Liz Gruder's Blog

arkhamgel:

Dune Messiah

alexanderchee:

theparisreview:

“A place where you hide from the wolves. That’s all any room is.” —Jean Rhys, from The Art of Fiction No. 64.

It was Jean Rhys’s birthday and so I am up late on the Jean Rhys tag.

cornell5877:

euxinova:

27.

THE THIRD ITEM INSPECTED: A BUST OF A WOMAN WITH AN ARTICULATED MOUTH AND MOVING GLASS EYES, POSITIONED IN FRONT OF A PANORAMA OF THE EUXINOVAN COASTLINE PAINTED ON A SPOOLED LINEN SCROLL.

WILFRED.    I recognize this exhibit from the Exposition. It runs hourly at the Central Pavilion — but there, a man beside the display delineates the visual tour, and no bust such as this is involved. It seems designed to mouth the narration like a puppet.

AULDOMOUCHE.    Its style and construction leave no doubt that it’s of the same manufacture as the automated sculptures found in the Parc d’Urongelex. Surely the noted entrepreneur Visculorph d’Urongelex wishes to expand the presence of these devices — and he has married into the financial means to accomplish this — yet I’ve noticed they are not readily embraced by the public outside of their pastoral-satirical sphere.

The characters all derive from Euxinovan myths and theatrical traditions, dating back at least to the Romans. (This figure is clearly no exception and Ovarind would have been able to tell us more about it.) Most seem obscure, unfamiliar to common audiences, and this might result in a slight sense of unease in the average spectator. I believe that of the dioramas operated by d’Urongelex in Ellubecque’s Paysage de Beau Monde, only the exhibit “Thriampa Revealed” (which is forbidden to children) features automatons.

It is mystifying that he would store such items here — here of all places. And what dealings would he have with The Society of the Iron Frond?

I showed my #grampy this and he said it was a bunch of #gobbledygook.

davidkanigan:

Volegov

ombuddha:

When I was in India living close to Tibetan monks and lamas, I was often surprised at the apparently easy-going, laid-back way in which many of them seemed to live their practice. They often responded to my intensity and fervor with the expression kale kalepe TOnang (literally “please go slowly”). Essentially, what they were saying was take it easy, go slowly, and you get there. They seemed highly amused by the attitude I had towards my practice, as though they could not understand why I was so driven. They did not have the underlying emotional disposition in their psyches that said they were not good enough. This does not mean they did not practice and work hard. It meant that they let things be and did not have the neurotic intensity of striving many of us suffer from in the West.

Rob Preece.

Photo by Anorak’s Appendix.

“In the end

these things matter most:

How well did you love?

How fully did you live?

How deeply did you let go?”

- Gautama Buddha (via purplebuddhaproject)

davidkanigan:

 

heartconnection:

The beginning of love is the will to let those we love be perfectly themselves, the resolution not to twist them to fit our own image. If in loving them we do not love what they are, but only their potential likeness to ourselves, then we do not love them: we only love the reflection of ourselves we find in them. 
― Thomas Merton, No Man Is an Island