do i remind you of someone?
macklin celebrini has autism

if i look back, i am lost
noise dept.

Love Begins

#extradirty

KIROKAZE

Discoholic πͺ©

gracie abrams
we're not kids anymore.


tannertan36
taylor price
sheepfilms
πͺΌ
2025 on Tumblr: Trends That Defined the Year
Show & Tell

β
The Bowery Presents
RMH

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@enisyposts
do i remind you of someone?

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In Orwellβs essay βA Hanging,β the writer watches the condemned man, walking toward the gallows, swerve to avoid a puddle. For Orwell, this represents precisely what he calls the βmysteryβ of the life that is about to be taken: when there is no good reason for it, the condemned man is still thinking about keeping his shoes clean. It is an βirrelevantβ act (and a marvelous bit of noticing on Orwellβs part).Β Now suppose this were not an essay but a piece of fiction. And indeed there has been a fair amount of speculation about the proportion of fact to fiction in such essays of Orwellβs.Β
The avoidance of the puddle would be precisely the kind of superb detail that, say, Tolstoy might flourish; War and Peace has an execution scene very close in spirit to Orwellβs essay, and it may well be that Orwell basically cribbed the detail from Tolstoy. In War and Peace, Pierre witnesses a man being executed by the French, and notices that, just before death, the man adjusts the blindfold at the back of his head, because it is uncomfortably tight. The avoidance of the puddle, the fiddling with the blindfoldβthese are what might be called irrelevant or superfluous details. They are not explicable; in fiction, they exist to denote precisely the inexplicable. This is one of the βeffectsβ of realism, of βrealisticβ style.Β
But Orwellβs essay, assuming it records an actual occurrence, shows us that such fictional effects are not merely conventionally irrelevant, or formally arbitrary, but have something to tell us about the irrelevance of reality itself (β¦) There was no logical reason for the condemned man to avoid the puddle. It was pure remembered habit. Life, then, will always contain an inevitable surplus, a margin of the gratuitous, a realm in which there is always more than we need: more things, more impressions, more memories, more habits, more words, more happiness, more unhappiness.Β
β JAMES WOOD,Β from How Fiction Works.
What exactly do these irrational standards mean? They mean the supremacy of the detail over the general, of the part that is more alive than the whole, of the little thing which a man observes and greets with a friendly nod of the spirit while the crowd around him is being driven by some common impulse to some common goal. I take my hat off to the hero who dashes into a burning house and saves his neighborβs child; but I shake his hand if he has risked squandering a precious five seconds to find and save, together with the child, its favorite toy. I remember a cartoon depicting a chimney sweep falling from the roof of a tall building and noticing on the way that a sign-board had one word spelled wrong, and wondering in his headlong flight why nobody had thought of correcting it. In a sense, we all are crashing to our death from the top story of our birth to the flat stones of the churchyard and wondering with an immortal Alice in Wonderland at the patterns of the passing wall. This capacity to wonder at trifles β no matter the imminent peril β these asides of the spirit, these footnotes in the volume of life are the highest forms of consciousness, and it is in this childishly speculative state of mind, so different from commonsense and its logic, that we know the world to be good.
β VLADIMIR NABOKOV,Β from Lectures on Literature.
*Emerges from my long slumber to sketch Farnese*
Matching Casca π
The whimsy of it all.. This got me giggling and gaggling π₯°

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bunnies your warden
Skull knight's pov
c.1851
maker unknown, Royal Collection Trust
we gotta get back into revolving bookcases i'm begging
truly we allow the pinnacles of human achievement to wither and collapse into ashes in the wind
no griffith hater will ever be as excited about him suffering as a true griffith fan

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A sacrifice for a dream
they are sitting and pondering

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Elena Wuest (German, b. 1977) βBeyondβ, 2025 Oil on canvas, 80 x 60cm
source