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A sumptuous 450m² apartment with a 180° terrace overlooking the Mediterranean, a magnificent SUITE that incorporates the style of the famous
New poetry by Bruno Neiva.
But anyway, just how do you change the clocks of memory? Do you forget to wind them? Do they lose time? Or is it like you have to reset them when you change the time zones of memory? You know, you remember it from here and then you remember it from there. From a different zone. I rather think the clocks of memory must reset themselves. But sometimes it takes us a while to adjust.
Chapter 6 of EJ Spode‘s novel The Oddity.
If we really can’t help but think a certain way, one might worry that this doesn’t guarantee that that is the correct way to think. If we can’t rationally doubt certain principles, then there is a certain kind of sceptical worry that we are stuck being unable to doubt false principles. I appeal to Kant’s idea that conditions on the possibility of thought and experience are themselves also conditions on the objects of thought and experience.
Continuing the End Times series, Richard Marshall interviews Jessica Leech.
He’d eaten the last of the seeds.
He was hollow, full of holes, hair falling out.
Soon would be winter, the world’s sunflower gone ripe.
By Justin Bendell.
Bourdouxhe’s story is one of a woman driven to remedy her husband’s betrayal. The wife/woman of the title (“femmes” holds this double meaning, hence the artful choice not to choose which by using the title in the original French for the translation), seems compelled to behave just so in order to covertly manipulate her husband into tiring of the affair and back into embracing their marriage. Simply put: it’s a painful read. We want her to leave the cad.
Cara Benson reviews La Femme de Gilles by Madeleine Bourdouxhe.
Before Kuti’s adoption by a growing number of hip hop stars, Stevie Wonder had called him “an incredible pioneer” to whom the music world is much indebted. Long before he passed on, Miles Davis regarded him as the future of music. Mos Def, on his part, likens him to Bob Marley, Rick James, ODB, Huey Newton and Duke Ellington. This particular characterisation of Kuti is most unlikely and awkward but probably makes sense from a marketing point of view, that is, in creating a niche for the problematic image Kuti crafted for himself.
By Sanya Osha.
If you act like you don’t need money, people will be more likely to give it to you.
By Tara Roeder.
The language of One Hundred Shadows is spare, pared down to convey the most basic information, further lending the story the aura of a fable. On one level, Eungyon and Mujae seem to exist in a pleasant haze, going on spontaneous dates, eating cheap food, taking long walks and having rambling conversations. Underneath the carefully-cultivated layer of an easygoing lifestyle, however, there is a force of anxious energy that is tied to both the rising shadows and a future without stable work.
Subashini Navaratnam reviews One Hundred Shadows by Hwang Jungeun.
For forty days and forty nights it rained dicks. Bags and bags of dicks. And the people were like, what the fuck, God, what did we ever do to you? But he was too busy showering their world with penises to hear their pleas. What fucked up days those were… there were dicks everywhere. Dicks in the trees, dicks in the streets, piles of dicks that people raked up and left for the giant trucks that hauled them off to who knows where. It was fucked. up.
Chapter 5 of EJ Spode‘s novel The Oddity.
Wittgenstein got stuck when it came to analyzing propositions about the colors of objects. Take four propositions about the color of some particular object A. These propositions aren’t logically independent from each other, so at most one of them could be an elementary proposition. But then the worry is that once we determine that one of these four propositions is elementary, we’ll have no way to analyze the three leftover propositions, since they won’t each be truth functions of the elementary color proposition. A lot of people think that this problem motivated Wittgenstein to abandon the central project of the Tractatus.
Continuing the End Times series, Richard Marshall interviews Sarah Moss.