• My chalk hand drops, and I turn to him, exasperated. "Simon-"
    "A-ha!" he shouts, springing up and pointing. It scared the hell out of me. I've seen him kill a dog with less effort. (He said the dog was were; I think it was just excited.) "You did it again!"
    "Did what?" I say, slapping his hand away from my face.
    He sticks his other hand in my face, pointing. "Called me Simon."
    "What would you prefer- Chosen One?"
    His hand dips. "I prefer Simon, actually. I... I like it."
    I swallow, and it must be obvious how nervous I am, because he looks down at my neck. "Simon," I say, and swallow again, "you're being idiotic."
    "Because I like this better than fighting?"
    "There is no 'this'!" I protest.
    "You slept in my arms," hey says.
    "Fitfully."
    Rainbow Rowell
    Sayfa 363 - burası o kadar komik ve güzel ve flörtöz ve muhteşem ki gövdeme dövme yaptırmak İSTİYORUM
  • "Is that how you think of me?"
    "Isn't that how you think of yourself? Oh, right. I forgot- you don't think at all."
    Rainbow Rowell
    Sayfa 362 - evli çift kavgası gibi djksdjdsk snowbaz story (marriage story göndermesi)
  • He laces his fingers in mine and hold my hand loosely. "I try not to think about."
    "About being gay?"
    "About anything. I make lists of things not to think about."
    "Why?"
    "Because," he says, "it hurts to think about things that you can't have or help. S'better not to think about it."
    I rub my thumb back and forth on the back of his hand. "Am I on your list?"
    He laughs again and shakes his head; his hair brushes against mine. "Fat chance." He sounds sleepy. "Trying not to think about you... S'like trying not to think about an elephant that's standing on my chest."
    I think about that.
    About Snow thinking about me.
    I grin. "I can'T decide whether that's a compliment..."
    "Me neither," he says.
    "So you don't think..."
    "S'pointless."
    Rainbow Rowell
    Sayfa 355 - it hurts'lü cümleden dolayı önce ağlamaklı olmak ama sonra yine salak simon yüzünden gülümsemek... sizi seviyorum
  • "You're not listening to me at all, are you?"
    "I am," I say. "But you're wrong. Nothing's going back to normal after this. How could it?"
    "Because we're friends now?"
    "Because we're more than that."
    Baz picks up a poker and jabs at the fire. "One kiss, and you think the world is upside down."
    "Two kisses," I say. And I take him by the back of his neck.
    Rainbow Rowell
    Sayfa 353 - hayatımda okuduğum en seksi ve en romantik şeylerden biriydi her okuduğumda AKLIMIKAÇIRIYORUMAKLIMIAAAAAA
  • Miyazaki animelerindeki yemekler üzerine:

    The Magic Of Ghibli Food
    https://www.youtube.com/watch?v=w7WEfAjbHy0

    ayrıca

    The New Gastronome Animating the Alimentary Hayao Miyazaki, Films & Food by Ashley Thuthao Keng Dam*

    "So you’re probably still wondering: How is it possible that these drawn food images are so stimulating to me? How can I crave something I’ve never had before? How can an image of something I don’t know, be inherently ‘perfect’? I think about these questions a lot when I’m watching Miyazaki films. Is there a method to the madness? Is there some magical formula to capturing the essence of all types of foods? In his book Understanding Comics: The Invisible Art (1993), cartoonist and graphic arts scholar Scott McCloud argues that drawn images generate a sense of universality through the stripping of images – meaning that only the most ‘important’ or ‘significant’ details are emphasised as a basis for the object or idea being depicted6. Whether it’s the signature curve of a banana, the fibrous interior of pineapples, or the way that grill marks detail a slice of meat or vegetable, it’s these rich details that bring the fantasy of Miyazaki and Ghibli films to the edge of reality. The foods in the films appear unreal, yet real, at the same time. The situations involving food are relatable, emotions are raw, and our hunger for the film’s plot progression and depicted cuisines, grows."

    *https://thenewgastronome.com/animating-the-alimentary/
  • 335 syf.
    This book is about gender fluid teenager. Riley is the main character. Readers cannot understand Riley's biological gender after reading the book. Jeff Garvin tried very extraordinary writing method, he does not use any pronouns for the main character of the book. Therefore, this book cannot be translated to some sexist languages like Russian :) (or very hard to translate) I think it's an informative and interesting book, especially last 50 pages are very emotional and dramatically. I think movie adaptation of this book will be interesting and the story can reach to more audiences. I might do this in the future, Emma Watson, Ezra Miller and Cara Delevingne will be in the leading roles.
    A part of Author's Note:
    "Some of what I learned shocked me: 64 percent of transgender and nonbinary people in the US experience sexual violence in their life -- 12 percent before they graduate hight school. Forty one percent will attempt suicide. Genderqueer and transgender people are four times as likely to live below the powerty line."
  • nadav kander ile röportaj

    https://www.fotomagazin.de/...terview/nadav-kander

    nadav kander ne tarz fotoğraflar çekmeyi arzuluyor?

    Nadav Kander: Yes. I long for pictures that are calm, heavy, and sometimes serious. Very pretty, but sometimes with something unsettling. I want to give them that. I reduce my pictures, such as the constructivists or Mark Rothko and Franz Kline, to simple, strong compositions that should pack because of their colors and shapes. They are energetic and figurative. Photography works just fine at this level. People just never talk about it, about their soul landscapes that reveal information. Our brain always interprets everything, but the physical interpretation is about the colors, about the weight of things. From there the emotion comes into play.

    Nadav Kander: Ja. Ich habe das Verlangen nach Bildern, die ruhig, schwer und manchmal ernst sind. Sehr hübsch zwar, aber manchmal mit etwas Beunruhigenden. Das möchte ich ihnen mitgeben. Ich reduziere meine Bilder wie die Konstruktivisten oder Mark Rothko und Franz Kline auf einfache, starke Kompositionen, die wegen ihrer Farben und Formen packen sollen. Sie sind energiegeladen und figurativ. Die Fotografie funktioniert auch auf diesem Level prima. Die Leute sprechen nur nie darüber, über ihre Seelenlandschaften, die Informationen preisgeben. Unser Gehirn interpretiert immer alles, doch die physische Interpretation geschieht über die Farben, über das Gewicht der Dinge. Von dort kommt die Emotion ins Spiel.


    fotoMAGAZIN: What gives a picture something unsettling?
    Nadav Kander: I can hardly put it into words. It has something to do with the atmosphere. The atmosphere of a picture charges the banal, the otherwise normal things. Sometimes there is something that creates this discomfort. I frustrate you with my work so that you stand in front of it longer and wonder what is going on here. You should ask yourself why you are drawn to it. And if the viewers allow it, they will ask themselves further questions. Now you can find a reference to the picture.

    fotoMAGAZIN: Was gibt einem Bild etwas Beunruhigendes?
    Nadav Kander: Ich kann das fast nicht in Worte fassen. Es hat etwas mit der Atmosphäre zu tun. Die Atmosphäre eines Bildes lädt das Banale, die ansonsten ganz normalen Dinge auf. Manchmal gibt es da etwas, das dieses Unwohlsein erzeugt. Ich frustriere Sie mit meiner Arbeit, damit Sie länger davor stehen bleiben und sich fragen, was hier vor sich geht. Sie sollen sich fragen, warum sie sich dazu hingezogen fühlen. Und wenn die Betrachter das zulassen, dann werden sie sich weitere Fragen stellen. Nun können sie einen Bezug zum Bild finden.

    fotoMAGAZIN: When did you start to define yourself as an artist?
    Nadav Kander: I don't think my work has changed. There was more of a different kind of self-awareness. That happened around the end of the eighties. This became clearest when I saw Nan Goldin's photos for the first time. That's when I started reading articles about her. Then I discovered Jeff Wall. When I recognized the photographic possibilities, I realized that I had always been on this path. For a long time I didn't feel comfortable when I was called an artist. It felt so pretentious. That is completely accepted today.

    fotoMAGAZIN: Wann haben Sie begonnen, sich als Künstler zu definieren?
    Nadav Kander: Ich glaube nicht, dass sich meine Arbeit verändert hat. Es gab da eher eine andere Art der Selbstwahrnehmung. Das passierte etwa gegen Ende der Achtzigerjahre. Am deutlichsten wurde mir das klar, als ich zum ersten Mal Nan Goldins Fotos sah. Damals fing ich an, Artikel über sie zu lesen. Danach entdeckte ich Jeff Wall. Als ich die fotografischen Möglichkeiten erkannte, wurde mir klar, dass ich immer schon auf diesem Weg war. Lange Zeit habe ich mich nicht wohl gefühlt, wenn man mich einen Künstler nannte. Es fühlte sich so prätentiös an. Dabei ist das heute völlig akzeptiert.

    fotoMAGAZIN: Has photography changed you since you started using it as a medium of expression?
    Nadav Kander: Photography changes you because it works like a cycle. You produce works through which you can then find yourself. For example, I traveled to the Chinese Yangtze River, took pictures there, and then looked at my photos for six months. It made me realize what I learned about myself and how I do things. I grew with this perpetuum after looking at my work.

    fotoMAGAZIN: Hat Sie die Fotografie verändert, seit sie diese als Ausdrucksmedium benutzen?
    Nadav Kander: Das Fotografieren verändert dich, weil es wie ein Zyklus funktioniert. Du produzierst Arbeiten, durch die du dich anschließend selbst findest. Ich reiste beispielsweise zum chinesischen Yangtze-Fluss, fotografierte dort und sah mir dann sechs Monate lang meine Fotos an. Dabei wurde mir klar, was ich über mich gelernt habe und wie ich die Dinge angehe. Mit diesem Perpetuum bin ich gewachsen, nachdem ich meine Arbeiten betrachtete.