Doll Photos With Quotes

It could not have been easy for Mother, an only child, to grow up without a father and with a mother who was remote. Photos of her as a child show her extremely dressed up --Cornie's beautiful little doll. But a daughter, unlike a doll, grows up, and might fall in love with and marry someone her mother does not like; she becomes an individual with her own ideas.

I took the photos with me and heard Lucija making the call. As I closed the door behind me, I caught the scent of death from the patio, carried on the breeze moving the branches of the olive trees.

It soothed me to imagine a cavernous space inside the earth where missing or lost valuables—the cracked teapots, broken dolls, torn photos, bronzed baby shoes, dead turtles—made their habitation, a place where all our losses came to rest. I was not sure the dead lived among these things, but I was perfectly willing to suppose that they did or that they at least stopped in, as if visiting a ghostly pawnshop, to retrieve what had once, through

Inside there are photos of the Great Wall of China, the Serengeti plains, the holey moon, all the paper wonders of the world and heavens, from when she was a little girl, alone and reading, and she wants nothing more than to turn herself into a paper doll and climb inside.

I despise people who are forever taking pictures and go around with cameras hanging from their necks, always on the lookout for a subject, snapping anything and everything, however silly. All the time they have nothing in their heads but portraying themselves, in the most distasteful manner, though they are quite oblivious of this. What they capture in their photos is a perversely distorted world that has nothing to do with the real world except this perverse distortion, for which they themselves are responsible. Photography is a vulgar addiction that is gradually taking hold of the whole of humanity, which is not only enamored of such distortion and perversion but completely sold on them, and will in due course, given the proliferation of photography, take the distorted and perverted world of the photograph to be the only real one. Practitioners of of photography are guilty of one of the worst crimes it is possible to commit--of turning nature into a grotesque. The people in their photographs are nothing but pathetic dolls, disfigured beyond recognition, staring in alarm into the pitiless lens, brainless and repellent. Photography is a base passion that has taken hold of every continent and every section of the population, a sickness that afflicts the whole of humanity and is no longer curable. The inventor of the photographic art was the inventor of the most inhumane of all arts. To him we owe the ultimate distortion of nature and the human beings who form part of it, the reduction of human beings to perverse caricatures--his and theirs. I have yet to see a photograph that shows a normal person, a true and genuine person, just as I have yet to see one that gives a true and genuine representation of nature. Photography is the greatest disaster of the twentieth century.

This is a childhood photo of me, on Christmas morning, immediately after being gifted the doll, while screaming “WHAT THE GODDAMN FUCK” with my eyes. (Or the six-year-old equivalent.)

A massive ball of brown water, uprooted tree trunks, sheared rooftops, bloated horses, stiff dogs and cats, shattered church windows, broken pews, sodden Bibles, Memorial Day flags, busted brick walls, twisted train cars, splintered rail lines, bowed streetlamps, upturned carriages, naked dolls, bent tin soldiers, dented red wagons, books, black stoves, beds, tables, armchairs, mantels, photographs, love letters, wedding dresses, baby booties, and masses of drowned humanity careens straight for us. Neither Eugene Eggar nor I can move.

Actually, no. I won't ever go digital. I work with thirty-five or large format. I like the hand-jobs, you know. And I still do most of my own printing. I've developed such a profound distaste for touch-up and modern artifice—comes from snapping too many derelicts and detritus, perhaps, but I love it. Photo bloody Shop can go stuff it. A picture should be honest, even if the subject is contrived on the ground, you know; not dolled-up for advertising punch or sex appeal.

Ian opens the box and moves the polystyrene strips to uncover a matryoshka. He’s astonished when he sees that it’s his face painted on it. "But...," he says. "Is it me?" He looks at Andrea, puzzled. "You’re very good." The look is from a photo of him at a party, before he knew him personally, that he found on the internet. He’s in a gray suit and has a cane, like a count from the olden days. "That's the Count," he says, and Ian looks at him and swallows. Andrea smiles. His gift holds a deep meaning that only the two of them understand. Ian opens the first doll and inside there is another. He gasps on seeing it. "That’s Dorian," says Andrea. He has painted Ian as he had looked on the night of his first event. When he wore the white Versace suit and Borsalino fedora. His hand trembling, Ian opens the doll to see the next one inside. "That's Ian," Andrea smiles, as does Ian when he sees himself portrayed with the black linen scarf and white sweater that he was wearing when they had met for the first time in Clusone. He has a serious look in the previous dolls while here he is cheerful. Ian shakes the doll a little and hears the wood rattle. He looks at Andrea, doubtful: they both know that their rapport finishes here. Andrea hasn’t discovered his innermost layer and sounderstands his perplexity. Ian seems to have to pluck up courage and then opens again. Inside there is the last, smallest doll, made from a single small piece of wood and known as the "seed". It dances in a large empty space, given that the doll above it is missing. It’s golden and doesn’t have a face. "That’s the soul," says Andrea. "One’s missing. That's why there's that little table with brushes in my room. I hope to do it soon. As soon as I can." Ian takes the little piece of wood and holds it in his fist. "Thank you, Andrea. It’s a wonderful gift," he says, tightening his jaw. "I eagerly await the last." He’s

Whack.’ He made a pulling motion as if he had pliers in his hand. Usually, she just let him talk. Jamie found it was better not to say anything unless you needed to. But this time, she did need to. Because Roper was wrong. ‘I don’t think so,’ she said. ‘Look at this.’ Roper screwed up his face and peered down, not leaning in. ‘Looks like ripped out fingernails to me.’ ‘If they were ripped out there’d be less damage here, to the cuticle.’ ‘The skin?’ ‘Yeah, Roper, the skin. See the way it’s split? Pushed back and flattened? Means the nails were lifted off from the tip, not pulled.’ He raised an eyebrow incredulously. ‘Your dad teach you that one?’ She gritted her teeth and let the annoyance welling in her dissipate. Every time she spotted something he didn’t he made a crack like that. She expected it considering who her father was — but it was getting old now. She’d been with the Met nearly ten years, and her father had been dead for fourteen. But she still couldn’t get away from it. Jörgen Johansson was one of the most decorated detectives in Swedish history, with more convictions than any other police officer, and she didn’t know if she’d ever outlive it.  The worst part of all was that he did teach her that. Along with most of the other things she knew about detective work.  Jamie didn’t have a conventional upbringing. It was case files and crime scene photos, not dolls and bicycles. She released Oliver’s fingers, her eyes settling on the ring — scratched and scored — and stood up. ‘We’ll wait for the forensics report.’ ‘Not going to tell us anything we don’t already know. Heroin in the bloodstream, river-water in the lungs.

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