Showing posts with label aphorisms. Show all posts
Showing posts with label aphorisms. Show all posts

Saturday, July 4, 2020

The senescent departure of Emerson's life

Karl Blossfeldt photo adapted (2018), Roy R. Behrens
Edward Simmons, From Seven to Seventy: Memories of a Painter and a Yankee. New York: Harpers, 1922, pp. 19-20—

The last time I saw Mr. [Ralph Waldo] Emerson was in 1879 [three years prior to Emerson’s death]. I was in my twenty-seventh year, had just returned from California, and was spending some time in Concord [MA] before going abroad. Charles H. Davis, the painter, was visiting me at the Old Manse, and we both went over and supped with him. He seemed much older, but was still that example of perfect serenity I had known as a boy. His memory was beginning to fail him, which made him a bit querulous, but his daughter Ellen supplied it whenever she could. For example, he forgot that he had ever seen Tom Taylor's tribute, or apology, to Lincoln, in Punch—in spite of the fact that it is included in the Parnassus [Emerson’s own anthology of poetry] and read it to us, at my request, with astonishment and delight. He read beautifully. and his voice retained all of its old hypnotic quality.

While his memory failed in the detail of names and places, he still retained, in most cases, his fascinating mode of expression, and the process of thought was still there. He said the night Davis and I were there—

"Last week, it was the day…the day that…who was it was here? Ellen, can you remember? Oh! It was our religious friend." He referred to [John Greenleaf] Whittier.

He asked, upon going out for a walk, "Where is that thing everybody borrows and no one ever returns.” He meant an umbrella and had forgotten the name.

This story was told me by my mother. They knew (the women) that opinion of [Henry Wadsworth] Longfellow was the same as theirs—the Bromides—and that the two men, of course, loved and admired each other—which they did not. Of course, Mr. Emerson must go to the funeral of the poet. Accordingly. the poor man was pulled up, himself more dead than alive [Emerson would die one month later], and brought down to Cambridge. He sat at the church, seemingly unconscious of the raison d’etre of it all. Then he rose (holding on to his coattails was not effective) and joined the procession about the body.

On crossing the Cambridge Common later, he suddenly stopped, faced around toward the church, and then looking at them, said:

"I do not remember the name of our friend we have just buried, but he had a beautiful soul."

In some people, the loss of memory can be a blessed thing.


•••

Edward Bok (his account of visiting Concord MA, at age eighteen, to obtain Emerson’s autograph), The Americanization of Edward Bok: The Autobiography of a Dutch Boy Fifty Years Later. New York: Charles Scribner’s Sons, 1921, pp. 54-59—

After a while she [author Louisa May Alcott, a close friend of Emerson] said; "Now I shall put on my coat and hat, and we shall walk over to Emerson’s house. I am almost afraid to promise that you will see him. He sees scarcely anyone now. He is feeble, and—“ She did not finish the sentence."But we'll walk over there, at any rate.”

[…]

Presently they reached Emerson's house. and Miss [Ellen] Emerson [his daughter] welcomed them at the door. After a brief chat, Miss Alcott told of the boy's [Bok’s reference to himself] hope. Miss Emerson shook her head.

"Father sees no one now," she said, "and I fear it might not be a pleasure if you did see him. “

[…]

"Well," she said, "I'll see."

She had scarcely left the room when Miss Alcott rose and followed her, saying to the boy, "You shall see Mr. Emerson if it is at all possible."

In a few minutes Miss Alcott returned, her eyes moistened, and simply said: "Come."

The boy followed her through two rooms, and at the threshold of the third Miss Emerson stood, also with moistened eyes.

"Father," she said simply, and there, at his desk, sat Emerson—the man whose words had already won Edward Bok's boyish interest, and who was destined to impress himself upon his life more deeply than any other writer.

Slowly, at the daughter's spoken word, Emerson rose with a wonderful quiet dignity, extended his hand, and as the boy's hand rested in his, looked him full in the eyes.

No light of welcome came from those sad yet tender eyes. The boy closed upon the hand in his with a loving pressure, and for a single moment the eyelids rose, a different look came into those eyes, and Edward felt a slight, perceptible response of the hand. But that was all!


Quietly he motioned the boy to a chair beside the desk. Edward sat down and was about to say something, when, instead of seating himself, Emerson walked away to the window and stood there softly whistling and looking out as if there were no one in the room. Edward's eyes had followed Emerson's every footstep. when the boy was aroused by hearing a suppressed sob, and as he looked around he saw that it came from Miss Emerson. Slowly she walked out of the room. The boy looked at Miss Alcott, and she put her finger to her mouth, indicating silence. He was nonplussed.

Edward looked toward Emerson standing in that window, and wondered what it all meant. Presently Emerson Ieft the window and, crossing the room, came to his desk, bowing to the boy as he passed, and seated himself, not speaking a word and ignoring the presence of the two persons in the room.

Suddenly the boy heard Miss Alcott say: "Have you read this new book by [John] Ruskin yet?"

Slowly the great master of thought lifted his eyes from his desk, turned toward the speaker, rose with stately courtesy from his chair, and, bowing to Miss Alcott, said with great deliberation: "Did you speak to me, madam?"

The boy was dumbfounded! Louisa Alcott, his Louisa! And he did not know her! Suddenly the whole sad truth flashed upon the boy. Tears sprang into Miss Alcott's eyes, and she walked to the other side of the room. The boy did not know what to say or do, so he sat silent. With a deliberate movement Emerson resumed his seat, and slowly his eyes roamed over the boy sitting at the side of the desk.…

For a moment he groped among letters and papers, and then, softly closing the drawer, he began that ominous low whistle once more, looked inquiringly at each, and dropped his eyes straightway to the papers before him on his desk. It was to be only for a few moments, then! Miss Alcott turned away.

The boy felt the interview could not last much longer. So, anxious to have some personal souvenir of the meeting, he said: "Mr. Emerson, will you be so good as to write your name in this book for me?" and he brought out an album he had in his pocket.

"Name?" he asked vaguely.

"Yes, please," said the boy, "your name: Ralph Waldo Emerson."

But the sound of the name brought no response from the eyes.

"Please write out the name you want," he said finally, "and I will copy it for you if I can."

It was hard for the boy to believe his own senses. But picking up a pen he wrote: "Ralph Waldo Emerson, Concord; November 22, 1881.”

Emerson looked at it, and said mournfully: “'Thank you." Then he picked up the pen, and writing the single letter "R" stopped, followed his finger until it reached the "W" of Waldo, and studiously copied letter by letter! At the word “Concord" he seemed to hesitate, as if the task were too great, but finally copied again, letter by letter, until the second "e" was reached. "Another ‘0,'" he said, and interpolated an extra letter "—in the name of the town which he had done so much to make famous the world over. When he had finished he handed back the book, in which there was written:






The boy put the book into his pocket; and as he did so Emerson's eye caught the slip on his desk, in the boy's handwriting, and. with a smile of absolute enlightenment, he turned and said:

"You wish me to write my name? With pleasure. Have you a book with you?"

Overcome with astonishment, Edward mechanically handed him the album once more from his pocket. Quickly turning over the leaves, Emerson picked up the pen, and pushing aside the slip, wrote without a moment's hesitation:




The boy was almost dazed at the instantaneous transformation in the man!

Miss Alcott now grasped this moment to say: “Well, we must be going!"

"So soon?" said Emerson, rising and smiling. Then turning to Miss Alcott he said: "It was very kind of you, Louisa, to run over this morning and bring your young friend."

Then turning to the boy he said: "Thank you so much for coming to see me. You must come over again while you are with the Alcotts. Good morning! Isn't it a beautiful day out?" he said, and as he shook the boy's hand there was a warm grasp in it, the fingers closed around those of the boy, and as Edward looked into those deep eyes they twinkled and smiled back.

•••

Sunday, June 7, 2020

Leacock Peacock | Entrapped by duplicity now

Montage / collage website
Stephen Leacock, Humor: Its Theory and Techniques, with Examples and Samples (New York: Dodd, Mead, 1935)—

He is the [jack]daw with a peacock's tail of his own painting. He is the ass who has been at pains to cultivate the convincing roar of a lion.

Tuesday, April 14, 2020

small like the wren, chestnut hair, eyes of sherry

Trammel: White Wish © Mary Snyder Behrens (2005)
Above  Mary Snyder Behrens, one of a series of small (palm-sized) mixed media artworks called Trammels (2005). This is Trammel Box (White Wish), made of cloth, thread, and twine in which a box-like metal form is encased.

•••

Emily Dickinson (describing herself in a letter to Thomas Wentworth Higginson)—

I had no portrait, now, but am small, like the Wren, and my Hair is bold, like the chestnut Bur, and my eyes, like the Sherry in the Glass, that the guest leaves.

•••

Charles Darwin—

I remember a funny dinner at my brother's, where, amongst a few others, were [Charles] Babbage and [Charles] Lyell, both of whom liked to talk. [Thomas] Carlyle, however, silenced everyone by haranguing during the whole dinner on the advantages of silence. After dinner, Babbage, in his grimmest manner, thanked Carlyle for his very interesting lecture on silence.

Tuesday, March 31, 2020

The blooming, buzzing confusion of daily life

Digital montage © Roy R. Behrens 2020
Lee Simonson, The Stage Is Set. New York: Harcourt, Brace and Company, 1932, p. 51—

[Newspaper columnist] Walter Lippmann, in analyzing the creation of stereotypes that make public opinion, says: “For the most part we do not first see, and then define, we define first and then see. In the great blooming, buzzing confusion of the outer world we pick out what our culture has already defined for us, and we tend to perceive that which has been picked out in the form stereotyped for us by our culture.” And he goes on to demonstrate how largely our conclusions about the world we live in are based not on a fresh perception of experience, but on the stereotyped pictures of the world already in our heads.

Sunday, October 25, 2015

Brushed by the Grasses of Self-Reproach

Montage | Roy R. Behrens 2015 | Puffin Wikipedia
Mae West—

You're a fine woman, Lou. One of the finest women that ever walked the streets.

•••

Pierre-Jules Renard—

It should not be thought that laziness is unproductive. Within it, you live intensely, like a hare listening. You swim in it like water; and are brushed by the grasses of self-reproach.

•••

Charles Dickens (The Pickwick Papers)—

Miss Bolo rose from the table considerably agitated, and went straight home, in a flood of tears and a sedan chair.

Friday, April 10, 2015

Art History Poster | Bailey Higgins

Art History Poster © Bailey Higgins 2015
Above Poster by Bailey Higgins, graphic design student, Department of Art, University of Northern Iowa (2015), announcing a Call for Papers for the 5th Annual Art History Symposium at the same school on April 10, 2015.

•••

William Carlos Williams, The Autobiography of William Carlos Williams. New York: Random House, 1951, pp. 120-121—

[American expatriate painter Elihu Vedder in Italy] lived on a bare height somewhere in the fields of central Capri above the sea, and showed us his device for ridding his studio of flies. The screen door at the entrance was arranged in the usual two panels, one above, one below, a crosspiece in the center. But this crosspiece was set an inch back from the wire mesh, above and below, these edges thus remaining free.

"Flies always want to get out," he explained to us, "and will fly to the screen and the light of day. But we prevent them from escaping by barring the exits. [Instead] I leave a space for them. Thus I don't have flies." And he didn't, not many.

•••

Joseph Joubert—

To teach is to learn twice.

Art History Poster | Gina Hamer

Art History Poster © Gina Hamer 2015
Above Poster by Gina Hamer, graphic design student, Department of Art, University of Northern Iowa (2015), announcing a Call for Papers for the 5th Annual Art History Symposium at the same school on April 10, 2015.

•••

Henry Oettinger [80-year-old typesetter, interviewed by Studs Terkel in Coming of Age]—

There is only one more thing I want to do as the time is running out. I want to win the lottery, buy three ships, man them with American Indians, and send them over to discover Italy.

•••

George Ade—

One man's poison ivy is another man's spinach.

Thursday, April 9, 2015

Typographic Poster | Alexandria Toszegi

Typographic poster © Alexandria Toszegi 2015
Above Poster by Alexandria Toszegi, graphic design student, Department of Art, University of Northern Iowa (2015), in celebration of type designer Paul Renner and his design of the typeface Futura.

•••

Fran Lebowitz—

If thine enemy offend thee, give his child a drum.

•••

Judith and Neil Morgan, Dr. Seuss and Mr. Geisel. New York: Random House, 1995, p. 73—

One unborn scheme [devised by Dr. Seuss and his friend Hugh Troy] was to launch a private detective agency named Surely, Goodness and Mercy. Its slogan was to be biblical: "[Surely, Goodness and Mercy] Will follow you all the days of your life."

Thursday, February 6, 2014

Theatre Poster | Amanda Wallace

Theatre poster © Amanda Wallace (2010)
Above Theatre poster design by Amanda Wallace (Golwitzer), completed as an undergraduate graphic design student at the University of Northern Iowa.

•••

Ludwig Börne, The Art of Becoming An Original Writer in Three Days (said to be one of the factors that influenced Sigmund Freud in his adoption of free association)—

Take a few sheets of paper and for three days on end write down, without fabrication or hypocrisy, everything that comes into your head. Write down what you think of yourself, of your wife, of the Turkish War, of Goethe…and when three days have passed you will be quite out of your senses with astonishment at the new and unheard of thoughts you have had. This is the art of becoming an original writer in three days.

•••

George Ellis (the twelve months of the year)—

Snowy, Flowy, Blowy,
Showery, Flowery, Bowery,
Hoppy, Croppy, Droppy,
Breezy, Sneezy, Freezy.

•••

Alan Bennett (Beyond the Fringe)—

We started out trying to set up a small anarchist community, but people wouldn't obey the rules.

Sunday, February 2, 2014

Digital Illustration | John Vorwald

Story illustration © John Vorwald
Above Digital short story illustration by John Vorwald, completed as an undergraduate graphic design student at the University of Northern Iowa.

•••

Melvin Fishman—

The holes in your Swiss cheese are somebody else's Swiss cheese [cf. figure-ground].

•••

Norah Phillips—

On the subject of confused people, I liked the store detective who said he'd seen a lot of people so confused that they'd stolen things, but never one so confused that they'd paid twice.

•••

D.H. Lawrence (The Later DHL)—

No absolute is going to make the lion lie down with the lamb unless the lamb is inside.

•••

Woody Allen (Without Feathers)—

The lion and the calf shall lie down together but the calf won't get much sleep.

•••

Herbert Berbohm Tree (BT)—

The only man who wasn't spoilt by being lionized was Daniel.

Saturday, February 1, 2014

Fillm Poster | Kenny Meisner

Film poster © Kenny Meisner
Above Proposed film poster by Kenny Meisner, completed as an undergraduate graphic design student at the University of Northern Iowa.

•••

Charles Dickens (Nicholas Nickleby)—

"What's the water in French, sir?" "L'eau," replied Nicholas. "Ah!" said Mr. Lillyvick, shaking his head mournfully, "I thought as much. Lo, eh? I don't think anything of that language—nothing at all."

•••

Billy Wilder (Avanti)—

I don't object to foreigners speaking a foreign language: I just wish they'd all speak the same foreign language.

•••

G.K. Chesterton—

I regard golf as an expensive way of playing marbles.

Sunday, January 26, 2014

Promotional Poster | Kellie Heath

Promotional poster © Kellie Heath (2013)
Above Proposal for a promotional poster for the College of Humanities, Arts and Sciences (CHAS) at the University of Northern Iowa. Designed by undergraduate graphic design student Kellie Heath (2013).

•••

Mae West (I'm No Angel)—

When I'm good I'm very good, but when I'm bad I'm better.

...

Anthony Powell (Hearing Secret Harmonies)—

One of the worst things about life is not how nasty the nasty people are. You know that already. It is how nasty the nice people can be.

...

Jonathan Lynn and Antony Jay (Yes, Prime Minister) [cf. Donald Rumsfeld]—

So that means you need to know things even when you don't need to know them. You need to know them not because you need to know them but because you need to know whether or not you need to know. And if you don't need to know you still need to know so that you know that there was no need to know.

Theatre Poster | Sarah Schultz

Theatre poster by Sarah Schultz © 2011
Above Proposed poster for the theatrical production of The Foursome at the Waterloo Community Playhouse (Waterloo IA). Designed by Sarah Schultz, while she was an undergraduate graphic design student at the University of Northern Iowa (2011).

•••

Richard Brinsley Sheridan—

Won't you come into the garden? I would like my roses to see you.

—

James Thurber (cartoon caption)—

You wait here and I'll bring the etchings down.

—

Charles Dickens (Nicholas Nickleby)—

My pa requests me to write to you. The doctors considering it doubtful whether he will ever recover the use of his legs which prevents his holding a pen.

Wednesday, December 25, 2013

George Carlin on Diminished Choices

Calendar page © Dana Potter (2013)
Above Layout for a calendar page (its theme determined by a quote) by Dana Potter, graphic design student, Department of Art, University of Northern Iowa.

•••

George Carlin, in an interview in David Jay Brown, Conversations on the Edge of the Apocalypse (NY: Palgrave Macmillan, 2005), p. 191—

We're given many choices to distract us from the fact that our real choices have been diminished in number. Two political parties. Maybe three or four large banks now. Credit card companies, just a couple, a handful. Newspapers, reduced. Ownership of media, reduced, down to five or six companies now. Big stock brokerage firms, reduced in number. In all of these important things we have less choice. Then we're distracted with these frivolous choices: 21 flavors of ice cream, 35 flavors of popcorn. You see specialty shops with 35 flavors of popcorn, like chocolate walnut popcorn. These are absurd distractions from what we are doing to ourselves…

Blind Leading the Blonde

Calendar page (2013) ©Rob Bauer
Above Layout for a calendar page (its theme determined by a quote) by Rob Bauer, graphic design student in the Department of Art, University of Northern Iowa.

•••

Dr. Peter H. Gott, "Health Q&A" in The Fresno Bee (Fresno CA), 4 May 2000, p. E-6—

After my father's bypass surgery, he felt so dreadful that he insisted his doctor stop most of his medication. Thereafter, he felt fine. While such a drastic action is not everyone's cup of tea, you would have to know my father to appreciate how relentlessly stubborn he was. He claimed to have "accurately misunderstood" his doctors, didn't want them to put [all] his "aches in one basket," was fearful of "dying for nothing," and wished as an adult to be "the blind leading the blonde."

Robert Craft in Stravinsky: Chronicle of a Friendship (Nashville: Vanderbilt University Press, 1994), p. 344—

[The poet W.H. Auden] says that in the train club car on his way to lecture at Yale, some students sent him a note: "We can't stand it a minute longer: are you Carl Sandburg?" He wrote back: "You have spoiled mother's day."

Saturday, January 26, 2013

A Farewell to Artist Les Coleman

Les Coleman / RIP

Our friend of many years has died.

British artist Les Coleman liked to say that he was born "one day before peace broke out," making him one of the last World War II "war babies." He died peacefully on January 17, 2013, at Trinity Hospice in Clapham. I recall that we were introduced by another friend, Patrick Hughes. We never met, but for many years he sent me a torrent of "unthunks." In one of them, for example, he simply printed up a card (blank on the verso) that on the recto reads like this: THIS CARD IS TEMPORARILY OUT OF STOCK.

At the conclusion of one of his books, titled Meet the Art Students (1997), he added a brilliantly absurd author's note. Here it is—

Les Coleman moved to Clapham Junction in 1967. During the summer of that year, The Summer of Love, he lost his wallet on Dartmoor containing two pound notes. A doctor found the wallet and handed it in to the police. It took until the autumn to trace Coleman to his new address. He collected the wallet from the Lavender Hill Police Station to discover the money was still inside. In the autumn of 1996 he painted the walls of his front room Sunbeam with Moonshine on the woodwork. In keeping with this color scheme the room has a blue fitted carpet (80% wool) and yellow venetian blinds (made to measure). Among his possessions Coleman owns a small African sculpture which stands on his mantelpiece despite having one leg shorter than the other. 

Over the years, I republished many of his unthunks and his drawings, some in Ballast Quarterly Review, and more recently on this blog. I "thunk" he would have chuckled at the gravestone that I've made for him (see above). His humor lives on—

The three letters of the alphabet I most dislike are D, I and Y.

One day America will turn into one big gun.

Why do rabbit droppings look like currants and taste like shit?

Once dead the artist falls into a rut.

He put on his dark glasses and rode off into the sunset.

Is turvy-topsy the same as topsy-turvy?

Wednesday, January 2, 2013

Book Review | Dard Hunter as Designer


Dard Hunter: The Graphic Works
by Lawrence Kreisman
Pomegranate, Petaluma, CA, 2012
112 pp., illus. 120 col. Trade, $29.95
ISBN: 978-0764961854.


In 1903, an Ohio chalk talk artist named William J. (Dard) Hunter (1883-1966) was touring the U.S. as an assistant for his brother, a stage magician. On a terribly hot day in California, their act was scheduled to follow a lecture by orator William Jennings Bryan (now famously remembered as the villain in Inherit the Wind). All the show props were in place when Bryan arrived, but backstage as he groped for the curtain, he became hopelessly entangled and ripped out wires, strings and threads. Annoyed by the great man’s clumsiness, Hunter secretly dumped red chalk dust into Bryan’s hat, which he had left backstage. After the talk, Bryan jauntily placed his hat on his already perspiring bald pate and walked out into the blazing sun, where he became—literally—red-faced.

I got that from Hunter’s autobiography, My Life with Paper (easily one of my favorite memoirs). That story is not in this welcome new book because its space is limited, and it is an effort to try to zoom in on his achievements as a graphic designer. In fact, it may be the first book to focus so intently on that aspect of his life, because he is far better known as the last century’s foremost authority on handmade papers, an interest that led him to travel the world and to write twenty books about the craft and history of papermaking. There is even a group that meets annually called Friends of Dard Hunter: American Contemporary Hand Papermaking.

Dard Hunter had come from a family of Ohio job printers and newspaper publishers, so, from a youthful age, he was well acquainted with type, inks, paper and printing. During that 1903 tour with his brother’s magic act, he stayed at the Mission Inn in Riverside, California, an early Arts and Crafts landmark. To see that building (and its interior furnishings) piqued his interest and changed his life.

In 1904, he moved to East Aurora, New York (near Buffalo), where he joined the Roycroft Workshops, headed by Arts and Crafts guru Elbert Hubbard. While there (he was allied with Roycroft, off and on, for about six years), he was able to experiment (without having to earn a living) with a range of handicraft media (especially jewelry, furniture and stained glass) and the design of such hand printed items as letterheads, business cards, postcards, advertising booklets, catalogs, bookplates, initial letters, title pages, and entire books. This book reproduces about 85 full-color images of his designs for print and stained glass, the majority of which most readers, even die-hard Hunter fans, are unlikely to have seen before.

Dard Hunter design for an Elbert Hubbard aphorism (1908)


During and after his years with Roycroft, Hunter was able to make two research trips to Europe, initially to Vienna in 1908 (newly married, the trip was also a honeymoon), where he witnessed first hand the work of artist-designers allied with the Wiener Werkstatte. He met briefly with Vienna Secession leaders Josef Hoffman and Otto Wagner (neither of whom spoke English), and with architect Adolf Loos (who did speak English, and was especially gracious).

Returning to East Aurora, Hunter was excited about the possibilities of the Arts and Crafts Movement. Almost immediately, he began to prepare to return to Europe in 1910, this time not just as a tourist, but to stay longer and to study in Vienna, to visit Arts and Crafts centers in Germany, and lastly to live briefly in London, where he worked as a designer. In late 1911, he returned from Europe with his wife, distanced himself from the Roycroft Workshops, and soon set up a paper mill in Marlborough-on-Hudson in New York State, where he committed himself to the handmade production of paper. He eventually resettled in Ohio, where, in essence, he devoted his remaining life to the art, craft and science of papermaking. more…

Thursday, August 30, 2012

Les Coleman Meets Jessica Helfand

© Les Coleman, Imperfect Sense vovelle

Above A few years ago (2005 to be precise), British artist and aphorist Les Coleman sent me this adaptation of an "information wheel" or "wheel chart" (produced by Colin Sackett for In House Publishing), in which each turn of the wheel produces a Coleman aphorism. I was reminded of one of my favorite books, published a few years earlier, by Winterhouse graphic designer Jessica Helfand, titled Reinventing the Wheel (NY: Princeton Architectural Press, 2003) (see cover below). It is an immensely rich collection of the widest variety of vintage information wheels (more formally known as volvelles), pertaining to all sorts of subjects, among them Enemy Airplane and Yank Spotters, Color Blindness Chart, and Handy Nail Calculator. There must be at least several hundred, reproduced in color and in fine detail. As it turns out, Les Coleman's "dial an aphorism" is a take-off on a British Translation Wheel that came out c1960 (see p. 136). When I saw the Helfand book, I immediately challenged my graphic design students to design and build their own vovelles, using unexpected subject matter. One student built a pizza wheel, in which the wheel was part of a circular pizza cutter.

Cover, Jessica Helfand, Reinventing the Wheel (2003)


•••

That said, here is more from Les Coleman—

Model wears clothes at nudist camp life drawing class.

A wig so convincing it had its own dandruff.

The life of a mouse is a rat race.

 Terror struck at the very heart of his epiglottis.

The vacation was certainly no holiday.

The temerity to be audacious.

Please refrain from prohibiting.

The cowboy put on his dark glasses and rode off into the sunset.

The sundial had stopped.

Little Miss Muffet sat on a whoopee cushion.

Propaganda helps us make up our minds.

To make guinea pigs of guinea pigs.

If I could be a fly on the wall I would not be sitting in this chair.

Sunday, May 27, 2012

More Morsels from Les



Above Those clever Victorians. This turn-of-the-century drawing, published in the Strand Magazine (c1907), is made entirely of shorthand notations.

...

Meanwhile, Les Coleman shares his latest thunks—

Overnight intruders broke into the clay pigeon factory and shot all the pigeons.

Ping: Pong's friend.

Blind, Deaf and Dumb came to their senses.

He sold his soul, and a second-hand car, to the Devil.

There was no conversation to speak of.

The lead balloon was proving impossible to blow up.

Nudity: the height of fashion.

Cold weather caused the skull's teeth to chatter.

Parachute complaint forms need to be filled out in
advance.

A face-off ensued between the two cuckoo clocks.

The deaf piano tuner lived in the same street as the
blind art critic.

Eve went to the greengrocers to buy some apples.

A leaking sieve only added to their problems.

Copyright © Les Coleman