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âSweeter than the early morning in summer.â
â Ernest Hemingway, from âFor Whom The Bell Tolls,â written c. 1940
Claudia Cardinale, Paris.
The photo was taken by photographer Claude Azoulay in Paris in 1961, when she was sitting in a cafe on Boulevard Saint-Germain-des-PrĂŠs.

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âThis is late afternoon: a minute of precise fragrance, a knowing I will love you, every day more, with more longing, with no answers.â
â Sara Pujol Russell, from âThinking Late Afternoonâ, translated from Spanish by NoĂŤl Valis (via finitaâlaâcommedia)
"I am blind. Blinded by May. I know nothing, except that the lilacs are in bloom."
Photographed by Josefine Seifert for Cecilie Bahnsen âEncoreâ Collection.
âSpring days smell of blurred memoriesââ
â Pentti Saarikoski, tr. by Herbert Lomas, from Contemporary Finnish Poetry: âA Fortunate Time,â

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9/7/1959- Milan, Italy: Millionaire Greek shipowner Aristotle Onassis, with opera star Maria Meneghini Callas outside the LaScala Opera House here
âToday I carry even in my shadow your fragrance of spring âŚâ
â Delmira Agustini, from âThe Intruderâ, translated by Alejandro CĂĄceresÂ
âThat night I fell in love with a voice. Only a voice. I wanted to hear nothing more.â
â Michael Ondaatje, The English Patient
Boccherini, Stabat mater - XI. Quando corpus morietur
The Kingâs Consort - Robert King
*
Quando corpus morietur, fac ut animae donetur paradisi gloria. Amen. When my body dies, grant that to my soul is given the glory of paradise. Amen.

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Mary Oliver, March
"Of course, none of this made any sense to me at the time. I didnât pay attention to the meaning of things, but rather to their vivid expressiveness, and in my grandmotherâs stories this was so powerful that the whole of Rome seemed to me like a gigantic stage where, to this day, centuries and millennia play the leading roles. After all, there were still beautiful backdrops everywhere; one couldnât help but feel that actors might emerge from every street corner, that they were hiding in every cloud of dust; sometimes everything became so vivid that the buildings no longer seemed like stage sets at all, but rather like enormous vessels containing entire eras, and that every tiny step transports us in reality from one millennium to the next. In such moments, a peculiar fear always gripped me: I felt as if my spiritual balance were being shaken; I felt carried away by something or someone, slipping beyond the control of my consciousness; an uncanny uncertainty about the existence of my very self would overwhelm me."
â Gertrud von Le Fort, The Veil of Veronica