"I prefer brunettes"
— Stephenie Meyer (Twilight)

"Autumn seemed to arrive suddenly that year. The morning of the first September was crisp and golden as an apple..."
— J.K. Rowling (Harry Potter and the Deathly Hallows)

"On and on they flew, over the countryside parceled out in patches of green and brown, over roads and rivers winding through the landscapes like strips of matte and glossy ribbon."
— J.K. Rowling (Harry Potter and the Deathly Hallows)

"The world is changing. It is no longer a world just for boys and men”"
— Alice Walker

"She would be half a planet away, floating in a turquoise sea, dancing by moonlight to flamenco guitar."
— Janet Fitch (White Oleander)

"I can read in red.
I can read in blue.
I can read in pickle color too."
— Dr. Seuss (I Can Read with My Eyes Shut)

"There's a reason red represents love; it's the color we bleed."
— Lise Bennett

"You a low down dog is what’s wrong. It’s time to leave you and enter into the creation. And your dead body just the welcome mat I need."
— Alice Walker

"He was golden and beautiful as a sunset."
— Anita Diamant (The Red Tent)

"I wanted this day, the perfect buttery sun like peach ice cream, the speed, the satin leather of the car seat, the fair. Forbidden fruit, a day like no other. "
— Beth Gutcheon (More Than You Know: A Novel)

"They sang the words in unison, yet somehow created a web of sounds with their voices. It was like hearing a piece of fabric woven with all the colors of a rainbow. I did not know that such beauty could be formed by the human mouth. I had never heard harmony before."
— Anita Diamant (The Red Tent)

"Drenched in British purples, I have offered up my tones: pigeon breast, hind belly, balky mule lung, monkey bottom pink, lapis lazuli and malachite, excited nymph thigh, panther pee-pee, high-smelling hen hair, hedgehog in aspic, barrel-maker's brothel, revered rose, monkeybush, turkey-like white, sly violet, page's slipper, immaculate nun spring, unspeakable red, Ensor azure, affected yellow, mummy skull, rock-hard gray, brunt celadon, shop soiled smoke ring."
— James Ensor (James Ensor)

"Love was a feeling completely bound up with color, like thousands of rainbows superimposed one on top of the other."
— Paulo Coelho

"I'm not an abstractionist. I'm not interested in the relationship of color or form or anything else. I'm interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on."
— Mark Rothko

"Think of what starlight
And lamplight would lack
Diamonds and fireflies
If they couldn’t lean against Black. . . ."
— Mary O'Neill (Hailstones And Halibut Bones)

"I closed my eyes to watch tiny dancers like jeweled birds cross the dark screen of my eyelids."
— Janet Fitch (White Oleander)

"And like flowers in the fields, that make wonderful views, when we stand side-by-side in our wonderful hues..

We all make a beauty so wonderfully true.
We are special and different, and just the same, too!

So whenever you look at your beautiful skin, from your wiggling toes to your giggling grin...

Think how lucky you are that the skin you live in, so beautifully holds the "You" who's within."
— Michael Tyler (The Skin You Live In)

"(letters) They were like a kelp forest, they cast a weird green light, you could get lost there, become tangled and drown.

...still eyeing the letters like Portuguese man-of-wars floating on the innocent sea."
— Janet Fitch (White Oleander)

"She turned back to inspect a bank of greens: olive, jade, leaf, kiwi, lime, a silver-green like the back of birch leaves, a bright pistachio."
— Anne Bartlett (Knitting: A Novel)

"And the needles of the pine trees, freshly washed to a deep, rich green, shimmered with droplets that blinked like clear crystals."
— Billie Letts (Shoot the Moon)

"As my friend Jeremy Gilbert-Rolfe has argued persuasively, there is an element of positivity in the visible world, and in color particularly, that totally eludes the historicity of language, with its protocols of absence and polarity. The color red, as an attribute of the world, is always there. It is something other than the absence of yellow and blue--and, thus, when that red becomes less red, it becomes more one or the other. It never exists in a linguistic condition of degradation or excess that must necessarily derive from our expectations."
— Dave Hickey (Air Guitar: Essays on Art & Democracy)

"I'm painting color squares. One
square - one color. That's what I paint."
— Nigel Tomm

"Soon it got dusk, a grapy dusk, a purple dusk over tangerine groves and long melon fields; the sun the color of pressed grapes, slashed with burgandy red, the fields the color of love and Spanish mysteries."
— Jack Kerouac (On the Road)

"... los colores no pueden comprenderse, se sienten."
— Orhan Pamuk (My Name Is Red)

"El significado de los colores es que están ante nosotros y podemos verlos - le contestó el otro -. No se puede explicar el rojo a quien no lo ha visto."
— Orhan Pamuk (My Name Is Red)

"El color es el tacto del ojo, la música de los sordos, una palabra en la oscuridad."
— Orhan Pamuk (My Name Is Red)

"[Orange] is one of God's favorite colors--- He stuck it right there between red and yellow as the second color in the rainbow. He decorates entire forests with shades of orange every autumn. It shows up in sunrises at the start of the day, sunsets at the end of the day, and in the glow of the moon at the right time of night."
— Reggie Joiner (Think Orange: Imagine the Impact When Church and Family Collide...)

"Her heavy peasant face was fringed by a bang of red hair like a woollen table-spread, a colour at once strange and attractive, an obstinate colour, a colour that seemed to make Lena feel something alien and bad-tempered had settled over her forehead..."
— Djuna Barnes

"The world is exploding in emerald, sage, and lusty chartreuse - neon green with so much yellow in it. It is an explosive green that, if one could watch it moment by moment throughout the day, would grow in every dimension."
— Amy Seidl (Early Spring: An Ecologist and Her Children Wake to a Warming World)

"Each day has a color, a smell."
— Chitra Banerjee Divakaruni (The Mistress of Spices: A Novel)

"The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?"
— James Joyce (A Portrait of the Artist as a Young Man)

"There is an element of positivity in the visible world, and in color particularly, that totally eludes the historicity of language, with its protocols of absence and polarity. The color red, as an attribute of the world, is always there. It is something other than the absence of yellow and blue - and, thus, when red becomes less red, it becomes more one or the other. It never exists in a linguistic condition of degradation or excess that must necessarily derive from our expectations."
— Dave Hickey (Air Guitar: Essays on Art & Democracy)

"He just wanted to stand close to her, touch her hair that was white as glacier milk..."
— Janet Fitch (White Oleander)

"Her fingers moved among barnacles and mussels, blue-black, sharp-edged. Neon red starfish were limp Dalis on the rocks, surrounded by bouquets of stinging anemones and purple bursts of spiny sea urchins."
— Janet Fitch (White Oleander)