Camille Pissarro The Harvest 1882 painting

Camille Pissarro The Harvest 1882 paintingCamille Pissarro The garden at Pontoise 1877 paintingCamille Pissarro Louveciennes The Road to Versailles paintingCamille Pissarro Landscape at Chaponval painting
incapable of harming a fly.Regardless of how fly-loving Nemo might or might not be, Reynerd troweled on the sincerity as thickly as he might have done lessons to preschoolers on an early-morning TV program.If his acting had been this dreadful when he’d was provided by Reynerd’s blue eyes and by the bright designs that enlivened the two bags of potato chips that flanked him on the sofa.The bag to his left offered Hawaiian-style chips. The bag to his right held a sour-cream-and-chive variety. Mr. Gourmet.Hazard had not forgotten Ethan’s enigmatic but intense warning about snack-food containers.Both bags were open, standing upright, plump enough to be full. Hazard detected the faint oily aroma of the chips.If the bags contained handguns as well as chips, Hazard wasn’t able [142] to smell the weapons. He couldn’t see them, either, because the bags, made of foil, were not transparentappeared on those soap operas, the writers must have been frantic to script Reynerd into a deadly car accident or a lightning-quick terminal brain tumor. The audience might have preferred a bloody end for him, by shotgun in an elevator.Furniture, carpet, blinds, photographs of birds: Everything in the apartment was black-and-white. On the TV, in an old black-and-white movie, Clark Gable and Claudette Colbert showed Reynerd how it ought to be done.In black slacks and a black-and-white sport shirt, the sincere friend of Jerry Nemo had coordinated his wardrobe with the decor.At the suggestion of his host, Hazard settled in an armchair. He perched on the edge, the better to get up fast.table, pausing Gable in midspeech and Colbert in reaction. He sat on the sofa.The only color in the room