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isabelle adjani on the set of possession (1981).

original photographer unknown, black & white edit by me

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metamorphesque

— Sunrise, Mary Oliver

[text ID: What is the name / of the deep breath I would take / over and over / for all of us? Call it / whatever you want, it is / happiness, it is another one / of the ways to enter / fire.]

huariqueje

Shadows on Door - Line Holtegaard

Danish , b, 1980 -

Oil on canvas , 100 x 150 cm.

ialwaysbelieve

snoopyoftheday

snoopy of the day

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imissthembutitwasntadisaster

When I tell you "whatever state you are, I'll be that state's bird" made me audibly gasp

wovi

jisuto

redlipstickresurrected

Checksy (South Korean, b. South Korea) - Hug to you, Painting on Canvas

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faiz

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khalil gibran, sand and foam

moonelk

Colorful Layers of Sedimentary Rock (Valley of Fire, Nevada) by Sean Bagshaw.

luxe-pauvre

Just so. I am what I am. To look for "reasons” is beside the point.

Joan Didion, Play It As It Lays

neuro-lab

Emilia Petrarca, Joan Didion’s Style Was As Precise As Her Prose

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electramouthed

But our notebooks give us away, for however dutifully we record what we see around us, the common denominator of all we see is always, transparently, shamelessly, the implacable “I.” We are not talking here about the kind of notebook that is patently for public consumption, a structural conceit for binding together a series of graceful pensées; we are talking about something private, about bits of the mind’s string too short to use, an indiscriminate and erratic assemblage with meaning only for its maker. And sometimes even the maker has difficulty with the meaning.

Joan Didion, from On Keeping A Notebook in: Slouching Towards Bethlehem

mojavedoll

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