carpe diem.
In my head (Tiny Story)

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Tiny Story by swaylooza

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I do not fear the monsters under my bed. The monsters I fear, are in my head.

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In my head (Tiny Story)

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Tiny Story by swaylooza

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I do not fear the monsters under my bed. The monsters I fear, are in my head.

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Contribute your Tiny Story HERE!

yelyahwilliams:

rookiemag:


Certainly we want to protect our children from new and painful experiences that are beyond their emotional comprehension and that intensify anxiety; and to a point we can prevent premature exposure to such experiences. That is obvious. But what is just as obvious — and what is too often overlooked — is the fact that from their earliest years children live on familiar terms with disrupting emotions, fear and anxiety are an intrinsic part of their everyday lives, they continually cope with frustrations as best they can. And it is through fantasy that children achieve catharsis. It is the best means they have for taming Wild Things.

Thank you for your stories and thoughts, for being one of the first creators-of-things-for-a-child-audience to recognize the inherently human darker emotions that exist for children, and for turning them into something that could be comforting, and sometimes even magical. R.I.P.

Rest In Peace Maurice Sendak

yelyahwilliams:

rookiemag:

Certainly we want to protect our children from new and painful experiences that are beyond their emotional comprehension and that intensify anxiety; and to a point we can prevent premature exposure to such experiences. That is obvious. But what is just as obvious — and what is too often overlooked — is the fact that from their earliest years children live on familiar terms with disrupting emotions, fear and anxiety are an intrinsic part of their everyday lives, they continually cope with frustrations as best they can. And it is through fantasy that children achieve catharsis. It is the best means they have for taming Wild Things.

Thank you for your stories and thoughts, for being one of the first creators-of-things-for-a-child-audience to recognize the inherently human darker emotions that exist for children, and for turning them into something that could be comforting, and sometimes even magical. R.I.P.

Rest In Peace Maurice Sendak

fckyeaharthistory:

Vincent van Gogh - Corridor in the Asylum, 1889. Oil color and essence over black chalk on pink laid (“Ingres”) paper
From the Metropolitan Museum of Art, NYC:

This haunting view of a sharply receding corridor is the artist’s most powerful depiction of the asylum of Saint-Paul-de-Mausole in St. Rémy, where he spent twelve months near the end of his life and where he painted the Museum’s oils of olive groves, cypresses, roses, and irises (“Women Picking Olives” (1995.535.44); “Olive Orchard” (1998.325.1); “Cypresses” (49.30); “Wheat Field with Cypresses” (1993.132); “Irises” (58.187); “Vase of Roses” (1993.400.5)). The buildings (largely remains of a twelfth-century monastery) were divided into men’s and women’s wards, but most of the small cells looking out on the neglected garden were empty when Van Gogh was there. One of the rooms he was able to use as a studio.The artist sent this unusually large and colorful drawing to his brother Theo, to give a picture of his surroundings.

fckyeaharthistory:

Vincent van GoghCorridor in the Asylum, 1889. Oil color and essence over black chalk on pink laid (“Ingres”) paper

From the Metropolitan Museum of Art, NYC:

This haunting view of a sharply receding corridor is the artist’s most powerful depiction of the asylum of Saint-Paul-de-Mausole in St. Rémy, where he spent twelve months near the end of his life and where he painted the Museum’s oils of olive groves, cypresses, roses, and irises (“Women Picking Olives” (1995.535.44); “Olive Orchard” (1998.325.1); “Cypresses” (49.30); “Wheat Field with Cypresses” (1993.132); “Irises” (58.187); “Vase of Roses” (1993.400.5)). The buildings (largely remains of a twelfth-century monastery) were divided into men’s and women’s wards, but most of the small cells looking out on the neglected garden were empty when Van Gogh was there. One of the rooms he was able to use as a studio.

The artist sent this unusually large and colorful drawing to his brother Theo, to give a picture of his surroundings.

You have to know how to accept rejection and reject acceptance.
Ray Bradbury (via thechocolatebrigade)
You have to know how to accept rejection and reject acceptance.
Ray Bradbury (via thechocolatebrigade)
Insomniac (Tiny Story)

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Tiny Story by patita.bo

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I lose sleep trying to dream.

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BEST TINY STORY!!
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For more information, check out this video.
Contribute to the Tiny Stories Volume 2 collaboration here!



…working.
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“The Two-Headed Monster (A Tiny Story)”
Tiny Story by RedHeadMonster
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The two-headed monster fell in love with itself.
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Contribute your Tiny Story HERE!

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“The Two-Headed Monster (A Tiny Story)”

Tiny Story by RedHeadMonster

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The two-headed monster fell in love with itself.

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