An old Sonoran adobe house in Barrio Libre, Tucson, Arizona.
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@bluewhaling
An old Sonoran adobe house in Barrio Libre, Tucson, Arizona.
St. Mary Magdalene, Covered by her Hair, c. 1311, Collégiale Notre-Dame d’Ecuis, Eure, France
It is always interesting to me when someone tells me a story that they think is not about themselves, when of course it almost always is.
Czeslaw Milosz, from "Ars Poetica?"
Turkish Oushak handwoven traditional rugs
i would fuck him [remembers im talking about a real person] um [remembers its normal to be attracted to people] i would fuck him
— Holes, Eileen Myles, from ‘I Must Be Living Twice, New & Selected Poems 1975-2014’
David Hettinger
街灯のデザインもすずらん型になっていました。
i dare you by Dorianne Laux
OH OKAY......
Flannery O’Connor (1925-1964)
This simple attic room has been painted in a very pale greenish blue, with a lighter tone used on the panels of the cupboard for depth and dimension. The wooden shelves, stripped woodwork around the window and varnished plaster at the back of the cupboard offset the cold, clean wall colour with their warm, rough textures.
Color in Decoration, 1990
Recently, I began a weekend creative writing workshop with this exercise: write your sexual life story in five sentences. Short of gratuitous usage of semicolons, there was no wrong way to do this; the five-sentence story could be as abstract or as concrete as my students wanted. It could be a chronological list of the five most high-topography sexual events in their lives, or it could be a list of images more akin to a surrealist poem. After the allotted five minutes, they all set their pens down with a touch of weary accomplishment. Then I asked them to do it again. This request was met with stares, some uncomprehending, some with a touch of contempt. I pressed on. The only requirement was that they not reiterate any of the previous five sentences—they could zoom in to a single event, zoom out to a philosophical summary, make it silly, make it emotionally opposite, make it more honest, make it less or more abstract. After they’d finished, I asked them to do it for a third time. A fourth. At this point, many of their stares implied that I was unhinged, sadistic, or simply ridiculous. Eventually they stopped staring and started writing faster. Here’s the point: Their writing got better. It became truer. It became more theirs. I told them, We could do this all day. I meant: and not run out of ways to tell that story. More importantly, they would bear witness to something greater than mere improvement. Over the years, I’ve come to look forward to the point in my own writing at which continuing seems both incomprehensible and loathsome. That resistance, rather than marking the dead end of the day’s words, marks the beginning of the truly interesting part. That resistance is a kind of imaginative prophylactic, a barrier between me and a new idea. It is the end of the ideas that I already had when I came to the page—the exhaustion of narrative threads that were previously sewn into me by sources of varying nefariousness or innocuity. It is on the other side of that threshold that the truly creative awaits me, where I might make something that did not already exist. I just have to punch through that false wall.
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Body Work (Melissa Febos)
when i say shirley jackson is my favorite writer i mean it soooo deeply and earnestly she gets me
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