Morning sun moves across the street,
and the frost hides from it,
retreating to the shadows of trees and houses
what's left are small spaces of crunching grass
bent blades, little prisms, catching the light.

On the other side of the street,
squirrels race across yellowing yards
looking for leftovers, confusing sun for warmth
sifting through folded brown leaves and discarded limbs.

Tomorrow,
when the snow comes-
the streets and alleys will fill with quiet white
and the hieroglyphics of small birds
marking their way back to the feeders.

Counting Crows used this phrase in their track 'Around Here' to describe the racial indiversity of a small town.

Owen McHugh, Kandinsky and other post modern painters often used this palette, at once both indicating their sensitivity for new expressions of color theory and providing us with a slew of ridiculous and bland large scale canvases to fill today's museums of modern art. Such a lack of color contrast in a piece forces heightened emphasis on the importance of other compositional elements.

Also, white on white formal wear (white ties against white shirts) has become somewhat of a comedic badge for mafioso wiseguys, as demonstrated in the hilarious My Blue Heaven by Steve Martin.

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