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@ursa-maior

Eleanor, 19, bigots fuck off, blm, @eleanorm on musicboard
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queenofeden
“Dreamt last night I fed you, unknowingly, something you were allergic to. And you were gone, like that. You don’t have even a single allergy, but still. The dream cracked. Cars nosedived off snow banks into side streets. Sometimes dreams slip poison, make the living dead then alive again, twirling in an unfamiliar room. It’s hard to say I need you enough. Today I did. Walked into your morning shower fully clothed. All the moments we stop ourselves just because we might feel embarrassed or impractical, or get wet.”

— “Morning Love Poem,” Tara Skurtu

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boykeats
In Mojave thinking, body and land are the same. The words are separated only by letters: ’iimat for body, ’amat for land. In conversation, we often use a shortened form for each: mat-. Unless you know the context of a conversation, you might not know if we are speaking about our body or our land. You might not know which has been injured, which is remembering, which is alive, which was dreamed, which needs care, which has vanished.
If I say, My river is disappearing, do I also mean, My people are disappearing?

—Natalie Diaz, from “The First Water Is the Body,” Postcolonial Love Poem

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today, the polish parliament is discussing a) a reform which would remove age restrictions for hunting b) not allowing holocaust/shoah survivors to claim their seized property c) outlawing sexual education and punishing its providers with up to three years of prison d) outlawing abortion in all cases, including if giving birth would cause long-term physical harm to the mother or kill her, or the fetus would be unable to survive outside the womb

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Vincent van Gogh Detail of Wheat Field with a Lark  1887 Oil on canvas 1’ 9" x 2’ 2" In 1887, while Vincent van Gogh was residing in Paris, he executed an oil painting commonly known as Wheat Field with a Lark. The center part shows a partially harvested field of wheat under a sky patterned with light clouds, the bird flying over, and possibly out of the field. 

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when frederico fellini said “i dont like the idea of ‘understanding’ a film” and when he said “i don’t believe that rational understanding is an essential element in the reception of any work of art” and he continued by saying “either a film has something to say to you or it hasn’t” and added “if you are moved by it you don’t need it exlpaind to you” and finished with “if not, no explanation can make you moved by it” and then closed it off entirely with a giant big black PERIODT 

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