these are the timesdirty beloved


un regard oblique


Wild systems


Happy Birthday April


Pushing back the lake We found something more Like a song In a word Like the heartbreak of birds And there, beneath the sand Looking like the rain...
Future Islands


Dreams of Exile

What to say of the dramas? The interested reader can take comfort from the fact that a biographer feels a duty to read them: no one else should. They are perhaps the least Stevensonian of the works to which Louis's name is attached, and he produced some notably bad work on occasion.
Ian Bell's biography of Robert Louis Stevenson


Fergusson's maist obvious influence wis on Robert Burns, that threapit tae be duin wi musardie till he cam ower Fergusson's wark, an cried him: " elder brother in misfortune, by far my elder brother in the Muse."

Syne bairnheid, Fergusson haed dree'd ill-heal (jaloused tae be ane o the heidmaist reasons why he didna gang til the Ryal Hie Schuil till a year efter maist fowk his eild), an it wis aften merkit bi chiels that saw him that he leukit gey pale an frail. Aither in or juist afore the stairt o 1774, it became clear that Fergusson wis dreein some kynd o the depression, his ordinar blytheness wis gane an he semmed tae retreat intil a sort o releegious doul, readin ainlie The Bible an his behaviour becam gey orra. Gaun by Alexander Peterkin in his The Works of Robert Fergusson. To Which is Prefixed a Sketch of the Author's Life (London, 1807) bi March 1774 Fergusson wis: "...quite aware that his mind was in disorder, and he anticipated with terror the confinement in a mad-house, which he saw would be unavoidable." In Juilie, the members o the Cape Club raised a collection o siller for tae help their freend, but maugre o some seemin rallies o his heal, he wis on the hail gettin waur. Later that same month he teuk a faw doun a stair, an furder skaithed his heid. Athin days he wis incarcerate in the Edinburgh Bedlam, Darien Hoose. The traigic, rapid faw frae genius tae madness wis endit bi his daith on the 17t o October 1774. He wis juist twinty-fower.



The White Currants Emily Small at Copacetic Comics

The Book of Small
Emily Carr
The title you have selected (The Book of Small) is a post-1922 publication by an author who died more than 50 years ago. Such titles are in the public domain in many countries, particularly those outside the US and Europe. However, this title most likely remains copyrighted under United States law, where works copyrighted in 1923 or later can remain under copyright for up to 95 years after publication.
The Book of Small
by Emily Carr
at Project Gutenberg Australia

Old People's Pow Wow Platform, Alert Bay
Emily Carr
via BC Archives via BC Heritage via wood s lot


                                                                                 The March

Till Gerhard
at Stellan Holmes
at Galleri K

Obama Train Nina Berman


Phoebe Legere is out of this world

Rejecting Stereotypes, Photographing ‘Real’ Indians
Matika Wilbur at Lens (NYTimes photo blog)
Wilbur's personal site has her photography, which is good and worthwhile, but the site radiates the tech behind it, intrusively.
The design scheme is so streamlined there's no captions, for one thing.
The designer's personality is the dominant presence, so that the site is about that person first, and the art, second.


When All This Is Over
Macdara Woods
via 3QD


Out of Gas
Thomas Jorion
via GuardianUK 
via Infocult
via the photographically steadily-improving wood s lot


When a person has grown old and has done his all, it is his task peacefully to make friends with death. He does not need other people. He knows them and has seen enough of them. What he needs is peace. It is not seemly to seek out such a person, to talk to him, to torment him with your chatter. At the gateway to his home the proper thing is to pass by, as if nobody lived there.
Hermann Hesse (notice on the door of his house upon award [1946] of the Nobel Prize for Literature)

The Elk River upstream of Freedom Industry's tanks. Image courtesy of the author


An American of French and Austro-Hungarian extraction, Vivian bounced between Europe and the United States before coming back to New York City in 1951. Having picked up photography just two years earlier, she would comb the streets of the Big Apple refining her artistic craft. By 1956 Vivian left the East Coast for Chicago, where she’d spend most of the rest of her life working as a caregiver. In her leisure Vivian would shoot photos that she zealously hid from the eyes of others.   
Vivian Maier Photographer

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