THE JOURNAL OF MALVIKA JOLLY

( ...we are all lions & recherchées )

[likeafieldmouse-deactivated2015]

You have learnt something. That always feels at first as if you have lost something.

George Bernard Shaw (via likeafieldmouse)

[jawghosts-deactivated20181205]

[photographsonthebrain]

"I don’t know your world," he said. "Only my world, and memories of the world before I went into the woods. What life is today? What is proper? I have to figure out how to live." He wished he could return to his camp—"I miss the woods"—but he knew by the rules of his release that this was impossible. "Sitting here in jail, I don’t like what I see in the society I’m about to enter. I don’t think I’m going to fit in. It’s too loud. Too colorful. The lack of aesthetics. The crudeness. The inanities. The trivia."

The Strange Tale of the North Pond Hermit (via photographsonthebrain)

[delusionaladventurer]

I am genuinely really upset. I dropped off my film camera to be developed and they called to tell me there was a problem with the film and all my photos are gone. That role had all of my favorite memories on it from my last weeks in Santa Cruz. Pictures of my friends. Us at the river. River with...

[msmalvikajolly-blog]

Rachel, I am so devastated for you. That is the legitimate worst & has happened to me several times & each time is heartbreaking. :/ I also wish I knew how to comment/you had enabled comments (?) so that I could do this without reblogging, but here you go! What I can suggest, as a little way to recover your photographs, is if you can remember the moments/scenes you photographed, scribble down the image/the recollection someplace & make yourself a little collection or, even better, a book. That might help. 

[wordsnquotes]

Respect yourself enough to walk away from anything that no longer serves you, grows you, or makes you happy.

Robert Tew (via wordsnquotes)

[toungouska-deactivated20151202]

Anne Carson, Glass, Irony and God.

[brimstone-and-ash]

MOTHERFUCKING ANNE CARSON

[msmalvikajolly-blog]

oh good god anne carson

[msmalvikajolly-blog]

anne carson, once again, for all the slings + arrows + love.

[msmalvikajolly-blog]

[breathingvioletfog]

I have gone marking the atlas of your body with crosses of fire In your eyes the flames of the twilight fought on Leaning into the afternoons I fling my sad nets to the sea that gears on your marine eyes The birds of night peck at the first stars that flash like my soul when I love you My heart closes like a nocturnal flower Why will the whole of love come on me suddenly when I am sad and feel you are far away? She will be another’s as she was before my kisses her voice, her bright body. Her infinite eyes.

some of my favorite fragments from Pablo Neruda’s love poems

I typed up these onto my ‘notes’ on my phone on a train ride after consuming with great affection his poetry

(via breathingvioletfog)

[psych-facts]

Between what is said and not meant, and what is meant and not said, most of love is lost. -Khalil Gibran

(via psych-facts)

[allthingslinguistic]

Why does Henry Higgins teach Eliza Doolittle to speak like a posh lady, instead of her teaching him to speak like a Cockney flowerseller? What we think of as “good” English is the English historically spoken by people with the most power. The bumper crop of grammar texts and usage guides that started proliferating in the mid-18th century were part of an attempt by the growing middle class to access economic opportunities that were only available to people who spoke like Henry Higgins. At first, these were primarily a guide to speaking like the upper classes, although, over the years, various arbitrary preferences have found their way in and became crystallized as dogma, so much so that, to quote the linguist Stan Carey, “the aim of these non-rules is to maintain anachronistic shibboleths that allow an in-group to congratulate itself on knowing them.” Can it be a rational decision for the Elizas of the world to modify their idiolect in search of more opportunity? Of course. But at a societal level, it’s deeply suspicious that Henry gets to grow up speaking in a way that automatically makes him a better job candidate, while Eliza will have to learn a different dialect than her friends and family if she wants a chance at the same jobs. We don’t pick where and how we grow up, and we know that where and how you grow up influences your idiolect, so why is it acceptable to penalize people for something no one has any control over? The answer is simple if your goal is to keep power and economic opportunity in the hands of those who have always had it. We like to think we’re more enlightened and less bigoted than our ancestors, but as long as we believe that some idiolects are right and some are wrong, we’re not making much progress. “Standard English” is a loose assortment of idiolects like any other dialect, and valuing one over the other is a social construct that has nothing to do with linguistic merit.

Why do you think you’re right about language? You’re not. 

In which I explain idiolects and Hulk-smash prescriptivists. 

(via allthingslinguistic)

YESSSS

(via barbotrobot)

[sonofbaldwin]

"The function, the very serious function, of racism is distraction. It keeps you from doing your work. It keeps you explaining, over and over again, your reason for being. Somebody says you have no language, so you spend twenty years proving that you do. Somebody says your head isn’t shaped properly, so you have scientists working on the fact that it is. Somebody says you have no art, so you dredge that up. Somebody says you have no kingdoms, so you dredge that up. None of that is necessary. There will always be one more thing."

Toni Morrison (H/T The Anti-Intellect Blog)

[msmalvikajolly-blog]

my mummy got to my receipts

[harryandthepotters]

new tour merch

[msmalvikajolly-blog]

[alightinthelantern]

[msmalvikajolly-blog]

Eadweard Muybridge, Woman Jumping / Running Straight High Jump, 1887, plate 156

[artphotocollector]

"If I have anything to say, it may be found in my images." —Josef Koudelka

This weekend the Art Institute of Chicago opens a significant exhibition, Josef Koudelka: Nationality Doubtful. The Czech-born, French nationalized photographer isn’t the settling down type. Since vacating his country in 1970 for greater political freedom in England, where he joined the photo agency Magnum, Koudelka has led a life, at the age of 76, of wander and wonder.

This new show will exhibit the complete surviving 22 photographs of the début presentation of his famed 1967 Gypsies, along with original photobooks and ephemera. While the exhibition, sadly, will not be coming to NYC, it later travels to the J. Paul Getty Museum (LA) and the Fundación MAPFRE (ES). 

What makes Koudelka’s work exceptional? It’s his intangible ability to suffuse images with the poignancy of loss, emptiness, and a feeling that above it all, life is a fascinating mystery in all its pathos and beauty. I often find myself coming back to his work again and again. It’s poetry for the eyes.—Lane Nevares

[msmalvikajolly-blog]

whooooooooooOooooooo!

[whataboutcas]

how the fuck did we get from there to where we are today