judas at the tomb

[xanaxfarts]

early christian martyrs from the roman catacombs.

[petaltexturedskies]

Jeanette Winterson, Gut Symmetries

[filmgifs]

Tony Curtis and Sidney Poitier The Defiant Ones (1958) dir. Stanley Kramer

[theoptia]

“I always endowed madness with a sacred, poetic value, a mystical value. It seemed to me to be a denial of ordinary life, an effort to transcend it, to expand, to go far beyond the limitations of the human condition.”

— Anaïs Nin, from The Diary of Anaïs Nin: Volume 1, 1931-1934

[wandering-songstress]

Shu Qi photographed for Harper’s Bazaar China May 2021

[malinaa]

Agustina Bazterrica, The Unworthy (trans. Sarah Moses)

[funeral]

Young Törless (1966) dir. Volker Schlöndorff

[mawmenny]

[slaterinc]

undercover aw23

[funeral]

The primary pain of abuse is experienced as the structure of the world itself, something that has been taken in like the nerves absorb lead or hemoglobin inhales carbon monoxide. But these metaphors are incorrect, for their processes result in a dying brain or shocked cells sucking for scraps of oxygen. What I am describing is closer to fossilization or petrification, one substance taking the place of another. But again these comparisons are not exact, because there, living bone and plant become stone, and in this, a primary pain is absorbed into and itself becomes the living body. What happens is substitution, but of one life for another. A spine of bone becomes a spine of pain. A beating heart, which looks like any other heart, becomes an injury-circulating mechanism.

Janice McLane, “The Voice on the Skin: Self-Mutilation and Merleau-Ponty’s Theory of Language”

[moarf13]

[queer-ragnelle]

"As he rode thus through the land, he found trees down and grain destroyed and all things laid waste, as if lightning had struck in each place, [...] He found half the people in the villages dead, both bourgeois and knights, and he found laborers dead in the fields. [...] It was later called by everyone the Kingdom of Waste Land." — Vulgate Cycle: The Merlin Continuation

Sir Lanval (2011) || Lancelot du Lac (1974) || Camelot (2011) || Excalibur (1981)

[gothish]

black swans

[glitchdisorder]

morning dew on the webs

[hamletofficial]

In The Odyssey, Odysseus is extraordinary for the flexibility with which he can inhabit many different names, or no name at all. It is this quality of being multinamed and nameless that enables him to survive. By contrast, almost all the warriors of The Iliad yearn to have a name and a story that lasts forever. Their many names and titles, as sons and brothers and comrades and fathers and rulers, are essential to their identities, their connections with one another, and their fame after death. They fear, above all, being humiliated (cursed with a negative name), or forgotten and nameless. The lists and catalogs of names are essential to the poem’s own work, of memorializing and mourning the dead. Once the bodies return to dust, these syllables are all that remain.

– Emily Wilson, Translator's note for The Iliad.

[torridturncoat]

Iphigenia (1977) dir. Michael Cacoyannis

[sixpenceee]

 "Now I know something you don’t", Mt Hope Cemetery, Rochester NY