moments you wish to hold in your hand like a butterfly, except if you did they would die
Catching Elephant is a theme by Andy Taylor
Holden Caulfield’s Goddam War
Tuesday, June 6, 1944, was the turning point of J. D. Salinger’s life. It is difficult to overstate the impact of D-day and the 11 months of combat that followed. The war, its horrors and lessons, would brand itself upon every aspect of Salinger’s personality and reverberate through his work. As a young writer before entering the army, Salinger had had stories published in various magazines, including Collier’s and Story, and he had begun to conjure members of the Caulfield family, including the famous Holden. On D-day he had six unpublished Caulfield stories in his possession, stories that would form the spine of The Catcher in the Rye. The experience of war gave his writing a depth and maturity it had lacked; the legacy of that experience is present even in work that is not about war at all. In later life, Salinger frequently mentioned Normandy, but he never spoke of the details—“as if,” his daughter later recalled, “I understood the implications, the unspoken.”
“some ideas are just too big for this piece of paper” from the “100(+) posterworks” series by anna gray & ryan wilson paulsen
(via imgTumble)I remember my trip two years ago, to San Francisco. I took a cab to this bridge while my sister was on a conference call.
I stood there for about two hours, looking down, people watching, and wondering how far down the water was.
A girl sat next to me, and asked me, “You’re not going to jump„ are you?”
I smiled and reassured her I wasn’t. That I was just a tourist.
She then said, “You look a lot like my sister. I’m sorry, I don’t mean to make you uncomfortable. But I had to ask, can I hug you? You just look so much like her.”
I felt awkward at first, but then I realized. “She jumped?”
This girl’s face just crumpled, and she started crying. I hugged her, without a second thought, and for some reason I apologized. Not sure what else I could say.
She goes, “Those were the last words she ever spoke to me.”
And I will never forget this girl, her name was Ariana.
OH MY GOD REBLOGGING FOR THAT BEAUTIFUL STORY OMFG
:c OMG. I’M IN TEARS.
actually in tears
“love” by dirk bell
omghhhhh he said cunt
(Source: thehootowlofdeath)
Aleksandra Domanovic - Stack, 2011
(Source: everythinng-titanic)
hate when it’s in your head, and you know its nothing but why can’t it be something, but can it be something? and why can’t it change like you want it to, and why can’t you just have discussions, whats the difference between a crush and a friend, you just want them to like you and talk to you, is it the physical? is it the thoughts? is one more active and vulnerable? ehh…the physical is so optional.
(Source: lovequotesrus)
all the time
(Source: youjustinspiredme)
(via trouve-moi)
THIS IS THE STORY OF HOW ANNA KARINA & JEAN-LUC GODARD FIRST “GOT TOGETHER”
Anna Karina: That happened while we were shooting the picture in Geneva. It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long. We were like animals. One night we were at this dinner in Lausanne. My boyfriend, who was a painter, was there too. And suddenly I felt something under the table – it was Jean-Luc’s hand. He gave me a piece of paper and then left to drive back to Geneva. I went into another room to see what he’d written. It said, “I love you. Rendezvous at midnight at the Café de la Prez.” And then my boyfriend came into the room and demanded to see the piece of paper, and he took my arm and grabbed it and read it. He said, “You’re not going.” And I said, “I am.” And he said, “But you can’t do this to me.” I said, “But I’m in love too, so I’m going.” But he still didn’t believe me. We drove back to Geneva and I started to pack my tiny suitcase. He said, “Tell me you’re not going.” And I said, “I’ve been in love with him since I saw him the second time. And I can’t do anything about it.” It was like something electric. I walked there, and I remember my painter was running after me crying. I was, like, hypnotized – it never happened again to me in my life.
So I get to the Cafe de la Prez, and Jean-Luc was sitting there reading a paper, but I don’t think he was really reading it. I just stood there in front of him for what seemed like an hour but I guess was not more that thirty seconds. Suddenly he stopped reading and said,” Here you are. Shall we go?” So we went to his hotel. The next morning when I woke up he wasn’t there. I got very worried. I took a shower, and then he came back about an hour later with the dress I wore in the film - the white dress with flowers. And it was my size, perfect. It was like my wedding dress.
We carried on shooting the film, and, of course, my painter left. When the picture was finished, I went back to Paris with Jean-Luc, Michel Subor, who was the main actor, and Laszlo Szabo, who was also in the film, in Jean-Luc’s American car. We were all wearing dark glasses and we got stopped at the border – I guess they thought we were gangsters. When we arrived in Paris, Jean-Luc dropped the other two off and said to me, “Where are you going?” I said, “I have to stay with you. You’re the only person I have in the world now.” And he said, “Oh my God.”
Extract taken from an interview with Anna Karina conducted by Graham Fuller in Projections 13: Women Film-makers on Film-making, edited by Isabella Weibrecht, John Boorman and Walter Donohue (Faber & Faber, 2004)
(via Focus Features)
(Source: criterioncorner)
(Source: artandme-101)
