Seven Years Later
Still here, alive and well. Still writing, reading, growing. New project coming soon. That is all.
Sade Olutola
Cosmic Funnies
Sweet Seals For You, Always
Cookie Run:Kingdom Official!
Fai_Ryy
Show & Tell

@theartofmadeline

Game Changer & Make Some Noise

ellievsbear

Product Placement
occasionally subtle
𓃗
Game of Thrones Daily
taylor price
almost home
"I'm Dorothy Gale from Kansas"
tumblr dot com
No title available
Noah Kahan
🪼
seen from Bangladesh
seen from Argentina

seen from United States
seen from Bangladesh

seen from Germany
seen from Iraq
seen from Colombia

seen from United States

seen from United States

seen from Canada
seen from Bangladesh
seen from Venezuela
seen from Vietnam

seen from Indonesia
seen from Colombia

seen from United Kingdom
seen from Indonesia
seen from United States
seen from United States
seen from Indonesia
@predatorywaspobserver-blog
Seven Years Later
Still here, alive and well. Still writing, reading, growing. New project coming soon. That is all.
"In the seventeenth century, for example, at least twenty percent of the merchandise on every slave ship died. By that I mean the dark-skinned people who were being transported for sale, to Virginia, say. And that didn't get anyone upset or make headlines in the Virginia papers or make anyone go out and call for the ship captain to be hanged. But if a plantation owner went crazy and killed his neighbor and then went galloping back home, dismounted, and promptly killed his wife, two deaths in total, Virginia society spent the next six months in fear, and the legend of the murderer on horseback might linger for generations.
Or look at the French. During the Paris Commune of 1871, thousands of people were killed and no one batted an eye. Around the same time a knife sharpener killed his wife and his elderly mother and then he was shot and killed by the police. The story didn't just make all the French newspapers, it was written up in papers across Europe, and even got a mention in the New York Examiner. How come?
The ones killed in the Commune weren't part of society, the dark-skinned people who died on the ship weren't part of society, whereas the woman killed in a French provincial capital and the murderer on horseback in Virginia were."
- Roberto Bolaño in 2666 (2004)
Reading is like thinking, like praying, like talking to a friend, like expressing your ideas, like listening to other people's ideas, like listening to music (oh yes), like looking at the view, like taking a walk on the beach.
Roberto Bolaño in 2666 (2004)
And when I read, and actually I don't read all that much and then only a few writers, men whom I have discovered by accident, then I do so because they look at things more broadly and generously and with more love than I do and are acquainted better with reality, and because I can learn from them. But I really don't much care for all that twaddle about good and evil, morality and immorality. For to be sure, I find it impossible always to tell what is good and what is bad, what is moral and what is immoral.
Vincent van Gogh in a letter to his brother Theo (December 1881)
Second trailer for The Master (Paul Thomas Anderson, 2012).
Everyone is an expert. A photographer, a writer, a fashion connoisseur. Everyone is a food critic, a reviewer of TV and movies, a self-help guru, an activist that sits in front of the computer and reblogs articles written by others about issues they themselves are not fighting.
Do you have a phone? You're a photographer. A blog? You're a writer. Do you wear clothes? You're a fashion expert. Do you eat daily meals and frequent restaurants? You're a food critic of the highest caliber, instead of a notepad and a boss at some newspaper or magazine, you are armed with your phone, a hasty opinion, and a blog to publish your own reviews. But are they reviews, or are they merely a need to be heard in a way that makes you feel like your opinion is above others?
What happens when all mediums are saturated to the point of bursting? When everyone and their mothers and cousins and best friends are self-proclaimed expert? What happens to the writers that labor intensely year after year working on something that they believe in when no one knows they exist? What happens to the actual photographers that don't post to Instagram and actually see their craft as an art form and not a smartphone trend? What happens to those that do not follow trends, that live and breathe fashion because it is their way of life and not just something they morphed themselves into?
Is it all vanity? self-expression? insecurity seeking approval? The want of attention? Are all these people artists? trend-seekers? bandwagon jumpers? Or do they just want to fit in and they'll find whatever means available? Are artists determined by the amount of struggle they can endure in their craft, by the amount of years they are willing to sacrifice in order to create something that goes beyond the internet? Do artists know that they're artists when they look in the mirror? Or are artists oblivious to what they are and only care about what they do with their creativity?
If you care about fashion, is merely wearing your clothes in the way that you want enough or must you show others how grand of a wardrobe shifter you are? Do you love that dish that you made from scratch and the experience of savoring it? Or must you post every meal you ingest to remind yourself how healthy you are, how organic you eat, how meat doesn't enter your system? Is writing enough? If I wrote this book for five years and no more than five people read it and got something from its pages, would that be enough? If you go on a trip, go to an event, visit a museum or a park or a lake or river, is that experience enough? Does the experience itself have meaning only when others know you went there?
It seems that we are exhausted from being satisfied by the experience of something, the experience of writing or eating food or wearing clothes and we want the experience to last forever, to be 'liked' by others, to be seen, to be archived on some server. We cannot eat with friends and have the memory in our heads, we cannot take a photograph without sharing it, we cannot go somewhere without letting someone know where we are. We have always been afraid of solitude, but now our experiences cannot be ours alone. We are needy and the experience of something that lasts a few minutes, a few hours, is not enough. We want more, we demand more and we shall use the internet and technology to make sure we have it and the whole world knows what we do and who we paint ourselves to be.
He chose The Metamorphosis over The Trail, he chose Bartleby over Moby-Dick, he chose A Simple Heart over Bouvard and Pécuchet, and A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential works, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle against that something, that something that terrifies us all, that something that cows us and spurs us on, amid blood and mortal wounds and stench.
Roberto Bolaño in 2666 (2004)
Vanessa was perfectly suited to live in the Middle Ages, emotionally as well as physically. For her, the concept of "modern life" was meaningless. She had much more faith in what she could see than in the media. She was mistrustful and brave, although paradoxically her bravery made her trust people - waiters, train conductors, friends in trouble, for example - who almost always let her down or betrayed her trust.
Roberto Bolaño in 2666 (2004)
The secret of males is this: We are jealous of women. They have all the power. The essence of a woman is the power she has to attract just by being. A lot of men beat the hell out of their women because the women are too powerful. They hate that. So Norman Mailer never liked life, he didn't like women, they were too powerful, he beat up on his wives, he stabbed one, so I didn't like Norman Mailer because his books were full of this need for masculine power. I don't believe in masculine power. I'm not masculine. I'm a sissy. I'm a reformed sissy, because when I met and married Maggie she helped me grow. She helped me stop being a sissy, and in the process I became a good writer.
Ray Bradbury in Listen to the Echos: The Ray Bradbury Interviews by Sam Weller (2010)
A wax-cylinder recording of Walt Whitman reading from his poem "America" (1889)
"Centre of equal daughters, equal sons, All, all alike endear'd, grown, ungrown, young or old, Strong, ample, fair, enduring, capable, rich, Perennial with the Earth, with Freedom, Law and Love"
"Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body. . . . . . . . The poet shall not spend his time in unneeded work. He shall know that the ground is always ready ploughed and manured . . . . others may not know it but he shall. He shall go directly to the creation. His trust shall master the trust of everything he touches . . . . and shall master all attachment."
- Walt Whitman in the introduction to Leaves of Grass (1855)
This book—an account of Miller's time in Greece just before World War II—saved me when I was working in a place I didn't care for and I couldn't leave. I was stuck indoors for two and a half months, but when I got hold of this, I suddenly got to leave. I went on a trip, found myself walking every step with Miller. What I appreciated most about it was his descriptions of meeting people and traveling with them for a short period of time; I'd had that experience in Europe when I was 18. I also loved the physicality of his writing. He conjures the primitiveness of his exchanges with the Greeks. It was then that he realized we don't have to present ourselves as something we're trying to be; we can be as we are, and we'll find a connection with others so long as we don't force it.
Josh Brolin on Henry Miller's The Colossus of Maroussi (article)
Be regular and ordinary in your life like a bourgeois, so that you may be violent and original in your work.
Gustave Flaubert (quoted on the wall of William Styron's studio in Connecticut)
Currently reading 2666 by Roberto Bolaño.
- The full 42 minute press conference for On The Road at Cannes (May 23, 2012)
A scene from On The Road (Walter Salles, 2012)
In a thorough, delirious, and angry manner, I am incessantly letting out all my horror, my fury, my resentment, my hatred, my failure, our failure, our helplessness, all the humiliation, the mockery, the swindles, and lastly, simply all the beatings and kickings, the endless persecution. All, all of it. All that terror goes onto the paper, the blank page, which, once filled, is carefully hidden in the double ceiling of the loft, or inside dictionaries, or behind a cabinet: it is my revenge, my revenge. My triumph.
Reinaldo Arenas in "The Parade Ends" (1980)