"First you’re taught to fear a phantom, a man in black, a man with a knife, a man who’ll pounce in dark alleys. Well-intentioned women—mothers, aunts, teachers—will train you to protect yourself: Don’t wear your hair in a ponytail; it’s easier to grab. Hold your keys in one hand; hold your pepper spray in the other. Avoid dark alleys. When you reach young adulthood, the lessons change. They acquire an undertone of disgust: Don’t drink so much. Don’t wear such short skirts. You’re sending mixed signals; you’re putting yourself at risk. If you follow the advice and it never happens—if you end up one of the three out of four—you can convince yourself that safety is a product of your own making, a reflection of inherent goodness. But if you’re paying attention, you realize something doesn’t add up. Because it keeps happening: to your sisters; to your friends; to little girls and grown women you’ll never meet, in places like Cleveland, Texas; Steubenville, Ohio; New Delhi. Good people, bad people, neutral. It keeps happening in TV shows and novels and movies—they open on the missing girl, the dead girl, the raped girl. If you’re paying attention, you begin to realize that it isn’t happening. It is being done. And you are not safe. You have never been safe. You were born with a bulls-eye on your back. All you have ever been is lucky.

Cara Hoffman’s 2011 novel So Much Pretty opens on the dead girl. Her name is Wendy White; she’s been missing for five months, and within the first fifty pages we learn that her body “was put to use for months before being found.” In another book, my heart would sink, reading those words. Among many other things, I’m tired of the way this story is told in fiction: from the point of view of the male detective, grizzled and weary, shaking his head over some beautiful broken body. The man represents cynicism; the body, innocence. By the end, his jaded worldview will be confirmed, or he will be saved—either way, he’ll need to see the body. I’ve read enough of this genre to know I’m tired of it. I’m tired of the way it puts women’s bodies to use, as footnotes. The dead girl is the beginning of the man’s story. Being dead, hers has ended before page one."

Katie Coyle on So Much Pretty for The Female Gaze (via christinefriar)

(via christinefriar)

22,067 notes

tim-sliwinski:

My Bloody Valentine, Berlin, 1986

tim-sliwinski:

My Bloody Valentine, Berlin, 1986

(via twoweeksoflovemaking)

1,275 notes

(Source: as-cosy-as-can-be, via bunburysbees)

13,240 notes

"I don’t really believe in cars, but I drive one every day and I love that it gets me places and makes life so much easier and faster and I don’t know what I would do without it."

Amy Poehler, being a genius about women who don’t believe in feminism. (via meredithhaggerty)

798 notes

themaninthegreenshirt:

Wes Anderson at Sundance film festival in 1993

themaninthegreenshirt:

Wes Anderson at Sundance film festival in 1993

(via twoweeksoflovemaking)

7,005 notes

exitnetwork:

Beata Chrzanowska

exitnetwork:

Beata Chrzanowska

(via likeneelyohara)

14,788 notes

"Be gentle with yourself. You are a child of the universe no less than the trees and the stars; you have a right to be here."

Advice to Sylvia Plath, from her mother  (via tellmefive)

(Source: allmymetaphors, via hellorenee)

39,018 notes

lifeaquatic:

hi

lifeaquatic:

hi

15 notes


Stevie Nicks

Stevie Nicks

(Source: satya-, via kateordie)

3,126 notes

(Source: alice-val-gallery, via littleoystersss)

157 notes