*
∞

(via iconsabstract)

∞
jsuiscomme: The Other Room there is always somebody in the other roomlistening beyond the wall. there is always somebody in the other roomwho wonders what you are doingthere without them. there is always somebody in the other roomwho is afraid you feel better being alone. there is always somebody in the other roomwho thinks you are thinking of someone elseor who thinks you don’t care for anybodyexcept yourself in that other room. there is always somebody in the other roomwho no longer cares for you as much as they usedto. there is always somebody in the other roomwho is angry when you drop somethingor who is displeased when you cough. there is always somebody in the other room pretendingto read a book. there is always somebody in the other roomtalking for hours on the telephone. there is always somebody in the other roomand you don’t quite remember who it isand you are surprised when they make a soundor go down the hall to the bathroom. but there isn’t always somebody in the otherroom becausesometimes there isn’t another room.and if there isn’tsometimes there isn’t anybody here atall.” -Charles Bukowski, Open All Night

jsuiscomme:

The Other Room

there is always somebody in the other room
listening beyond the wall.

there is always somebody in the other room
who wonders what you are doing
there without them.

there is always somebody in the other room
who is afraid you feel better being alone.

there is always somebody in the other room
who thinks you are thinking of someone else
or who thinks you don’t care for anybody
except yourself in that other room.

there is always somebody in the other room
who no longer cares for you as much as they used
to.

there is always somebody in the other room
who is angry when you drop something
or who is displeased when you cough.

there is always somebody in the other room pretending
to read a book.

there is always somebody in the other room
talking for hours on the telephone.

there is always somebody in the other room
and you don’t quite remember who it is
and you are surprised when they make a sound
or go down the hall to the bathroom.

but there isn’t always somebody in the other
room because
sometimes there isn’t another room.
and if there isn’t
sometimes there isn’t anybody here at
all.”

-Charles Bukowski, Open All Night

(via henrycharlesbukowski)

∞
I swore never to be silent whenever and wherever human beings endure suffering and humiliation. We must always take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented.
Elie Wiesel  (via thenewwomensmovement)

(Source: beautifulitisnot, via queenofnails)

∞

traciecleanyourroom:

“I thought the most beautiful thing in the world must be shadow, the million moving shapes and cul-de-sacs of shadow. There was shadow in bureau drawers and closets and suitcases, and shadow under houses and trees and stones, and shadow at the back of people’s eyes and smiles, and shadow, miles and miles and miles of it, on the night side of the earth.”

– Sylvia Plath, The Bell Jar 

(Source: johnnyappleseedday)

∞

(via sleepclementine)

∞
TWO roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;


Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,


And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.


I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
The road not taken, Robert Frost. 1920. (via nidaros-domen)
∞

(via playwithabandon)

∞
I write with experiences in mind, but I don’t write about them, I write out of them.
John Ashbery (via theparisreview)

(via ilovereadingandwriting)

∞
Print it, post it in studio, love it. 

Print it, post it in studio, love it. 

(via facies-destruens)

∞
apoetreflects: “Q is for the questionable in matters relating to poetry, lines, or images for which no precedent comes immediately to mind and whose virtues seem equally elusive.  In time, our wayward lines and images may become our greatest successes, the true signs of our authorship.  But when we are young we are slow to trust ourselves, preferring to sound like more established writers.  For that is how we make sure that what we have written is indeed poetry.  Eventually, we learn to mistrust what is patently derived, and we cultivate what we first perceived as weakness.  It is the oddity of our poems, their idiosyncrasy, their lapses into a necessary awkwardness, their ultimate frailty, that charms and satisfies.” —Mark Strand, from “A Poet’s Alphabet” in The Weather of Words: Poetic Invention (Alfred A. Knopf, 2000)

apoetreflects:

“Q is for the questionable in matters relating to poetry, lines, or images for which no precedent comes immediately to mind and whose virtues seem equally elusive.  In time, our wayward lines and images may become our greatest successes, the true signs of our authorship.  But when we are young we are slow to trust ourselves, preferring to sound like more established writers.  For that is how we make sure that what we have written is indeed poetry.  Eventually, we learn to mistrust what is patently derived, and we cultivate what we first perceived as weakness.  It is the oddity of our poems, their idiosyncrasy, their lapses into a necessary awkwardness, their ultimate frailty, that charms and satisfies.”

—Mark Strand, from “A Poet’s Alphabet” in The Weather of Words: Poetic Invention (Alfred A. Knopf, 2000)

∞

lacarpa:

 

Jason Thielke

Linhas duras, movimentos intensos e sinuosos, o natural em choque com o artificial. A descrição de qualquer grande cidade vai diretamente de encontro com a obra do artista americano Jason Thielke, um retrato ousado da figura humana mesclada à arquitetura contemporânea.

Sua técnica compreende desenho, pintura e gravação a laser na madeira, criando impressões tanto de humanização da estrutura quanto de deterioração do sujeito.

Thielke é natural de Denver e formado pela Escola de Arte da Northern Illinois University. Seus trabalhos já foram expostos em sua cidade natal, em Portland e Seattle.

via www.zupi.com.br

(via pepperbee)

∞
apoetreflects: “The New Formalists have a problem.  They think, for the most part, that the poem fits the form.  The Old Formalists knew better—they knew the form had to fit the poem.  Big difference. —Charles Wright, from “Bytes and Pieces” in Quarter Notes: Improvisations and Interviews (The University of Michigan Press, 1998)

apoetreflects:

“The New Formalists have a problem.  They think, for the most part, that the poem fits the form.  The Old Formalists knew better—they knew the form had to fit the poem.  Big difference.

—Charles Wright, from “Bytes and Pieces” in Quarter Notes: Improvisations and Interviews (The University of Michigan Press, 1998)

∞
There is immeasurably more left inside than what comes out in words…
Fyodor Dostoevsky (via stanielsbookclub)

(via apoetreflects)

∞
collettecollette: Tate Modern / London

collettecollette:

Tate Modern / London

∞
These people who are making a big deal about gay marriage? I don’t give a fuck about who wants to get married to anybody else! Why not?! We’re making a big deal out of things we shouldn’t be making a deal out of … Just give everybody the chance to have the life they want.
Clint Eastwood (via gooso)