Hi. I'm Sue Ball.

Brilliant minds make errors, brave souls falter, kind hearts leave scars. We are none of us perfect, but we’re all perfectly human.

—Juliet Marillier (via littleblueartist)

(via vampirejuly)

The best thing about getting older is perspective; seeing (in the midst of anything and everything) huge beauty in little, tiny (almost undetectable) things.

Sitting in an almost empty hotel lobby. Muzak version of Welcome Back Kotter is playing. Guy halfway across the room could be a sweathog. I could have been Julie. Exit sign right in front of me and I can hear the escalator going up. This is the shit I’ll look back on. This is the shit that keeps me going.

brightwalldarkroom:

"The Before films have gathered many accolades—all of which they deserve, some of which are credited to the writing. The “realism” of the dialogue is so vivid, so intimately touching to us that we wonder if it’s improvisation (no; all three are completely scripted) or the actors/co-writers playing themselves (maybe a little bit). I keep thinking about this realism as a Linklater Reality—the idyllic, topmost layer of reality as we know it. Sampled from life. Skimmed, curated. The best of the best and the worst. It’s hard not to make it exemplary. When I watch Celine and Jesse together, a little creature mewls in my chest. It’s the heart’s lament: Could it be this easy? Is the only thing we need presence, and attention? And worse—will I not see the beauty in these days, until the light is gone?
“You feel far away,” I’d whisper on the phone sometimes, hesitating to release the words into the universe.
“You feel like you’re next to me,” he’d reply. But when he said my name, it felt like an apology.
—Tracey Wan, “After Midnight” (Issue #9)
(read the entire essay for free here)

The entire essay, worth the read. I love this trilogy sooo much. Xo

brightwalldarkroom:

"The Before films have gathered many accolades—all of which they deserve, some of which are credited to the writing. The “realism” of the dialogue is so vivid, so intimately touching to us that we wonder if it’s improvisation (no; all three are completely scripted) or the actors/co-writers playing themselves (maybe a little bit). I keep thinking about this realism as a Linklater Reality—the idyllic, topmost layer of reality as we know it. Sampled from life. Skimmed, curated. The best of the best and the worst. It’s hard not to make it exemplary. When I watch Celine and Jesse together, a little creature mewls in my chest. It’s the heart’s lament: Could it be this easy? Is the only thing we need presence, and attention? And worse—will I not see the beauty in these days, until the light is gone?

“You feel far away,” I’d whisper on the phone sometimes, hesitating to release the words into the universe.

“You feel like you’re next to me,” he’d reply. But when he said my name, it felt like an apology.


—Tracey Wan, “After Midnight” (Issue #9)

(read the entire essay for free here)

The entire essay, worth the read. I love this trilogy sooo much. Xo

(via iwanttobelikearollingstone)

Old Joy.

This film is like meditation.

I love it. 

20 times viewed worth of love. 

Kelly Reichardt is something special.

Old Joy.

This film is like meditation.

I love it.

20 times viewed worth of love.

Kelly Reichardt is something special.

Owning our story can be hard, but not nearly as difficult as spending our lives running from it.

—Brene Brown (via onlinecounsellingcollege)