“I may not have been sure about what really did interest me, but I was absolutely sure about what didn't"


Virginia Woolf’s working table, photographed by Gisèle Freund (1965)


Virginia Woolf’s working table, photographed by Gisèle Freund (1965)

(Source: bizarrereverie, via yesyes)

idris elba.. love my life/my future hubby (shame he doesn’t know it yet)

(via black-culture)

(Source: badboibilli, via nolanna)

The people will not stay silent

Favourite Quote of ALL TIME

“In the midst of winter, I found there was, within me, an invincible summer.

And that makes me happy. For it says that no matter how hard the world pushes against me, within me, there’s something stronger – something better, pushing right back.” 

-Albert Camus, The Stranger-

(Source: chillingwithblueivy, via nolanna)

It would be the simplest thing to say, my homeland is where I was born. But when you returned, you found nothing. What does that mean? It would be the simplest thing to say, my homeland is where I will die. But you could die anywhere, or on the border between two places. What does that mean? After a while the question will become harder. Why did you leave? Why did you leave? For twenty years you have been asking, why did they leave? Leaving is not a negation of the homeland, but it does turn the problem into a question. Do not write a history now. When you do that, you leave the past behind, and what is required is to call the past to account. Do not write a history except that of your wounds. Do not write a history except that of your exile. You are here - here, where you were born. And where longing will lead you to death. So, what is homeland?

Mahmoud Darwish, Journal of an Ordinary Grief (via yesyes)


(Source: yesyes, via nolanna)

somebody/anybody sing a black girl’s song..

-Ntozake Shange, For Colored Girls Who Have Considered Suicide/When The Rainbow Is Enuf-


(Source: adrift-in-the-atlantic, via noldarling)

"And silence, like darkness, can be kind; it, too, is a language"

Hanif Kureishi, Intimacy


(Source: creatingaquietmind, via inexorable-solitude)

Despite historical indications that women have been the backbone of Somali society, their political, cultural, and economic contributions have rarely been acknowledged, and therefore, remain marginalized. They remain absent from most discourses on Somalia. This is due to the fact that it is primarily men who write about the situation in Somalia, viewing male realities as that of the whole society. By writing women out of the history of their society, Somali women have not only been deprived of their rights, but the ramifications extend beyond political and economic rights, instead they encompass all aspects of women’s lives. As a result, Somali women, like others before them, are beginning to debunk those views as they claim the right to be heard, to participate and to contest male produced Somali realities.

In Somalia, poetry plays a vital role in the society and “interest in it is universal and skill in it is something which everyone covets and many possess. The Somali poetic heritage is a living force intimately connected with the vicissitudes of everyday life.” and in fact some scholars have described Somalia as a “nation of bards.” thus, in order to assess the position of women within Somali master narrative, it is appropriate to employ poetry as well as songs and proverbs about women. {One] aspect of the master narrative relates to the assertion that what is considered as moral virtues for men, are in fact, vices for women. This narrative seeks to maintain the status quo by defining characteristics that are virtues for men as vices for women: “Three that are good in a man are bad in a woman- bravery, generosity, and eloquence.” If a woman is brave she will fight with her husband; if she is generous, she will squander her husband’s wealth; if she is eloquent, she will challenge her husband and thus diminish her husband’s prestige. Therefore, the master narrative prefers an obedient woman than one who is intemperate or intelligent or from better family. The perpetuation of the master narrative regarding Somali women was assisted by what Choi-Ahmed characterizes as “colonial anthropology, orientalism, and androcentric Western scholarship.” In turn, this has led to the creation of the myth of the Somali woman as chattel, commodity, and a creature with little power. Despite these scholars’ depictions of Somali women as “commoner,’ ‘slave,’ or ‘low-caste person,’ they are nevertheless forced to confront the real position of women within the society. Contrary to the description of women as a “womb for rent,” the reality demonstrates that underneath the facade women are quite as influential as men and that although Somali women may have a low position in the society they also may have considerable standing within it. However, many of these scholars continue to depict women as powerless and inferior to men preferring to ignore the counter-narratives confronting them. -Ladan Ahmed-”


(Source: nomadmanifesto, via nolanna)