Chris Drury Covered Cairn, 1993 TICKON (Tranekær International Centre For Art And Nature), Langeland,

Statues of Endre Ady and Miklos Radnoti. Budapest, Hungary. June 2019,

Katrin Koenning (German, b. 1979, Ruhrgebiet, Germany, based Melbourne, Australia) - From her Glow series, 2012-2015. Glow is a body of work focused on things that have assumed a short-lived or unexpected state of glow (things which, by nature, don’t glow). Photography

Botanical Study N° 4 |  Fawn DeViney  

EVA FERRI: You insist on the centrality of the writing, you called it a chain that pulls up water from the bottom of a well. What are the features of your approach to writing?

ELENA FERRANTE: I work well when I can start from a flat, dry tone, that of a strong, lucid, educated woman, like the middle-class women who are our contemporaries. At the beginning I need curtness, terse, clear formulas that are free of affectations and demonstrations of beautiful form. Only when the story begins to emerge with assurance, thanks to that initial tone, do I begin to wait with trepidation for the moment when I will be able to replace the series of well oiled, noiseless links with a rusty, rasping series of links and a pace that is disjointed, agitated, increasing the risk of absolute collapse. The moment I change register for the first time is both exciting and anguished. I very much enjoy breaking through my character’s armor of good education and good manners, upsetting the image she has of herself, undermining her determination, and revealing another, rougher soul; I make her raucous, perhaps crude. I work hard to make the fracture between the two tonalities surprising and also to make the re-entry into the tranquil narration happen naturally. While the fracture comes easily—I wait for that moment, and slip inside it with satisfaction—I very much fear the moment when the narrative has to compose itself again. I’m afraid that the narrating “I” won’t be able to calm down. But above all, now the readers know her calm is false, that is won’t last, that the narrative orderliness will break up again.

— Elena Ferrante, Frantumaglia, 2016 

Feelings unspoken are unforgettable. Nostalghia (1983) Directed by Andrei Tarkovsky

Passion / باب المقام / Bab al-Makam (2005) dir. Mohammad Malas

Cinematography by Tarek Ben Abdallah

Hannah Höch with Raoul Hausmann • Self Portrait 1919

Bianca Blakeney by Sam Crawford for CAP 74024 Magazine April 2022

Glass bottle shaped like a date, Greek and Roman Art

Edward C. Moore Collection, Bequest of Edward C. Moore, 1891 Metropolitan Museum of Art, New York, NY Medium: Glass

http://www.metmuseum.org/art/collection/search/245683