Lum and Levi spend weekends hiking, rowboating, and skateboarding with friends. Levi occasionally brings up wanting a dad. “I acknowledge his feelings,” Lum says. “Then I point out that we know families with two moms, one dad, divorced parents. I talk about the wonderful people in his life and then I bring it back to the most important thing: We have each another.” The one person Lum wishes knew Levi is her grandmother. “I remember one Christmas years ago, she said, ‘You know, Jenny, you don't need a husband to have a baby.’ Funny that she gave me the thumbs-up before I knew that's how things would go.”
Don’t talk about parties, tailgates, easiness of professors, or hotness of the girls/guys on campus. Maybe those are factors in why you want to go to the school, but that will not impress anyone on the admissions committee!
All of this occurs to the viewer before the central event of the painting (as announced in the painting's title) reveals itself to his attention: the splash of a pair of legs as the fallen Icarus plunges into the sea. In the lower right-hand corner of the painting, the painfully splayed legs, their delicate pinkness, are all that we see of the fallen mythological figure. They are caught at that precise instant that this symbol of human pride or hubris is about to disappear forever from the world's attention (ironically, of course, in a world where no one is paying attention). We are the only ones who will ever know. All of the energies of the painting lead away from this disturbing and important event: the plowman and shepherd, oblivious, go about their business, as does the fully-rigged boat (also moving toward the left), sailing away from the fallen figure. .