Santiago, Cuba, 2008, ph. Alex Webb
Sweet Seals For You, Always
NASA
No title available
RMH
hello vonnie
we're not kids anymore.
macklin celebrini has autism
Cosimo Galluzzi
I'd rather be in outer space 🛸

Discoholic 🪩
Fai_Ryy

Origami Around

Kiana Khansmith
EXPECTATIONS

Product Placement
cherry valley forever
let's talk about Bridgerton tea, my ask is open
The Bowery Presents

❣ Chile in a Photography ❣

JVL
seen from United States
seen from United States

seen from United Kingdom

seen from Malaysia

seen from Finland
seen from United States

seen from Singapore

seen from China
seen from Egypt
seen from Australia

seen from United States

seen from Australia
seen from Philippines
seen from Canada

seen from Malaysia
seen from Philippines
seen from Australia

seen from Saudi Arabia
seen from Malaysia

seen from Switzerland
@kenyavreynolds
Santiago, Cuba, 2008, ph. Alex Webb
cPTSD be like: break down in tears when someone treats you with compassion.
More art therapy stuff
How to's for the modern adult are my best friends actually #myneglectrecovery
my partner said something that kinda rocked my world
Who Is Going to Tell Me?
by Sandra María Esteves for España España, golden father of my ancestors, who captured my mother as slave, stripped her naked, plowed treasures from her shores. To you, who claims hills most green, wine most sweet, Spanish most precise, devotion most fervent. Whose structured guitar the most elegant and flamenco the most graceful. To you, initiate whose model blessed this western land where Columbus recovered his wealthy Caribbean key opening door to Española—Santo Domingo, giving birth to the history of a million shames, where the names of kings, imamus, caciques and warlords were secrets disguised, abolished, dissolved into myriads of bloodlines, claiming invisible records, unwritten, stolen from the luscious continents. To you, father of my father, whose table graced our tobacco fields, whose whip increased the abundance of our sweet cane, grinding sweat from roots to water your rose garden of thorns. Whose court inspired our danzón, corridor, and gracious bomba, giving rise to a new African drumbeat—the flight of the ball and chain, creating the formulation of new words, esclavo, cimarrón, slave, revel. To you, who hides in mountains of golden courtly seals inside handwrought manuscripts from the age of Ferdinand. On whose gilded pages are inscribed the names of my great grandmothers? Inside what illustrations are located the landmark homes of my great grandfathers? On the maps of which islands rest their simple graves where I may pay hommage to my ancestors? In whose kingly court did my great grand-aunt wet nurse the master’s brats? Perhaps a future uncle, or slightly remembered landowner. And which of my grand cousins were teachers? Masters of their craft, respected noblemen, and women of wisdom? In whose library will I find their books? Tales of their lives? On which ships did my captured relatives sail? At which ports did their feet first land? To which continents were relatives dispersed? To Brazil, Venezuela, Argentina, Bolivia, Colombia, Costa Rica, Cuba, Ecuador, Peru, the Dominican Republic, Uruguay, Jamaica, Haiti, the Caribbean Antilles, the Mexican Coast, Panamá, Yucatan, the thirteen colonies, New Orleans, Virginia, South Carolina, Mississippi, Alabama, Nueva York? To you, singing canticles of Spanish kings of Barcelona, where Maximilian danced his Roman feast of world con- quest, forming the anguished tears of Goya, forging the broken cubes of Picasso, giving substance to the cries of García Lorca. In all your illustrious bounty hides a legacy denied. Yet, not one line of testimony to this truth of shame, nor one admission of guilt, nor humble apology, nor effort to replace what was defiled, dismembered. To you, España, prize of Europe, host to the colonized West, solicitor of rich ports, seducer of saintly Indians, golden father of my ancestors, who captured my mother as slave, stripped her naked, plowed treasures from her shores. I want to know your future. What new paintings will be created on whose walls? Whose names will emerge in which new brilliant journals? What melodies will evolve from our mixings? In whose gardens will we water our visions? I want to know who will decide our fate? You, or I, or WE together? Will I be free to discover my own path? Uncover a new journey no one else has known? Designing my life spaces in my own natural colors, tropical parades of evergreens, caribbean blue seas, sand surfaces, and mountain-rain-banana-leaf horizons. I want to know. Who is going to tell me?
luz maría umpierre' music d'orsay to sandra maría esteves in the maría cristina poems
like the fact that PrEP and PEP just kinda became a normal part of life one day without fanfare is something I think about a lot. Thousands of people died gruesome horrible deaths and now when I go on Reddit or ride the subway I see dinky little ads like "start this medication today so you don't contract/spread HIV! and if you get accidentally exposed there's a different medication for that to keep yourself from contracting!" and it's just an everyday thing. all those people who died fought for it to be this way.
Deana Lawson details
Hanan Daoud Mikhael Ashrawi (حنان داود ميخائيل عشراوي), Economics, in Women of the Fertile Crescent. An Anthology of Modern Poetry by Arab Women, Edited with Translations by Kamal Boullata, Three Continents Press, Washington, D.C., 1978, p. 143
Mona Sa’udi, And let her die (tr. Kamal Boullata)
Gabrielle Simon Edgcomb, Letter from Mona Saudi: Beirut Summer 1982, in We Begin Here. Poems for Palestine and Lebanon, Edited by Kamal Boullata and Kathy Engel, Interlink Books, Northampton, MA, 2007, p. 202
NYC on film
¿Por qué me siento tan obligada a escribir? Porque la escritura me salva de esta complacencia que temo. Porque no tengo otra alternativa. Porque tengo que mantener vivo el espíritu de mi rebeldía y de mí misma. Porque el mundo que creo en la escritura me compensa por lo que el mundo real no me da. Al escribir, pongo el mundo en orden, le doy una agarradera para apoderarme de él. Escribo porque la vida no apacigua mis apetitos ni el hambre. Escribo para grabar lo que otros borran cuando hablo, para escribir nuevamente los cuentos malescritos acerca de mí, de ti. Para ser más íntima conmigo misma y contigo. Para descubrirme, preservarme, construirme, para lograr la autonomía. Para dispersar los mitos que soy una poeta loca o una pobre alma sufriente. Para convencerme a mí misna que soy valiosa y que lo que yo tengo que decir no es un saco de mierda. Para demostrar que sí puedo y sí escribiré, no importan sus admoniciones de lo contrario. Y escribiré todo lo inmencionable, no importan ni el grito del censor ni del público. Finalmente, escribo porque temo escribir, pero tengo más miedo de no escribir.
— Gloria Anzaldúa, “Hablar en lenguas: carta a escritoras tercermundistas."
Follow Diary of a Philosopher for more quotes!
hunterpearl.com PAIR OF MID-CENTURY DESIGN IMBOYA WOOD ARMCHAIRS BY PERCIVAL LAFER ..