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From Louise Penny’s third Chief Inspector Gamache novel, The Cruelest Month:
p. 79
Gamache loved to see inside the homes of people involved in a case. To look at the choices they made for their most intimate space. The colors, the decorations. The aromas. Were there books? What sort?
How did it feel?
He had been in shacks in the middle of nowhere, carpets worn, upholstery torn, wallpaper peeling off. But stepping in he also noticed the smell of fresh coffee and bread. Walls were taken up with immense smiling graduation photos and on rusty pocked TV trays stood modest chipped vases with cheery daffodils or pussy willows or some tiny wildflower picked by worn hands for eyes that would adore it.
And he’d been in mansions that felt like mausoleums.
p. 80
Grief sometimes took time to tell. The first days for relatives or close friends of murder victims were blessedly numb. They almost always held together, going through the motions of a normal life, so that a casual observer would never know disaster had just rammed into them. Most people fell to pieces gradually, like the old Hadley house.




Following a private tour of the Gore Place, our guide said he was certain we would enjoy visiting the Isabella Stewart Gardner Museum. He was right.



Images, unedited and taken with phone, from our recent trip to Franklin Park Zoo.


Detail from Seacoast at Trouville (Claude Monet; 1881)

Detail from Summer Night’s Dream (The Voice) (Edward Munch; 1893)

Detail from Ravine (Vincent Van Gogh; 1889)

I Dreamed I Could Fly (Jonathan Borofsky; 2000) put me in mind of the ceremony in the cheesy but frightening sci-fi flick Logan’s Run.

Detail from Jackson Pollock’s Mural (1943)

An Olmec mask

Detail from Double Portrait (Max Beckmann; 1946)

Untitled. Pieter Vermeersch. 2017.
It reminds me of Anselm Kiefer’s Midgard (1982-85).
Both works are by German artists.

Aren’t we all?

Detail from a charming poster near the museum entrance.