Woman Adorned by Walter Hugo (Millie Brown)
Xuebing Du

JVL
noise dept.
PUT YOUR BEARD IN MY MOUTH
"I'm Dorothy Gale from Kansas"
Cosimo Galluzzi

@theartofmadeline
NASA

#extradirty

shark vs the universe
tumblr dot com
Mike Driver

izzy's playlists!
occasionally subtle
Show & Tell
d e v o n
sheepfilms

titsay
AnasAbdin
Monterey Bay Aquarium

seen from United States

seen from United States

seen from United States

seen from Türkiye

seen from United States
seen from United States

seen from Germany

seen from Indonesia
seen from United States

seen from Canada
seen from United States

seen from United States
seen from Germany

seen from Croatia
seen from United States
seen from United States
seen from United States
seen from Indonesia

seen from Kenya

seen from Malaysia
@innervoiceartblog
Woman Adorned by Walter Hugo (Millie Brown)
Love Sorrow Love sorrow. She is yours now, and you must take care of what has been given. Brush her hair, help her into her little coat, hold her hand, especially when crossing a street. For, think, what if you should lose her? Then you would be sorrow yourself; her drawn face, her sleeplessness would be yours. Take care, touch her forehead that she feel herself not so utterly alone. And smile, that she does not altogether forget the world before the lesson. Have patience in abundance. And do not ever lie or ever leave her even for a moment by herself, which is to say, possibly, again, abandoned. She is strange, mute, difficult, sometimes unmanageable but, remember, she is a child. And amazing things can happen. And you may see, as the two of you go walking together in the morning light, how little by little she relaxes; she looks about her; she begins to grow.” ~ Mary Oliver, Red Bird Photo: Echo NittoLitto by Claudia Susana
On a hot summers day on top of the Big Biba Roofgardens, the Derry & Tom's building.....The way it was....Circa 1973
The unlived life does not always ask to be recovered. Sometimes it asks to be mourned.
There are ways we imagined our lives might unfold that never came to pass. Dreams that remained unopened. Forms of tenderness that were never welcomed. Capacities that stayed hidden because the conditions for their flowering were never there. Ways of speaking, creating, trusting, resting, loving, or belonging that could not fully emerge in the world we were given.
We often imagine healing as a return—as the recovery of what was lost, the reclaiming of what had to go underground. And sometimes it is. Sometimes something long exiled does begin to find its way home.
But not always.
Sometimes healing begins not with retrieval, but with grief. With allowing ourselves to feel the sorrow of what could not happen, what was interrupted, what had to be left behind in order to survive, remain connected, or make it through.
This grief is not a failure of healing. It is not resignation, and it is not collapse. It is a form of love. Because what is mourned is no longer abandoned. What is grieved is no longer left wandering at the edge of the psyche, carrying its loneliness in silence. It is brought into the heart and given a place among the things that mattered.
Perhaps this is one of grief’s quiet mercies: not that it restores the unlived life, but that it refuses to exile it any longer. It allows us to turn toward what mattered, even if it can no longer unfold in the way we once hoped. And in that turning, something sacred happens. The lost life is no longer asked to disappear without witness. It is met, blessed, and carried differently.
Perhaps grief is one of the ways love keeps faith with what could not be lived.
- Matt Licata
"Everything that is visible hides something that is invisible"
~ Rene Magritte
Artwork: "Le seize Septembre" by Rene Magritte
What we see and what we seem are but a dream, a dream within a dream.
PICNIC AT HANGING ROCK 1975, dir. Peter Weir
Not all grief seeks the light. Some grief seeks the Earth.
There are forms of grief that do not come to lift us, clarify us, or return us quickly to ourselves. They do not arrive as insight, catharsis, or even consolation. They come to take us downward. Into soil. Into mud. Into the dark, fertile places where something unfinished has been waiting beneath the surface of the life we’ve been trying to live.
The older traditions understood that not all healing begins in illumination. Some of it begins in descent. In laying the body down on the ground. In relinquishing, for a time, the demand to rise above, make sense of, or transcend what is happening. In allowing sorrow to take us where it wants to take us—beneath the polished spiritual self, beneath the strategies of productivity and explanation, beneath the identities we’ve built in order to avoid the terrible vulnerability of being human.
There are griefs that belong not only to what has been lost outside us, but to what had to go underground within us in order to survive. The joy that was too much for the room. The anger that threatened connection. The tenderness that found no safe place to land. The instinctive, alive, untamed parts of us that were exiled so that some version of belonging could be preserved.
When those griefs begin to stir, the movement is often not upward but downward. The psyche, and sometimes the body itself, begins to turn toward the underworld. Toward the places where the unlived life has been buried. Toward the sorrow that was postponed because it could not yet be borne. Toward the old altars where something in us has been waiting, patiently and wordlessly, for permission to be mourned.
This is why grief can feel so disorienting. It does not always ask us to understand. Sometimes it asks us to kneel. To stop. To lie down on the earth for a while and let ourselves be touched by a different order of intelligence—one that does not move according to the timelines of the mind, the demands of the world, or the spiritual ego’s longing to remain clear, spacious, and in control.
In the ancient world, there were practices of incubation: lying down in sacred places, surrendering to darkness, dream, symptom, image, and the mysterious movements of the soul. The point was not self-improvement. It was contact. It was to remain close enough to the underworld that another kind of knowing could emerge—one not built from mastery, but from surrender; not from transcendence, but from intimacy with what had been cast out.
Grief can be one of the great purifiers because it dismantles false altitude. It interrupts the tendency to turn awakening into a performance of distance from the body, distance from attachment, distance from need, distance from the ordinary heartbreak of being here. It lowers us back into the human field. Back into the trembling, unfinished, relational body. Back into the place where love is no longer an idea, but a force that must make contact with sorrow, longing, memory, and the life we were not allowed to live.
Not all grief seeks the light. Some grief seeks the Earth because the Earth knows how to receive what the world could not. The Earth knows what to do with what has been buried alive. It knows how to hold what has been exiled, broken open, or brought to its knees. It knows something about death, yes—but also about gestation. About incubation. About what becomes possible when we stop trying to rise too quickly and allow ourselves to be lowered into a more ancient rhythm of undoing and becoming.
Sometimes grief is not a detour from the path. Sometimes it is the path—the dark sacrament through which the body is humbled, the heart is broken open, and the soul is returned to the ground of its own life.
- Matt Licata
“I invited Intuition to stay in my house when my roommates went North. I warned her that I am territorial and I keep the herb jars in alphabetical order. Intuition confessed that she has a ‘spotty employment record.’ She was fired from her last job for daydreaming.
When Intuition moved in, she washed all the windows, cleaned out the fireplace, planted fruit trees, and lit purple candles. She doesn’t cook much. She eats beautiful foods, artichokes, avocadoes, persimmons and pomegranates, wild rice with wild mushrooms, chrysanthemum tea. She doesn’t have many possessions. Each thing is special. I wish you could see the way she arranged her treasures on the fireplace mantle. She has a splendid collection of cups, bowls, and baskets.
Well, the herbs are still in alphabetical order, and I can’t complain about how the house looks. Since Intuition moved in, my life has been turned inside out.”
― J. Ruth Gendler, The Book of Qualities
Muse Playing The Harp by Antoine Auguste Ernest Hébert
A Capri Witch by Austrian painter Marianne Stokes, 1884-85
The Kingfisher, 1886 by Vincent Van Gogh
"Artist's Collection" 2021
Susan Paterson (Canadian, born in Halifax, Nova Scotia, 1958)
Oil on canvas
(via Tofino BC) Vancouver Island, Canada
Dora Maar, study for Petrole Hahn 1935