By Sandra Kring
Wisconsin, 1961. Evelyn “Button” Peters is 9 the summer time Winnalee and her fiery-spirited older sister, Freeda, blow into her small town–and from the instant she sees them, Button is familiar with it will be a summer season in contrast to any other.
Much to her mother’s dismay, Button is fascinated with the Malone sisters, particularly Winnalee, a feisty scrap of a specific thing who incorporates round a glittery silver urn containing her mother’s ashes and a tome she calls “The e-book of vivid Ideas.” it really is right here, Winnalee tells Button, that she documents every little thing she learns: her solutions to the mysteries of existence. yet occasionally these mysteries hide a fact larger left buried. And whilst a devastating secret's unexpectedly published, dividing loyalties and uprooting lives, no one–from Winnalee and her sister to Button and her family–will ever be a similar.
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You must lend me these, Basil,’ he cried. ‘I want to learn them. ’ ‘Oh, I am tired of sitting, and I don’t want a life-sized portrait of myself,’ answered the lad, swinging round on the music-stool, in a wilful, petulant manner. When he caught sight of Lord Henry, a faint blush coloured his cheeks for a moment, and he started up. ’ ‘This is Lord Henry Wotton, Dorian, an old Oxford friend of mine. ’ ‘You have not spoiled my pleasure in meeting you, Mr. Gray,’ said Lord Henry, stepping forward and extending his hand.
Ian Small (Oxford: Oxford University Press, ). –––– Studies in the History of Renaissance (), revised and expanded as The Renaissance (), repr. in The Renaissance: Studies in Art and Poetry––The Text, ed. Donald L. Hill (Berkeley and Los Angeles: University of California Press, ). Hill’s edition notes the textual variants in the four editions of The Renaissance that Pater published during his lifetime. Suetonius, Lives of the Caesars, ed. and trans. Catharine Edwards (Oxford: Oxford University Press, ).
Basil, this is extraordinary! ’ Hallward got up from the seat, and walked up and down the garden. After some time he came back. ‘Harry,’ he said, ‘Dorian Gray is to me simply a motive in art. You might see nothing in him. I see everything in him. He is never more present in my work than when no image of him is there. He is a suggestion, as I have said, of a new manner. I ﬁnd him in the curves of certain lines, in the loveliness and subtleties of certain colours. ’ asked Lord Henry. ‘Because, without intending it, I have put into it some expression of all this curious artistic idolatry,* of which, of course, I have never cared to speak to him.
The Book of Bright Ideas by Sandra Kring