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The French called this time of day 'l'heure bleue.' To the English it was 'the gloaming.' The very word 'gloaming' reverberates, echoes - the gloaming, the glimmer, the glitter, the glisten, the glamour - carrying in its consonants the images of houses shuttering, gardens darkening, grass-lined rivers slipping through the shadows. During the blue nights you think the end of the day will never come. As the blue nights draw to a close (and they will, and they do) you experience an actual chill, an apprehension of illness, at the moment you first notice; the blue light is going, the days are already shortening, the summer is gone... Blue nights are the opposite of the dying of the brightness, but they are also its warning. ↗
A journalist is supposed to present an unbiased portrait of an event, a view devoid of intimate emotions. This is impossible, of course. The framing of an image, by its very composition, represents a choice. The photographer chooses what to show and what to exclude. ↗
It should be clear by now that my focus here is not freedom of speech or the press. This freedom is all too often an exaggeration. At the very least, blind references to freedom of speech or the press serve as a distraction from the critical examination of other communications policies. ↗
We are very fond of blaming the poor for destroying the environment. But often it is the powerful, including governments, that are responsible. ↗