Marla. Maryland. 21. Lesbian.

Expressing intimacy and having a mutual want/craving for it is so important and idk that’s just how I feel.

bembali:

I just really wanna hold someone’s hand in an art museum for a few hours

"   We’ve destroyed 90% of the fishes. Coral reefs in the entire planet will be gone in 20 years. That’s an irreversible situation. That’s the first major collapse of an ecosystem on the planet. People are really ecologically stupid. We don’t realize that if we just wipe out a couple of species here, we’re gone.   "
-Paul Watson (via noshoes-noworries)
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 “Paris 1950”, Robert Doisneau
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this is a dream
"   I didn’t love him.
I barely liked him.
But he was heat at the peak of summer,
and he kissed like I was his last meal—
And I was looking for a body to drown in.
Back then, I had a candy-coated heart,
like flowers tucked in the pages of a hymnal,
and he had the thick, calloused hands
of a working man.
He talked like a friend,
but touched like an animal
and my bubblegum chest wanted that
in ways it couldn’t understand yet.
He asked what colors I kissed in
and the poet in me cracked open and spilled over—
Exposed like an open wound,
like all the soft, pink parts of me
I didn’t know about.
He was a means to an end:
my Machiavellian loss of innocence.
I don’t regret him,
but sometimes I wish I did.   "
-First, by Ashe Vernon (via latenightcornerstore)

By Silvia Grav, a truly extraordinary set of black & white photographs from the Madrid-based artist, that have such beautiful concepts behind each image. There has been a wave of incredibly talented photographers with a knack for surreal manipulations recently, and these are some of the best I’ve seen. 


heicho-u:

my entire life is me dropping things and whispering ‘fuck’

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"   There is not one person in this world that is not cripplingly sad about something. You remember that before you open your mouth.   "
-Unknown (via perfect)
"   The difficulty for me in writing—among the difficulties—is to write language that can work quietly on a page for a reader. Now for that, one has to work very carefully with what is in between the words. What is not said. Which is measure, which is rhythm, and so on. So, it is what you don’t write that frequently gives what you do write its power.   "
-Toni Morrison, from “The Art of Fiction No. 134,” in the Paris Review (Fall 1993, No. 128)