Jamison Newbound

“Without protest, officers in The Hague supervised the transport of Jewish prisoners, and some even agreed to work as guards in Westerbork.”
― Annejet van der Zijl, The Boy Between Worlds

“Some people should never be gone, and those that should hang around forever.”
― Patricia Cornwell, Red Mist

“Ma warning her older sisters about young men who overrevved their rusted-out pickups or drove jalopies around with radios blaring. “Unworthy boys make a lot of noise,” Ma had said.”
― Delia Owens, Where the Crawdads Sing

“And yes—scholars might care about the innovative brushwork and use of light, the historical influence and the unique significance in Dutch art. But not me. As my mother said all those years ago, my mother who loved the painting only from seeing it in a book she borrowed from the Comanche County Library as a child: the significance doesn’t matter. The historical significance deadens it. Across those unbridgeable distances—between bird and painter, painting and viewer—I hear only too well what’s being said to me, a psst from an alleyway as Hobie put it, across four hundred years of time, and it’s really very personal and specific. It’s there in the light-rinsed atmosphere, the brush strokes he permits us to see, up close, for exactly what they are—hand worked flashes of pigment, the very passage of the bristles visible—and then, at a distance, the miracle, or the joke as Horst called it, although really it’s both, the slide of transubstantiation where paint is paint and yet also feather and bone. It’s the place where reality strikes the ideal, where a joke becomes serious and anything serious is a joke. The magic point where every idea and its opposite are equally true.”
― Donna Tartt, The Goldfinch