noor hindi, fuck your lecture on craft, my people are dying // bastille, haunt // theodore roethke, straw for the fire: from the notebooks of theodore roethke // holly warbuton, spirit hold, part two // virgil, aeneid // catarine hancock, sometimes i fall asleep thinking about you // daniel ludwig // emily brontë, wuthering heights // valzhyna mort, a poem about white apples // john banville, the sea
Naomi Shihab Nye, “The Rider.” Fuel
do you ever think about this quote by mary lambert because i think about it all the time
Chuck Palahniuk, Invisible Monsters
natalie wee, our bodies & other fine machines
sam sax, hydrophobia
green kitchens
Edna St. Vincent Millay
Roland Barthes, from Mourning Diary
Emily Dickinson
Zero Bars (Mr Smith) - Gary Numan
“They say time heals all wounds, but that presumes the source of the grief is finite.” — Cassandra Clare
Mary Oliver
resilience is not sustainable we are not supposed to endure life we are supposed to live it
A tall, thin blonde person of indeterminate gender was watching me. They were very tall, dressed like David Bowie and had a German accent. They took a big drag of their cigarette and said, “You know, the problem with you humans is you give away every part of your self until there is nothing left.” I looked down at my body, and my entire torso had been hollowed out. Everything inside had been replaced with black and silver machines. They blew out a big cloud of cigarette smoke and told me, “Just because you exist by accident doesn't make it any less meaningful.”
This line from If Beale Street Could Talk made me cry for some reason
having a lot of thoughts about this week’s ask polly
straight men trying to make Serious war dramas and accidentally making incredibly tender homoerotic cinema is the funniest thing
In his essay, “Masculinity as Spectacle,” Steve Neale seeks to extend Laura Mulvey’s work on the male gaze and to challenge her assertion that the male or male-identified spectator can never look upon the male body as an erotic object. To challenge Mulvey’s assertion, Neale identifies the mechanisms mainstream Hollywood cinema uses to represent the male body as erotic. One way of doing this, Neale argues, is by making the male body the target of violence. In the war film, a soldier can hold his buddy – as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid’s naked flesh – as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege – as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover – as long as he is riddled with bullets. Violence makes the homoeroticism of many “male” genres invisible; it is a structural mechanism of plausible deniability.
Untitled (You Construct Intricate Rituals) 1981 Barbara Kruger (American, born in 1945)
“Some people survive and talk about it. Some people survive and go silent. Some people survive and create. Everyone deals with unimaginable pain in their own way, and everyone is entitled to that, without judgement. So the next time you look at someone’s life covetously, remember…you may not want to endure what they are enduring right now, at this moment, whilst they sit so quietly before you, looking like a calm ocean on a sunny day. Remember how vast the ocean’s boundaries are. Whilst somewhere the water is calm, in another place in the very same ocean, there is a colossal storm.”
— People Survive in Different Ways | Nikita Gill
And I don’t want your pity I just want somebody near me Guess I’m a coward I just want to feel alright
