
oozey mess

if i look back, i am lost
almost home

★

ellievsbear
Sweet Seals For You, Always
RMH
One Nice Bug Per Day

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he wasn't even looking at me and he found me
noise dept.
Monterey Bay Aquarium
sheepfilms
Misplaced Lens Cap
AnasAbdin
$LAYYYTER

祝日 / Permanent Vacation

pixel skylines

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No title available
seen from Singapore

seen from United States
seen from United States
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seen from United States
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seen from Netherlands

seen from Australia
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seen from Switzerland
seen from Vietnam
seen from United States

seen from United States
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seen from Sri Lanka
seen from United States
@aliceinalbion
EMMA THOMPSON as ELINOR DASHWOOD and KATE WINSLET as MARIANNE DASHWOOD
SENSE AND SENSIBILITY (1995) dir. ang lee
It's a secret garden. Secrets are safe with me.
THE SECRET GARDEN (1993) dir. Agnieszka Holland
Full Snow Moon over Ely Cathedral
l VeronicaJoPo l Cambridgeshire, England
PRIDE & PREJUDICE + avian movement
The Other Bennet Sister 1.01
Lady Ottoline Morrell by Philip Edward Morrell, 1909
Children’s band, Newcastle-upon-Tyne
A Village Romeo (Ronald Chase, 1971)
ATONEMENT (2007) dir. Joe Wright
Book Club: The Secret Garden by Frances Hodgson Burnett
Thank you @dvoeverie-stitches for inviting me to read this with you all this March!
It was honestly delightful to return to this book after about twenty years away from it. I'm surprised at how much of it had stuck with me, as well as how enduring Burnett's writing is.
Throughout the story, "magic" is talked about as a pervasive force of hope and growth, possibility and connection. The characters make a mention or two of "black magic" as well, but it's not explored. Burnett gives her characters "magic" as a code both for a lovely sort of non-denominational god and for the vigorous force of life itself. One relevant line which stuck with me came near the end of the book, when laying out a somewhat magical occurrence: "I do not know enough about the wonderfulness of undiscovered things to be able to explain."
There are some funny moments in the dialogue, both "funny" in the sense that I was laughing aloud and "funny" as in the sorts of racial and class tension innate to a generally benevolent book written for a very early-1900s audience. There is a way to read the story as casually racist or xenophobic, but I truly don't think it is, at its core. The lessons learned through the eyes of young Mary read more to me like an encouragement to connect to the land and get your hands dirty, get to know the everyday people around you, and communicate with the growing world outdoors, which may or may not be god. The fact that these values come in stark contrast to Mary's past as a cooped up tyrannical child colonizer in India makes an argument for a rather benevolent stance, in my opinion.
It was certainly shocking, though presumably not uncommon, how absent the father was in his son's melancholic illness. The story's approach to illness broadly seems just as ridiculous. But I'm sure there's a heap of post-Victorian context I'm missing, and I can imagine that Burnett's narrative suggestion to shoo rich spoiled brats out of the house and into the garden and to speak with real, hardworking people was quite the radical stance in her day. But by Jove, the Cravens could have paid Martha a better wage and supported her family in some simple way. Anyway, I somehow forgot that a whole bunch of the characters share my last name. That was fun.
More than these inevitable concerns, the book is bird song and budding thicket; it's a love letter to Yorkshire and to friendship. I found myself smiling and laughing and waxing a little poetic while I made my way back through the transformation of little Mary Lennox. If you have never read it, or if it's likewise been become an overgrown memory, I recommend cutting back some of the old hedge and picking it up again.
I have that exact copy somewhere in my collection. I’m out and about right now, so I’ll take a closer look at your thoughts this evening @dianasson ! Right now I want to Reblog so I don’t forget.
Tristan & Isolde (2006)
Will the afterlife be harder if I remember the people I love, or forget them?
Either way, please let me remember.
-Andrea Gibson
Elizabeth Adela Stanhope Forbes
marie france pisier, isabelle adjani, and isabelle huppert behind the scenes as charlotte, emily, and anne brontë for les soeurs brontë (1979)
— Christa Wolf, from "Medea," originally published c. 1996 (tr. by John Cullen) (via lunamonchtuna)
Papillon d'Or ~Toshiyuki Enoki