Aqua Utopia|海の底で記憶を紡ぐ
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he wasn't even looking at me and he found me

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@quail-mom
this week i read a compendium of interviews with Toni Morrison and there was this one excerpt that's had me on the verge of tears for days. let me see if i can find it online
from Toni Morrison on Love and Writing, a 1990 interview with Bill Moyers on PBS TV [x]
MOYERS: As I listen to you talk about the liberation of motherhood and love, I find all the more incredible Sethe’s willingness to kill her son—
MORRISON:: Oh, yeah.
MOYERS: —Rather than let the slavecatcher kidnap him. Was that a far-out figment of your imagination to make a dramatic point, or did you find in your research into the past there were mothers willing to do that?
MORRISON:: That was Margaret Garner’s story. There was a slave woman in Cincinnati named Margaret Garner who escaped from Kentucky; arrived in Cincinnati with her mother-in-law. The situation was a little different; I think she came with four others. And right after she got there, the man who owned her found her. And she ran out into the shed and tried to kill all her children, just like that. And she was about to bang one’s head against the wall when they stopped her. Now, she became a cause celebre for the Abolitionists, because; you see, they were trying to improve the situation a little bit and get her tried for murder, because that would have been a big coup, if they had gotten her tried for murder. Because it would assume that she had some responsibility over those children. But they were not successful. She was tried for the real crime, which was stolen property, and convicted and returned to that same man. But what struck me, because I didn’t want to know a great deal about her story because there would be no space for me to invent — was that when they interviewed her, she was not a mad dog killer, she was this very calm, you know, in her 20s, woman. And all she said was, “They will not live like that. They will not live like that.” And her mother-in-law, who was a preacher, said, “I watched her do it, and I neither encouraged her nor discouraged her.” So for them, it was a dilemma. This is a real dilemma. “Shall I permit my children, who are my best thing, to live like I have lived, and I know that’s terrible, or to take them out?” So she decided to kill them, and kill herself. And that was noble. That was the identification. She was saying: “I’m a human being. These are my children. This script I am writing.”
MOYERS: Could you have put your — did you ever put yourself in her position, and ask—
MORRISON:: In the writing of the book, yeah.
MOYERS: —could I have done that to my three sons?
MORRISON:: I asked it a lot. As a matter of fact; the reason the character Beloved enters is because I couldn’t answer it. I felt just like Baby Suggs. I didn’t know whether I would do it or not. You hear stories of that in slavery and Holocaust situations, I mean, where women have got to figure it out fast, I mean really fast. So the only person I felt who had the right to ask her that question was the child she killed.
MOYERS: The child.
MORRISON:: And she can ask her: “What did you do that for? Who are you talking about? This is better? What do you know?” Because I just — it was, for me, an impossible decision. Someone gave me the line for it at one time, which I have found useful, is that it was the right thing to do, but she had no right to do it.
MOYERS: And you’ve never answered it in your own case, “Could I do it?”
MORRISON:: I’ve asked. I don’t know.
"the only person I felt who had the right to ask her that question was the child she killed" has been ringing in my head. there is no truer thing in the world.
Robert Pattinson and Zendaya for Interview Magazine, 2026
there is only one valid film opinion
Between 1961 and 1983, the artist Harry Smith picked up two hundred and fifty one paper airplanes off the streets of New York. He annotated most of them with handwritten details of when and where they were found. Via New Yorker.
https://twitter.com/pinkcottages/status/1594233597485273089
Megan Ellen MacDonald (Canadian, b. 1990)
Wet, 2021
Oil on canvas
matchbox
Shimabuku: Sea and Flowers (2013)
Joyce Macdonald, 1979.
i made out with the horniest simp of all time at the club last night. supremely satisfying to have a man telling you how sexy you are and begging you to come home w him and let him fuck you and being like "no my friends just bought me a hot dog, i gotta go"
Every time I listen to Oblivion i forgive grimes
Mile Rock Lighthouse From The Ocean Shores Of San Francisco - Theodore Wores
QUEERSKIN SERIES: camila by johnny moraes, styling by gabriel paulo + thalia passos & makeup by sasa ferreira + nilo
[images are from the documentary Concerning Violence: Nine Scenes from the Anti-Imperialistic Self-Defense. the full quote is part of the below excerpt of “‘Concerning Violence’ introduces new generations to Frantz Fanon” in The San Francisco Bay View; the text in the above images is below in bold.]
In an interview with a European journalist in 1987, the revolutionary, Pan Africanist president of Burkina Faso, Thomas Sankara, was asked why he said no to food aid from imperial powers. He answered profoundly: “They have not helped us to develop. They have instead created a beggar mentality. We hold out our hands to receive food. That is not a good thing. Our farmers have stopped producing, because they cannot sell what they produce. The surplus from farmers in other countries is brought in here. We want something else. Those who really want to help us can give us plows, tractors, fertilizer, insecticide, watering cans, drills, dams. That is how we define food aid. Those who come with wheat, millet, corn or milk, they are not helping us. They are fattening us up like you do with geese, stuffing them in order to be able to sell them later. That is not real help.”
Five months after the interview with Sankara was filmed, Sankara was killed in a coup d’etat in October of 1987. He was murdered by his former colleague, Blaise Compaore, who was supported by the governments of France and the USA.