[renaissance-art]

Bernat Martorell c. 1434-1435

Saint George Killing the Dragon (detail)

[driflloon]

wisdom lee for rebel magazine oct. 2020

[voulair]

Jessica Stam at Jean Paul Gaultier Spring 2007

[frigid-mirth]

Tracery (Bronze, 2016)

Timothy Cleary

[t3lam]

"عزائنا في الطريق الصعب إن مكتسباتنا منه عظيمة جداً."

[gorgonapologist]

Horror is not just for the boys, Cameo England

[ashendemon]

[psikonauti]

(Attributed to) Elihu Vedder

Psyche and Cupid, late 19th century

Oil on panel

[megairea]

Mahmoud Darwish, from Think of Others; Almond Blossoms and Beyond (tr. by Mohammad Shaheen)

[himneska]

Ophelia. Leah Chen photographed by Xizi Wang for Pseudo Poems F/W 2020.

[redlipstickresurrected]

Miro Meguro aka Nekotack aka 目黒ミロ aka Meguro Miro (Japanese, b. Fukushima Prefecture, Japan) - The needle stops and the darkness flaps, Rabbit Bat (Plecotus Auritus), 2013, Drawings: Dip Pen, Ink, White

[narcissiste]

Vivetta Spring 2017 at Milan Fashion Week

[writingdotcoffee]

“Exercise the writing muscle every day, even if it is only a letter, notes, a title list, a character sketch, a journal entry. Writers are like dancers, like athletes. Without that exercise, the muscles seize up.”

— Jane Yolen

[artthatremindsmeofhannibalnbc]

Kiki Smith, Ribs, 1987 Terracotta, paint and cotton thread

[jariten]

ポーの一族 (The Poe Clan), Moto Hagio

[cloth-fabric]

A.W.A.K.E - Spring RTW 2018

[edwordsmyth]

“I have always thought that as an editor for twenty years I understood writers better than their most careful critics, because in examining the manuscript in each of its subsequent stages I knew the author’s process, how his or her mind worked, what was effortless, what took time, where the ‘solution’ to a problem came from. The end result—the book—was all that the critic had to go on. Still, for me, that was the least important aspect of the work. Because, no matter how ‘fictional’ the account of these writers, or how much it was a product of invention, the act of imagination is bound up with memory. You know, they straightened out the Mississippi River in places, to make room for houses and livable acreage. Occasionally the river floods these places. 'Floods’ is the word they use, but in fact it is not flooding; it is remembering. Remembering where it used to be. All water has a perfect memory and is forever trying to get back to where it was. Writers are like that: remembering where we were, what valley we ran through, what the banks were like, the light that was there and the route back to our original place. It is emotional memory—what the nerves and the skin remember as well as how it appeared. And a rush of imagination is our 'flooding.’”

— Toni Morrison, “The Site of Memory,” from Inventing the Truth: The Art and Craft of Memoir, edited by William Zinsser, 1995 (via thelonguepuree)