THE ORIGIN OF ART: The discrepancy between physical fact and psychic effect. THE CONTENT OF ART: Visual information of our reaction to life. THE MEASURE OF ART: The ratio of effort to effect. THE AIM OF ART: Revelation and evocation of vision.”

Josef Albers (1888–1976) German-American artist and educator

'The Origin of Art'
Homage to the square' (1964)

Life, Art, Effort

“Why illustrate a great piece of writing whose very advocacy and evocation and efficacy lies within its very existence as writing?”

Peter Greenaway (1942) British film director

"105 Years of Illustrated Text" in the Zoetrope All-Story, Vol. 5 No. 1.
105 Years of Illustrated Text

“In many of Albrecht Dürer’s engravings there are harrowing depictions of his own melancholia; the manic wheeling stars of Van Gogh are the precursors of the artist’s plunge into dementia and the extinction of self. It is a suffering that often tinges the music of Beethoven, of Schumann and Mahler, and permeates the darker cantatas of Bach. The vast metaphor which most faithfully represents this fathomless ordeal, however, is that of Dante, and his all-too-familiar lines still arrest the imagination with their augury of the unknowable, the black struggle to come:
Nel mezzo del cammin di nostra vita
Mi ritrovai per una selva oscura,
Ché la diritta via era smarrita.
In the middle of the journey of our life
I found myself in a dark wood,
For I had lost the right path.
One can be sure that these words have been more than once employed to conjure the ravages of melancholia, but their somber foreboding has often overshadowed the last lines of the best-known part of that poem, with their evocation of hope. To most of those who have experienced it, the horror of depression is so overwhelming as to be quite beyond expression, hence the frustrated sense of inadequacy found in the work of even the greatest artists. But in science and art the search will doubtless go on for a clear representation of its meaning, which sometimes, for those who have known it, is a simulacrum of all the evil of our world: of our everyday discord and chaos, our irrationality, warfare and crime, torture and violence, our impulse toward death and our flight from it held in the intolerable equipoise of history. If our lives had no other configuration but this, we should want, and perhaps deserve, to perish; if depression had no termination, then suicide would, indeed, be the only remedy. But one need not sound the false or inspirational note to stress the truth that depression is not the soul’s annihilation; men and women who have recovered from the disease — and they are countless — bear witness to what is probably its only saving grace: it is conquerable.”

William Styron book Darkness Visible

Source: Darkness Visible (1990), X

Life, Death, Women, Men

“Udnie – I see Again in Memory my Dear Udnie' is no more the portrait of a young girl than 'Edtaonisl' (counterpart of his work 'Udnie'] is the image of a prelate, as we ordinarily conceive of them. They are [both] memories of America, evocations of over there which, subtly set down like musical chords, become representative of an idea, a nostalgia, a fleeting impression.”

Francis Picabia (1879–1953) French painter and writer

'Udnie – I see Again in Memory my Dear Udnie' is the title of a painting, he made in 1913; a memory of the dances performed by Stasia Napierkowska on the ship to New York, to visit the w:Armory Show, where Picabia was presented in 1913 as a 'leading Cubist painter'
1910's
Source: 'Ecrits: vol. 1', 1913 - 1920, Picabia, Belfond, Paris, p. 26

Music, Girl, Idea, Nostalgia

“A book, like a landscape, is a state of consciousness varying with readers. There exists some book, pamphlet, article in an encyclopaedia, or possibly an old clipping from a newspaper that once set you thinking; there may be many; indeed you may be one of those rare beings with whom a few lines of print are food enough or thought because, as Lamartine says, their thoughts think themselves. The sometimes evocative for you may be poetry, history, philosophy, the sciences, or moral sciences, i. e. the progress of mankind. Some people who go to sleep over a volume will be interested by a review which they think more condensed or better within their reach. Read reviews if they help you to think, that is. to say if they leave in your mind images that will go on living when you have forgotten where they came from. Read a Shakespeare calendar at the rate of four lines a day, if Shakespeare quotations have on you the magic influence they have on some people; read algebra, read the lives of great inventors or of great businessmen, read that kind of books which you and nobody else know to be thought-productive for you.”

Ernest Dimnet (1866–1954) French writer

Source: The Art of Thinking (1928), p. 122

People, Books, Food, History

“When I was first aware that I had been laid low by the disease, I felt a need, among other things, to register a strong protest against the word “depression.” Depression, most people know, used to be termed “melancholia,” a word which appears in English as early as the year 1303 and crops up more than once in Chaucer, who in his usage seemed to be aware of its pathological nuances. “Melancholia” would still appear to be a far more apt and evocative word for the blacker forms of the disorder, but it was usurped by a noun with a bland tonality and lacking any magisterial presence, used indifferently to describe an economic decline or a rut in the ground, a true wimp of a word for such a major illness. It may be that the scientist generally held responsible for its currency in modern times, a Johns Hopkins Medical School faculty member justly venerated — the Swiss-born psychiatrist Adolf Meyer — had a tin ear for the finer rhythms of English and therefore was unaware of the semantic damage he had inflicted by offering “depression” as a descriptive noun for such a dreadful and raging disease. Nonetheless, for over seventy-five years the word has slithered innocuously through the language like a slug, leaving little trace of its intrinsic malevolence and preventing, by its very insipidity, a general awareness of the horrible intensity of the disease when out of control.
As one who has suffered from the malady in extremis yet returned to tell the tale, I would lobby for a truly arresting designation. “Brainstorm,” for instance, has unfortunately been preempted to describe, somewhat jocularly, intellectual inspiration. But something along these lines is needed. Told that someone’s mood disorder has evolved into a storm — a veritable howling tempest in the brain, which is indeed what a clinical depression resembles like nothing else — even the uninformed layman might display sympathy rather than the standard reaction that “depression” evokes, something akin to “So what?” or “You’ll pull out of it” or “We all have bad days.””

William Styron book Darkness Visible

The phrase “nervous breakdown” seems to be on its way out, certainly deservedly so, owing to its insinuation of a vague spinelessness, but we still seem destined to be saddled with “depression” until a better, sturdier name is created.
Source: Darkness Visible (1990), IV

People, Disease, School, Way

““Very evocative. He seems to be confirming what I said last year—that the universe really has no underpinnings, that when a good hypothesis comes along, one that explains the prior events, the underpinnings shape themselves to accommodate and a powerful theory is born.”
“Then there is no ultimate reality?”
“Apparently not. Bad hypotheses, those that don’t fit what happen on our level, are rejected by the universe. Good ones, powerful ones, are incorporated.””

Greg Bear (1951) American writer best known for science fiction

Source: Blood Music (1985), Chapter 45 (p. 239)

Reality, Universe

“It would take me very far back to tell the story of how I developed my consciousness of the evocative power of mural imagery. These are memories of my adolescence and early youth when I lived enclosed within four walls during the time of war. The suffering of the adults and all the cruel imaginings of my age, abandoned to its own impulses amid all the surrounding catastrophes, were drawn and etched all around me.”

Antoni Tàpies (1923–2012) Catalan painter, sculptor and art theorist

1945 - 1970, A Report on the Wall' 1970

War, Youth, Age, Imagination

“My diction, my choice of words, is as precise as I can make it. The images that I use, the evocation of the senses, again, relies upon a certain exactitude. You can see how what I did with language as a poet would bleed into what I did as a lawyer, vice-versa…”

Martín Espada (1957) Puerto Rican poet

On how his correlates the language of a poet with practicing law in “The Writer’s Block Transcripts: A Q&A with Martin Espada” https://www.sampsoniaway.org/interviews/2015/12/11/the-writers-block-transcripts-a-qa-with-martin-espada/ in Sampsonia Way (2015 Dec 11)

Sense, Making love

Raymond Chandler book The Simple Art of Murder

But to devise a more plausible mystery than The Hound of the Baskervilles or The Purloined Letter should not be too difficult. Nowadays it would be rather more difficult not to.
Introduction
The Simple Art of Murder (1950)

Peace, War, Past, Children