#journal

All photos speak a thousand words. This one contained a library. ↗

— Rivera Sun

#beauty #books #inspiration #journalism #library

We learn to appreciate what we achieve, no matter how small the achievement, because we do it ourselves. - Midge Rylander in Eighteen Months To Live ↗

— Rachele Baker

#cancer #courage #diary #hope #inspirational

But he's looking for love in all the wrong places. Like fancy under catalogs At least he knows enough not to date while he's campaigning ↗

— Meg Cabot

#princess #dating

Once a day, especially in the early years of life and study, call yourselves to an account what new ideas, what new proposition or truth you have gained, what further confirmation of known truths, and what advances you have made in any part of knowledge. ↗

— Isaac Watts

#journaling #knowledge #reflection #education

...what I'm getting at is like the distinction between tourist and a traveler. The tourist experience is superficial and glancing. The traveler develops a deeper connection with her surroundings. She is more invested in them -- the traveler stays longer, makes her own plans, chooses her own destination, and usually travels alone: solo travel and solo participation, although the most difficult emotionally, seem the most likely to produce a good story. ↗

— Ted Conover

#travel-writing #experience

But into the first decades of the twentieth century, even at the New York Times, it was uncommon for journalists to see a sharp divide between facts and values. Yet the belief in objectivity is just this: the belief that one can and should separate facts from values. Facts, in this view, are assertions about the world open to independent validation. They stand beyond the distorting influences of any individual's personal preferences. Values, in this view, are an individual's conscious or unconscious preferences for what the world should be; they are seen as ultimately subjective and so without legitimate claim on other people. The belief in objectivity is a faith in "facts," a distrust of "values," and a commitment to their segregation. ↗

— Michael Schudson

#media #objectivity #sociology #faith

She needs a new journal. The one she has is problematic. To get to the present, she needs to page through the past, and when she does, she remembers things, and her new journal entries become, for the most part, reactions to the days she regrets, wants to correct, rewrite. ↗

— Dave Eggers

#life #past #present #problematic #regret

Barrons, Jericho: I haven't the faintest fecking clue. He keeps saving my life. I suppose that's something. ↗

— Karen Marie Moning

#life

He had begun the diary less as a record of his life (for whom and why? What life?) than as a regular and self-indulgent exploration, a means of makings sense of the past years, part catharsis, part comforting affirmation. ↗

— P.D. James

#life

The truth is that The Wild One -- despite an admittedly fictional treatment -- was an inspired piece of film journalism. Instead of institutionalizing common knowledge, in the style of Time, it told a story that was only beginning to happen and which was inevitably influenced by the film. It gave the outlaws a lasting, romance-glazed image of themselves, a coherent reflection that only a very few had been able to find in a mirror, and it quickly became the bike rider's answer to The Sun Also Rises. The image is not valid, but its wide acceptance can hardly be blamed on the movie. The Wild One was careful to distinguish between "good outlaws" and "bad outlaws," but the people who were most influenced chose to identify with Brando instead of Lee Marvin whose role as the villain was a lot more true to life than Brando's portrayal of the confused hero. They saw themselves as modern Robin Hoods ... virile, inarticulate brutes whose good instincts got warped somewhere in the struggle for self-expression and who spent the rest of their violent lives seeking revenge on a world that done them wrong when they were young and defenseless. ↗

— Hunter S. Thompson

#inspirational