Backyard Fruit

It's about books and paintings and movies and stuff. Also, fruit. OK not really fruit... This blog is dedicated to all things relating to the philosophy and history of art and aesthetics. Basically, it serves as a place to gather all of my favorites, looking for themes. Some of it's beautiful, and some is (arguably) not. None of it is my own.

[leopoldstotch3rd]

May the force of others be with you.

[leopoldstotch3rd]

[leopoldstotch3rd]

May the force of others be with you.

[leopoldstotch3rd]

What if he swum over? You swim over, scrawno?

She fell trying to pry open the old Rix flood gate. So the Rebellion can sneak in and take them by surprise.

I can’t swim.

Tyranny requires constant effort. It breaks. It leaks.

And know this: the day will come when all these skirmishes and battles, these moments of defiance, will have flooded the banks of the empire’s authority and then there will be one too many. One single thing will break the siege.

Remember this. Try.

[leopoldstotch3rd]

Maarva’s floodgate. Revisited.

[leopoldstotch3rd]

What if he swum over? You swim over, scrawno?

She fell trying to pry open the old Rix flood gate. So the Rebellion can sneak in and take them by surprise.

I can’t swim.

Tyranny requires constant effort. It breaks. It leaks.

And know this: the day will come when all these skirmishes and battles, these moments of defiance, will have flooded the banks of the empire’s authority and then there will be one too many. One single thing will break the siege.

Remember this. Try.

[moonmovies]

The last black man in San Francisco (2019), dir Joe Talbot

[soulknowledge]

Michael K. Williams shot by Jesse Dittmar.

Rest peacefully King.

[filmografie]

Joan Didion: The Center Will Not Hold (2017), dir. Griffin Dunne

[agrippinaes]

THE DIG (2021) dir. simon stone

we die. we die, and we decay. we don’t live on. i’m not sure i agree. from the first human handprint on a cave wall, we’re part of something continuous. so, we don’t really die.

[intoxicatingimmediacy]

clppng | “Enlacing/Pain Everyday” is out now.

[leopoldstotch3rd]

“I think about my education sometimes. I went to the University of Chicago for a while after the Second World War. I was a student at the Department of Anthropology. At that time, they were teaching that there was absolutely no differences between anybody. They may be teaching that still.

“Another thing they taught was that nobody was ridiculous or bad or disgusting. Shortly after my father died, he said to me, ‘You know-you never wrote a story with a villain in it.

“I told him that was one of the things I learned in college after the war.”

[leopoldstotch3rd]

Part of my job is buying art prints. These two always catch my eye, but I never have a reason to buy them, and all over again I’m plunged deep into thoughts about the aesthetics of voyeurism and urban versus suburban versus rural ideals and the dynamics of masculinity in western culture and how it all changes over time but also how it doesn’t change. Then I close the browser window. I buy a print of some flowers, because that’s what I’m paid to do. “Office Poker Party”, August 18, 1945, John Falter for The Saturday Evening Post “2:00 Feeding”, March 27, 1954, Stevan Dohanos for The Saturday Evening Post

[themorningnews]

Billie Mandle’s portraits of confessionals show them to be vessels for human secrets, designed to draw the penitent into soul-searching. The spaces themselves are luminous and bare. But it’s our knowledge of their use that makes Mandle’s images beautiful and more complicated.

[sherholmies]

“At 19, I’d never known anyone who had died, with the exception of my grandfather, who’d been old and far away. I’d never been to a funeral. I understood nothing of that kind of loss – of the crumbling of the physical texture of lives lived, the way the meaning of a place could change because those who used to be in it were no longer there. I knew nothing about the hopelessness and the necessity of trying to capture such lives – to rescue them, to keep them from vanishing altogether.”

Margaret Atwood, The Guardian, August (2002) The Rooms Project

[writingquotes-deactivated201509]

It’s possible, in a poem or a short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things– a chair, a window curtain, a fork, a stone, a woman’s earring– with immense, even startling power. It is possible to write a line of seemingly innocuous dialogue and have it send a chill along the reader’s spine– the source of artistic delight, as Nabokov would have it. That’s the kind of writing that most interests me.

Raymond Carver (via writingquotes)

[nevver]

Echoes, Hebe Robinson

[minusmanhattan]

New Guinea Skeleton Tribe by Timothy Allen.