“A succulent wild woman is one of any age who feels free to fully express herself in every dimension of her life.”
― S.A.R.K., quote from Succulent Wild Woman
“Marry yourself first -- promise never to leave you!”
― S.A.R.K., quote from Succulent Wild Woman
“Women need a space to be creative -- creativity thrives in solitude.”
― S.A.R.K., quote from Succulent Wild Woman
“If she got really quiet and listened, new parts of her wanted to speak.”
― S.A.R.K., quote from Succulent Wild Woman
“My body is precious and not separate from my soul.”
― S.A.R.K., quote from Succulent Wild Woman
“Use your internal grandmother for guidance and advice.”
― S.A.R.K., quote from Succulent Wild Woman
“Nourish your eye and spirit with inspiring things. They will bloom with your tending.”
― S.A.R.K., quote from Succulent Wild Woman
“I envision a world filled with women traveling alone and meeting each other on the path.”
― S.A.R.K., quote from Succulent Wild Woman
“Creativity suffers under great scrutiny from ourselves or others.”
― S.A.R.K., quote from Succulent Wild Woman
“When we look at clouds we see different shapes. See all the grace you can.”
― S.A.R.K., quote from Succulent Wild Woman
“The circles of women around us weave invisible nets of love that carry us when we’re weak, and sing with us when we are strong.”
― S.A.R.K., quote from Succulent Wild Woman
S.A.R.K.
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“True enough,” said Mrs. Copperfield, bringing her fist down on the table and looking very mean. “I have gone to pieces, which is a thing I’ve wanted to do for years. I know I am as guilty as I can be, but I have my happiness, which I guard like a wolf, and I have authority now and a certain amount of daring, which, if you remember correctly, I never had before.”
― Jane Bowles, quote from Two Serious Ladies
“If there's one area of me that the devil's got a hold of, it's my tongue.”
― Stefne Miller, quote from Collision
“Overtaken by demographic transformation and two generations of socio-geographic mobility, France’s once-seamless history seemed set to disappear from national memory altogether.
The anxiety of loss had two effects. One was an increase in the range of the official patrimoine, the publicly espoused body of monuments and artifacts stamped ‘heritage’ by the authority of the state. In 1988, at the behest of Mitterrand’s Culture Minister Jack Lang, the list of officially protected items in the patrimoine culturel of “France—previously restricted to UNESCO-style heirlooms such as the Pont du Gard near Nîmes, or Philip the Bold’s ramparts at Aigues-Mortes—was dramatically enlarged.
It is revealing of the approach taken by Lang and his successors that among France’s new ‘heritage sites’ was the crumbling façade of the Hôtel du Nord on Paris’s Quai de Jemappes: an avowedly nostalgic homage to Marcel Carné’s 1938 film classic of that name. But Carné shot that movie entirely in a studio. So the preservation of a building (or the façade of a building) which never even appeared in the film could be seen—according to taste—either as a subtle French exercise in post-modern irony, or else as symptomatic of the unavoidably bogus nature of any memory when subjected thus to official taxidermy.”
― Tony Judt, quote from Postwar: A History of Europe Since 1945
“You are a stone, thrown upon a lake. But the ripples you create will never make you still.”
― Jessie Burton, quote from The Miniaturist
“They were sending her to war, so she would go and become something they had every right to fear.”
― Elise Kova, quote from Air Awakens
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