Enikő Katalin Eged
Noah Kahan
h
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@theartofmadeline
Not today Justin

bliss lane
Claire Keane
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❣ Chile in a Photography ❣
The Bowery Presents
EXPECTATIONS
Sade Olutola

titsay
Monterey Bay Aquarium
Xuebing Du
cherry valley forever
Color Me Curious
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d e v o n

shark vs the universe

seen from United States
seen from United States
seen from United States
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seen from Venezuela
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seen from United States
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seen from Canada

seen from Brazil
seen from Saudi Arabia
seen from Malaysia
seen from Egypt

seen from United States

seen from United Kingdom

seen from France

seen from Czechia
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@tumbleofmyfamiliar
Enikő Katalin Eged
André 3000 photographed by Richard Burbridge, British GQ October 2004
Andrew Wyeth, Lovers, 1981
Night Carnival - Mia Bergeron
American , b. 1979 -
Colour acrylic on flat panel , 6 x 12 in.
Hoi An, 2018
Taking Care Callista Buchen
Chris Long, Big Gulp Cup, 2026 Oil on cradled wood panel, 6 x 6 in
Jacques Le Moyne de Morgues, A Young Daughter of the Picts, ca. 1585.⠀⠀ ⠀⠀ Available as a print from our online shop here: https://publicdomainreview.org/product/a-young-daughter-of-the-picts
My body is ready for fall
Pádraig Ó Tuama, Kitchen Hymns
Rewilding - Sebastian Blanck , 2026.
American, b. 1976 -
Gouache and ink on rag paper , 68 × 68 in. 172.7 x 172.7 cm.
Photographer Leland Foster
Eartha Kitt photographed by Ben Martin at her New York home, 1957.
"dad's kitchen," amy bradstreet (2008)
Charles Kuwasseg (French, 1838-1904)
european white gentile cottagecore enthusiasts when someone mentions the percentage of the eastern european countryside that used to be jewish before wwii.........
this is the michael chabon essay i mentioned in tags (this is also the origin story for his book The Yiddish Policemen's Union
In this Europe the millions of Jews who were never killed produced grand-children, and great-grandchildren, and great-great-grandchildren. The countryside retains large pockets of country people whose first language is still Yiddish, and in the cities there are many more for whom Yiddish is the language of kitchen and family, of theater and poetry and scholarship. A surprisingly large number of these people are my relations. I can go visit them, the way Irish Americans I know are always visiting second and third cousins in Galway or Cork, sleeping in their strange beds, eating their strange food, and looking just like them. Imagine. Perhaps one of my cousins might take me to visit the house where my father's mother was born, or to the school in Vilna that my grandfather's grandfather attended with the boy Abraham Cahan. For my relatives, though they will doubtless know at least some English, I will want to trot out a few appropriate Yiddish phrases, more than anything as a way of reestablishing the tenuous connection between us; in this world Yiddish is not, as it is in ours, a tin can with no tin can on the other end of the string. Here, though I can get by without them, I will be glad to have the Weinreichs along. Who knows but that visting some remote Polish backwater I may be compelled to visit a dentist to whom I will want to cry out, having found the appropriate number (1447), eer TOOT meer VAY! What is this Europe like, with its twenty-five, thirty, or thirty-five million Jews? Are they tolerated, despised, ignored by, or merely indistinguishable from their fellow modern Europeans? What is the world like, never having felt the need to create an Israel, that hard bit of grit in the socket that hinges Africa to Asia? What does it mean to originate from a place, from a world, from a culture that no longer exists, and from a language that may die in this generation? What phrases would I need to know in order to speak to those millions of unborn phantoms to whom I belong? Just what am I supposed to do with this book?
Haunted Property: Slavery and the Gothic, Sarah Gilbreath Ford
Specters often linger, however, to claim title, and Ford argues that haunting can be a bid for property ownership. Through examining works by Harriet Jacobs, Hannah Crafts, Mark Twain, Herman Melville, Sherley Anne Williams, William Faulkner, Eudora Welty, Toni Morrison, Octavia Butler, and Natasha Trethewey, Ford reveals how writers can use the gothic to combat legal possession with spectral possession.