Illustrations by Sheilah Beckett for THE TWELVE DANCING PRINCESSES (1954).
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Illustrations by Sheilah Beckett for THE TWELVE DANCING PRINCESSES (1954).
“I thought there was something wrong with me because I didn't feel ugly when I killed Nick Boyle. I felt good. That's why it was so easy to lie about it.”
“When Shall We Live If Not Now?”
Most men dont think women actually like anime because as kids you were called a loser virgin by most women if you watched anime, lol. Women are allowed to watch whatever they want without really being judged by other people, men arent or they might be "weird" or gay lol
again, always surprised I get incel anons given the content of my posts--I do understand it's hard for you to comprehend that women are people who have many of the same experiences as men, but women who liked anime at a younger age were also in fact considered losers by peers if they were particularly enthusiastic about it. i've been told to my face many times! I was a 'loser' at all four schools I went to, in fact
i'm more and more starting to believe the statement: "the reason men do not think women were hurt in the same ways they were, is they don't see those women as human because they were not attractive to them." the girl who was tormented by other students doesn't exist because she didn't wear cute clothes and makeup, she was awkward, she was invisible. but! there's many girls like her! especially if autistic and in public school. she will be reminded her existence is wrong until she learns to be a woman properly in her mid 20s
but I really only think about this stuff when i'm reminded of it--i've kind of moved past grade school, unlike some of you evidently
“Don’t worry baby brother we’ll always be together”
richard siken new afterword to crush 20th anniversary edition. will text ID it later i just wanted to yoink this from twitter his formatting was ass
“I have to climb inside you now”
— Kristin Chang, Etymology
[text: So many mothers ago, I married/into myself. I am bride & groom/ of my mouth wedding/my mouth. I eat men/ who want me & drink sinks/of knives. Like any good wife/ I wear a gown of wax. Like any good/ wife I water my waist like a vase/ of wasps. Zip me into the fireplace/ & I’ll warm to you. Smoke becomes me/ becoming your sky. In another life, my body/ is only what you put inside it: steam/ swords & mirrors, a magician’s scarf, every trick/ disappearance. A mouth is only as big/ as its prey. In second grade, I still/ could not pronounce my name. Kristin came out/ Christian, my body rhyming with no/ belief. In second grade, the boys/ locked me in the bathroom, said I’d be/ let out if I could say bathroom. In my mouth/ it was bat room, night thick/ with wings. Kristin, Christian/ chink: how I learn the name/ of the meat is not the name/ of the animal. If cow is beef/ I am butchered. I am pounding/ on the bathroom walls & the pipes/ burst into birds. A puddle of piss/ arranges itself in the shape/ of my thirst. Eleven hours/ later, I drink. I don’t mistake/ survival for song, kneeling/ for prayer. I beg to be let out/ of my mouth./ Like God, I have/ no name but the one/ you never wanted/ to learn.]
Xífù by K-Ming Chan, from the collection Gods of Want.
Past Lives, Future Bodies, K-Ming Chang
“Little Natalie, never rest until you have uncovered your essential self. Remember that. Somewhere, deep inside you, hidden by all sorts of fears and worries and petty little thoughts, is a clean pure being made of radiant colours.”
Text from:
Dearest dearest darling most important dearest darling Natalie-this is me talking, your own priceless own Natalie, and I just wanted to tell you one single small thing: you are the best, and they will know it someday, and someday no one will ever dare laugh again when you are near, and no one will dare even speak to you without bowing first…
Somewhere there is something waiting for you, and you can smile a little perhaps now when you are so unhappy, because how well we both know that you will be happy very very very very soon. Somewhere someone is waiting for you, and loves you, and thinks you are beautiful, and it will be so wonderful and so fine, and if you can be patient and wait and never never never never despair, because despair might spoil it, you will come there, someday, and the gates will open and you will pass through, and no one will be able to come in unless you let them, and no one can even see you. Someday, someone, somewhere. Natalie, please
“Am I walking toward something I should be running away from?”
Oriental in America Diptych, 2023
This is part of a series of works interrogating my identity as a trans-racial Chinese American (meaning my adoptive family is white). Through using Kodachrome slides my grandfather took in the 1960's and Orientalist dolls from antique stores, I hope to illuminate the tension of American Identity. Or specifically, its conflation with whiteness by having unassimilated, literally objectified figures of bodies like mine imposed upon the mid-century American West. A landscape enshrined by Manifest Destiny and America's colonial project where non-white bodies do not belong in popular culture despite their role as laborers opening up the west for white settlers.
Parade, Kallitype, 2024
Ad Nasuseum Cyanotype and Inkject print
Family History is a fraught, slippery thing. Your Grandma and Dad has different stories when asked to recall a memory. Remembrance is not guaranteed in our fallible, fragile minds, as time erodes certainty, retelling adds or subtracts details at random. The act of remembering soon replaces the original physical memories. Thus we photograph what we wish to remember for an objective record, to say that ‘this happened, and it mattered.’ But still, certainly eludes us, film gets exposed, slides decay, paper rots, narrative overtakes a singular recorded moment. The distance overtakes familiarity. I think I recognize who is in these photographs, my great-grandmother Thortis reclining in the grass, my father and my uncles on a bright summer’s day, Thortis with family or friends. The ritual repetition of recording does not offer an answer as the photographs overlay and fracture, the narrative offers no certainty of what happened.
A body is a body is a body begets a body ejects a body. You are you. You are a body. You are in the body. Here you are— Hekate stands before you, hands outstretched–- yes, no, stay, go. The crossroads cloaked in obfuscating mist. The path forks like a snake's tongue forward, onwards, inwards. You are Orpheus, you are Lot’s Wife forever looking back. For-Ever at a standstill turned away in mourning. You are barreling towards a predetermined ending, a bullet spinning down the chamber.
You reach over anyway. The sky does not fall down, fire does not rain from the firmament. Perhaps this time Abraham has found his 10 righteous men. There’s a warmth beneath his skin, down where electric impulses tell him that your hand is clasping his forearm. Seven layers of skin, bundles of filaments lovingly lever the ulna and radius, nerves signal up and down to the brain. And the soul? Well, you’re no theologian, no philosopher, but his dark eyes flicker over to you. Blood pulses, racing through your veins, heat rises into your chest, sweat coalesces in your palms.
Your body is a body held fast to another body. Someone has to leave first, or so you’ve heard. The wind spins dust into swirled silhouettes eating themselves before your feet. But you refuse to let go, the underworld will surely come to tear you apart one day. But now, now it is just the two of you in his beat-up truck, the heating wheezing from the vent as cars race by on the interstate.
“We’re going to be late,” He says, leant against his foggy window.
“Maybe that’s not so bad?” He doesn’t turn the key, the car motor whistles as oil comes weeping down the pipes. Emboldened you trace a line up his forearm, fingertips tracing over gooseflesh warmth seeping between the two of you, heat moving from cold to hot. You warm yourself, or he warms you, one way road. His profile stone-cut, eyes flickering from blurring cars to the treeline. A flock of birds take flight, his eyes meet yours.
“Maybe,” He murmurs. His hand creeps to the stick shift, you feel the muscles in his biceps tense beneath soft skin. He sucks his lips in, shoulders hunched in shame. You know how y’all were raised. You know how hard it is. You want him, even so, even so, you want whatever this is. You body and his body. Him and You. Your bodies meeting, melting, meat handling meat with loving care. Consumption and Carrying. You have learned this well, your body can carry, should carry, could hold him long enough to matter.
The engine sputters. From Park to Reverse to Drive. The skeletal crown above you blurs, wings blurring in the moonlight.
“We’d better get going.” You sigh. You let go. For-ever reaching, falling, the final curtain is a-falling. The road sprawls ahead in an unceasing ribbon, a rotting wound crossing prairie, lakes, and mountains. The pine of his soap wafts over in your little burrow, wheels turning again and again, engine revving as he gets up to speed. It would be so easy to sleep now.
You turn. His profile kissed by strained moonlight and the blinking lights of the dash, reflected headlights. Light caught in his eyes, clinging to his brow as everything else slips into an anonymous nothing.
“Eyes ahead,” he sounds over the roar of the several ton beast devouring the two of you. Its breath caresses your face. You’re tired.
“Eyes ahead,” you meekly repeat. Eyes ahead. The indistinguishable road, two white lines separating you from the other side, shapes shifting in the dark. You’re not–- you are–- your rabbit heart shudders as it all goes by. Miles to go before you sleep. Your hand holds fast. He's on the wheel, yours clinging like a child to faded leather in lieu of calloused palms. His fingers tighten as he traverses the empty dark.