One of the best [better?] things to have taken away from How to Paint a Dead Man by Sarah Hall, the discovery of The Craftsman’s Handbook by Cennino d’Andrea Cennini — from which Hall got her title [I like to point out the obvious, much?]
I keep reading this beautiful passage — it’s so technical, so precise in its directions. But it’s approximating my kind of poetry.
[Blessed baby pandas, it’s still in print! Augh, WANT.]