Untitled from Deep South (toned silver gelatin print, 1998) – Sally Mann (American, b.1951)
(via room-of-flint)
Late Evening Looking Out of the Woods, Paul Klee
1937
Emily Rogers | Imprints, 2013
Javier Piñon
![sarahkatherinemoore:
Moonville Railroad Tunnel
[July, 2012; Zaleski State Forest, OH]](http://25.media.tumblr.com/tumblr_m6szqwogh71qkqqw6o1_500.jpg)
Moonville Railroad Tunnel
[July, 2012; Zaleski State Forest, OH]
Nadine Maher | Moon of Unlikely Proportions, and its miniature | 2013
Fukushima-shi, Fukushima, 2011 © Katsumi Omori/Galerie Wouter van Leeuwen
James Cullinane | The Spider’s Webs Are Shivering Above the Lofty Windows | 2010
“I tear out what I want” - From John Cheever’s Paris Review Interview
JOHN CHEEVER
I use what I love, and this can be anything. Cavalcanti, Dante, Frost, anybody. My library is terribly disordered and disorganized; I tear out what I want. I don’t think that a writer has any responsibility to view literature as a continuous process. I believe that very little of literature is immortal. I’ve known books in my lifetime to serve beautifully, and then to lose their usefulness, perhaps briefly.
INTERVIEWER
How do you “use” these books … and what is it that makes them lose their “usefulness”?
CHEEVER
My sense of “using” a book is the excitement of finding myself at the receiving end of our most intimate and acute means of communication. These infatuations are sometimes passing.
~
Maria Sturm
(Source: beautyandterrordance, via vintagemarlene)
André Derain (French, 1880-1954), Les grandes arbres, c. 1912. Oil on canvas, 100 x 85 cm.
(via chance-a-simple-gardener)
