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| Mark Gertler Gilbert Canaan and his Mill 1916 oil on canvas Ashmolean Museum, Oxford |
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| Frances Hodgkins Flatford Mill 1930 oil on canvas Tate Britain |
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| Percival Arthur Wise Castle Mill, Corfe, Dorset ca. 1935 oil on canvas Poole Museum, Dorset |
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| Robert Moskowitz Blue Mill 1998 pastel on paper Museum of Modern Art, New York |
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| Richard Wyndham Tickerage Mill ca. 1939 oil on canvas Brighton & Hove Museums, East Sussex |
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| Roderic O'Conor Bridge at Grez-sur-Loing ca. 1889-90 oil on canvas National Gallery of Ireland, Dublin |
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| William Clift View South of Blue Point from the Mid-Hudson Bridge 1986 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Jeffry Wyatville Design for Bridge over the Great Western Road ca. 1795 drawing Yale Center for British Art |
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| André Derain Charing Cross Bridge, London 1905-1906 oil on canvas Museum of Modern Art, New York |
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| Oliver Warman Folly Bridge 2002 oil on canvas Ashmolean Museum, Oxford |
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| Nicola Victor Ziroli Bridges in Winter 1934 oil on canvas (WPA Project) Smithsonian American Art Museum, Washington DC |
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| Olga Rozanova The Factory and the Bridge 1913 oil on canvas Museum of Modern Art, New York |
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| Johannes Theodor Baargeld Factory 1920 drawing Museum of Modern Art, New York |
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| Julian Trevelyan Bicycle Shop 1937 hand-colored etching University of Stirling, Scotland |
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| Frede Vidar Construction Site ca. 1935 watercolor and gouache on board (WPA Project) Smithsonian American Art Museum, Washington DC |
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| Bror Utter Entrance to the First National Bank 1957 watercolor and ink on paper Amon Carter Museum, Fort Worth, Texas |
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| James McNeill Whistler Rose and Red - The Barber's Shop, Lyme Regis 1895 oil on panel Georgia Museum of Art, University of Georgia, Athens |
"Books," he said. "You must have read a lot of books. A strange occupation. Sitting and reading. I often do it myself, though maybe not that often, when I think about it, at least not the sort of books that you undoubtedly read; but when, on rare occasions, I do sit down and read a book, then I quickly find myself thinking about what it is I'm doing, and I think: Jesus, are you sitting here and reading? Don't you have anything else to do?"
*
At home they spent a lot of time in the kitchen. Merete Sæthre liked to cook, spending a lot of time turning the simplest and cheapest ingredients into the most delicious dishes. If this had generally been a happier, not to mention a more lighthearted book, then at the very end of the book there should have been a section with Merete Sæthre's best recipes; unfortunately that's not going to happen, for reasons that we'll soon explain.
*
By the way, in every novel there is a big black hole, which is universal in its blackness, and now this novel has reached that point. Surrounded by spirited young ladies, with all their sweetness, we find ourselves together with Singer in a novel that is like a big black hole. Why is Singer the main character in this novel? And not only the main character but the one around whom everything revolves?
– from T Singer by Dag Solstad, translated from Norwegian by Tiina Nunnally (London: Harvill Secker, 2018)