Strange matings occurred—mothers with daughters, zookeepers with giraffes and pink flamingos, undertakers with the bright blue marble corpses in their care.
(Carmel Bird, Field of Poppies, preface)
The hired clown had used two Betallatex 260s to make a pink motorcycle—an interesting twist although I felt she’d stuffed up the handlebars.
(Chris Abrahams, Maddox, 1)
In 1904 the Royal Academy notes described the subject as: ‘In wind-blown draperies of slate-colour and blue, a girl passes through a spring landscape accented by pink blossom and daffodils’. Since then, the picture’s whereabouts have been unknown and it was referred to as ‘lost’ in Anthony Hobson’s 1989 biography of Waterhouse.
Autumn came early in the mountains; there was an edge to the air as soon as the sun disappeared, and the garden, which had bloomed bravely in gay if disordered profusion through the dry summer months, was now thrusting the pink and white of self-sown cosmos, and the sad, misty mauve of tall daises through a tangle of neglected beds.
(Eleanor Dark, The Little Company, quoted by Luke Carman in ‘The ghosts of Eleanor Dark’, Southerly)
I can’t recall when I first saw the picture of Mathinna in colour, but I had imagined that her dress was pink. In fact it is red. The redness seems now to be somehow very significant. I recall my mother telling me that it was actually right to put red shoes on little girls, but wrong to put red shoes on little boys. In fact I really expected Mathinna should have been wearing a white dress. I would have given her a white dress, I thought. Did somebody agonise over the colour? Or was it just that there was a handy piece of red cloth?
(Carmel Bird, ‘Mathinna’)
Catherine carefully opens the note, then she opens her pencil case, takes out a pen with a pink feather on the end of it, and slowly writes something on the back of the note. Marlo has a face on her. Catherine gives the note to Marlo, whose face goes redder.
(Honni van Rijswijk, ‘The pointy finger of God’, Southerly 77.1)
Scene: a tall, erect man, aged 60, is walking up a long gravel driveway. He is impeccably, incongruously dressed for the country surroundings: dark blue suit and tie, rose-pink shirt, dress shoes. It is the Go-Betweens’ Robert Forster.
(Andrew Stafford, ‛The Go-Betweens: Right Here doco shows old wounds remain close to the surface’, Sydney Morning Herald 20 Sep. 2017)