“In such ugly times, the only true protest is beauty."
- Phil Ochs
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Stop acting so small. You are the universe in ecstatic motion.

— Rumi

(Source: larmoyante)

Every ending is arbitrary, because the end is where you write The end. A period, a dot of punctuation, a point of stasis. A pin-prick in the paper: you could put your eye to it and see through, to the other side, to the beginning of something else. Or, as Tony says to her students, Time is not a solid, like wood, but a fluid, like water or the wind. It doesn’t come neatly cut into even-sized lengths, into decades and centuries. Nevertheless, for our purposes we have to pretend it does. The end of any history is a lie in which we all agree to conspire.

Margaret Atwood, “The Robber Bride (via the-library-and-step-on-it)

(via sheonlysaid)

When Steve Kloves (who wrote the majority of the Potter screenplays) met J.K. Rowling for the first time, he told her straight up that Hermione was his favorite character. Rowling admitted to being relieved, and who could blame her? It was more likely for Hermione to end up disrespected on screen—she wouldn’t be the first female hero to get butchered in the reels.

But this resulted in an undercutting of Ron’s entire character from the first movie. Don’t believe it? When the trio go after the Philosopher’s Stone, they face a series of tests that demand each of their skills in turn. Time likely demanded that this sequence be cut down, and so Hermione’s test—solving Professor Snape’s potion riddle—was removed entirely. To make up for this, she gets them out of the Devil’s Snare, Professor Sprout’s deadly plant. Hermione shouts to Harry and Ron to relax so the foliage will release them—but Ron continues to panic and moan (in campiest fashion possible because he’s played by a child actor and these things are always requested of them), requiring Hermione to blast the thing with a sunlight spell.

In the book, Hermione is the one who panics. She remembers what her lessons taught her—that the Devil’s Snare will recoil at fire—but balks at their lack of matches while they are being strangled to death. Ron immediately shrieks to the rescue YOU ARE A WITCH YOU HAVE A WAND YOU KNOW SPELLS WHAT ARE MATCHES.

It’s a simple change, but it makes such a marked difference in how both characters come off to an audience. Rather than a near-infant, incapable of following the clearest directions, Ron is the even-keeled nitty-gritty one. He’s a tactician, the one who will find the simplest answer to a problem provided that the situation is dire enough to ensure his clear head. Ron is good under pressure and brave to boot. He’s also hilarious.

It is easy to write this off as an actor problem; Emma Watson matured and improved much faster than her costars in terms of talent—and Steve Kloves liked her portrayal so much that he started giving her many of Ron’s important lines. During The Prisoner of Azkaban, Sirius Black is trying to get to Peter Pettigrew (currently disguised as Scabbers the Rat), but Ron and Hermione are convinced he’s after Harry. In the book, Ron stares up defiantly from his mangled, broken leg and tells Sirius Black that if he wants Harry, he’ll have to get through his friends first.

Yeah, my leg hurts way too much, Hermione. You take this one. But say it’s from me. And in the film, it’s Hermione who boldly steps in the line of fire while Ron sobs in pain and babbles incoherently.

These rewrites not only depict Ron as an idiot coward—they also make him an outright jerk. When Professor Snape snaps at Hermione yet again for being an insufferable know-it-all, movie-Ron gives her a look and drawls, “He’s right, you know.” Wait, what?! Harry, why are you friends with this prick? Well, maybe because the Ron Weasley that J.K. Rowling put on paper was in that exact same situation, and immediately leapt to Hermione’s defense when she was being abused by a teacher—“You asked us a question and she knows the answer! Why ask if you don’t want to be told?”

You can cut all the flowers but you cannot keep Spring from coming.

— Pablo Neruda (via larmoyante)

aseaofquotes:

John Knowles, A Separate Peace

aseaofquotes:

John Knowles, A Separate Peace

Olivia Hussey and Leonard Whiting in Romeo and Juliet (1968), directed by Franco Zeffirelli.

(Source: romeoandjulietfan)

I believe that a person’s taste in music tells you a lot about them. In some cases, it tells you everything you need to know.

— Leila Sales, This Song Will Save Your Life (via larmoyante)

How do you pick up the threads of an old life? How do you go on, when in your heart, you begin to understand, there is no going back? There are some things that time cannot mend.

— J.R.R. Tolkien (via onlinecounsellingcollege)

(via ferociouslyeclecticgay)

shakypigment:

Dante at the Gate of Purgatory, Bela Čikoš Sesija

shakypigment:

Dante at the Gate of Purgatory, Bela Čikoš Sesija

(via lilacsinthedooryard)

The darker the night, the brighter the stars.

— Fyodor Dostoevsky, Crime and Punishment. (via ssion1984)

(Source: happyjellybeans, via ssioned-replacement)

I have finally concluded, maybe that’s what life is about: there’s a lot of despair, but also the odd moment of beauty, where time is no longer the same. It’s as if those strains of music created a sort of interlude in time, something suspended, an elsewhere that had come to us, an always within never. Yes, that’s it, an always within never.

— Muriel Barbery, The Elegance of the Hedgehog (via seabois)

(via seabois)

But I was used to finding something deadly in things that attracted me; there was always something deadly lurking in anything I wanted, anything I loved. And if it wasn’t there…then I put it there myself.

John Knowles, A Separate Peace (via in-veritas)

It is within you that the ghosts acquire voices.

— Italo Calvino, Under the Jaguar Sun (via likeafieldmouse)

(via rudyscuriocabinet)

What if I slept a little more and forgot about all this nonsense.

— Franz Kafka, The Metamorphosis (via souroddball)

(Source: larmoyante, via pseudoist)

And I asked myself about the present: how wide it was, how deep it was, how much was mine to keep.

Kurt Vonnegut, Slaughterhouse-Five  (via soyouthinkyoucansee)

God, I love Kurt Vonnegut - he can make you laugh at despair and somehow see beauty even when surrounded by ugliness.

(via anticipatedabsence)

(Source: suitcases-wildair-wanderlust, via lifelockedsovereignty)