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Punk girls on the Tube. London, 1983

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sandra cisneros, the house on mango street / tatyana nilovna yablonskaya - morning, 1954 / anatoly levitin- warm day, 1957 / harry sutton palmer - a cottage garden, 20th c. / phoebe bridgers, i know the end / sarah abraham - one fine morning, 2013 / theo gosselin - denver morning 5, 2015 / gaston bachelard, the poetics of space / federico zandomeneghi - in bed, 1878 / laura ingalls wilder /colley wisson- morning light kyneton australia, 21st c. / @gabi_wahl on instagram / lauren jolly roberts - cecile’s garden, 2006 / maya angelou, all god’s children need traveling shoes

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Source (couldn’t find the original post to reblog):

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Tenderhooks by Joan Tierney

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Ma Dong-seok in Train to Busan (2016) dir. Yeon Sang-ho

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Cristin O’Keefe Aptowicz, “July”

[text ID: The figs we ate wrapped in bacon. The gelato we consumed greedily: coconut milk, clove, fresh pear. How we’d dump hot espresso on it just to watch it melt, licking our spoons clean. The potatoes fried in duck fat, the salt we’d suck off our fingers, the eggs we’d watch get beaten ‘til they were a dizzying bright yellow, how their edges crisped in the pan. The pink salt blossom of prosciutto we pulled apart with our hands, melted on our eager tongues. The green herbs with goat cheese, the aged brie paired with a small pot of strawberry jam, the final sour cherry we kept politely pushing onto each other’s plate, saying, No, you. But it’s so good. No, it’s yours. How I finally put an end to it, plucked it from the plate, and stuck it in my mouth. How good it tasted: so sweet and so tart. How good it felt: to want something and pretend you don’t, and to get it anyway.]

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#ode to the travelling montage

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WONDER BAR (1934) | dir. Lloyd Bacon

“The other [scene that stands out above the rest] involved a handsome man, asking a dancing couple if he could cut in. The female partner, expecting his attention, agrees, only to see him dance with her male partner. Jolson then flaps his wrist and says, “Boys will be boys. Woo!”. This scene almost caused the Production Code to reject the film, and was featured in the opening scenes of the documentary film The Celluloid Closet (1996).”

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sweeter than heaven, hotter than hell

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Sally Rooney, Normal People

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willem and jude falling together

moments from a little life

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Diana Khoi Nguyen, from “An Empty House is a Debt”

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胸がはち切れそうで

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your child was a pleasure to have in class and a dark, tortured genius

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“There aren’t many hard-and-fast rules of time management that apply to everyone, always, regardless of situation or personality (which is why I tend to emphasise general principles instead). But I think there might be one: you almost certainly can’t consistently do the kind of work that demands serious mental focus for more than about three or four hours a day. […] The other, arguably more important lesson isn’t so much a time management tactic as an internal psychological move: to give up demanding more of yourself than three or four hours of daily high-quality mental work. That’s an emphasis that gets missed, I think, in the current conversation about overwork and post-pandemic burnout. Yes, it’s true we live in a system that demands too much of us, leaves no time for rest, and makes many feel as though their survival depends on working impossible hours. But it’s also true that we’re increasingly the kind of people who don’t want to rest – who get antsy and anxious if we don’t feel we’re being productive. The usual result is that we push ourselves beyond the sane limits of daily activity, when doing less would have been more productive in the long run.”

— Oliver Burkeman, Three or four hours

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“If I’m honest, I don’t know what idols to keep and what blood oaths to break—I don’t love anything enough to forget its birth.”

— William Evans, “Inheritance,” from We Inherit What the Fires Left (via bostonpoetryslam)

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Werner herzog