Monthly Archives: November 2013
| flirt with a book |
«So, what do you go for in a girl?»
He crows, lifting the lager to his lips
He gestures where his mate sits
then Downs his glass
«He prefers tits, I prefer ass.»
«What do you go for in a girl?»
I feel quite uncomfortable,
The air left the room a long time ago.
All eyes are on me
hmm… if you must know.
I’d like a girl who reads
Yeah, reads.
I’m not trying to call you a chauvinist,
because I know that you’re not alone in this
but…
I ‘d like a girl who reads.
Who needs the written word
& who uses the added vocabulary.
She gleans from novels and poetry
to hold lively conversation,
in a range of social situations
I want a girl who reads
Who’s heart bleeds at the
words of Graham Greene
Or even heat magazine
Who ties back her hair while
she is reading Jane Eyre
and goes cover to cover with
each waterstones three for two offer
but I want a girl who doesn’t stop there
I want a girl who reads
Who feeds her addiction for fiction
With unusual poems and plays
That she hunts out in crooked bookshops
for days and days and days
She’ll sit addicted at breakfast,
soaking up the back of the conflakes box
And the info she gets from what
she reads makes her a total fox
beacuse she’s interesting & unique
& her theories make me go weak at the knees
I want a girl who reads
A girl who’s eyes will analyse
The menu over dinner
Who’ll use what she learns
to kick my ass in arguments
so she always ends the winner
But she’ll still be sweet and she’ll still be flirty
Cos she loves the classics and they are pretty dirty
So late at night she’d always have me in a stupor
As she paraphrases the raunchier
moments from the works of Jilly Cooper
See, some guys prefer asses
Some prefer tits
And I’m not saying that I don’t like those bits
But what’s more important
What supercedes
Is a girl a with passion, wit and dreams
So I ‘d like a girl who reads.
— Mark Grist
| book ~ end #3 |
«Between Barton and Delaford, there was that constant communication which strong family affection would naturally dictate; and among the merits and the happiness of Elinor and Marianne, let it not be ranked as the least considerable, that though sisters, and living almost within sight of each other, they could live without disagreement between themselves, or producing coolness between their husbands.»
— Sense and Sensibility / Jane Austen
| Famous Quotation #62 |
«Beauty can be seen in all things, seeing and composing
the beauty is what separates the
snapshot from the photograph.»
– Matt Hardy
| habent sua fata libelli |
They say just the knowledge that a good book is awaiting for you at the end of a long day makes your day happier and bearable. But what do they say when your mind is occupied throughout the day with that book you are currently reading? When your only wish is to Get Back In Your Book, but unfortunately you are forced to put it down in order to do, you know, the things you have to do… Well, I am pretty sure the photographer wanted to describe what I want, feel and think when I don’t want to stop reading, but life forces me to. Actually, I can’t believe I didn’t think of this first.
Παϱαφϱάzοντας τη λατινιϰή ϱήση ɣια τη μοίϱα των ϐιϐλίων ϑα μποϱούσαμε να πούμε «έxουν τη διϰή τους μοίϱα οι φωτοɣϱαφίες». Η Lissy Elle Laricchia συνδυάzει δυο μεɣάλες αɣάπες· τις φωτοɣϱαφίες ϰαι τα ϐιϐλία. Απολαύστε τις— ϰάπως έτσι είμαι κι εɣώ στο μυαλό μου, όταν ενώ ϑέλω να διαϐάσω, αναɣϰάzομαι να… zήσω.
| στιɣμιότυπα |
It could be argued that consumer photography didn’t begin until 1888, when Eastman Kodak made his Kodak No. 1 (the followup to the Kodak Box) available to the public at large alongside the now famous slogan: «You Press the Button, We Do the Rest». Thanks to the National Media Museum, we now have a small gallery of sample photographs that show what photos taken 125 years ago with the Kodak No. 1 looked like.
Without a doubt, the Kodak No. 1 revolutionized photography. A plain-looking, leather-covered wooden box preloaded with 100 exposures, its simplicity and (relatively) low price tag made it the first camera realistically available to the masses. Using the camera was as easy as turning the key to wind the film, pulling the string to set the shutter and pressing the button. When you had used all 100 of your exposures, you would send the entire camera back to Kodak where the company would develop your prints and send them back alongside the re-loaded camera. When your photos finally arrived, what you had in hand was 100 2.5-inch circular prints that looked something like this;