Something something Lila's dress being pure white while Tanya's being grey/black. hm

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@calamitila
Something something Lila's dress being pure white while Tanya's being grey/black. hm
Nothing left but a feeling in there somewhere.
Indigo De Souza, "Sleep Talking" | Garage Heathen, "Who's Lila?"
Kroisos Kuros as Lila within William | Peplos Kore as Lila | Garage Heathen, "Who's Lila?"
(or, The archaic smiles of Lila)
This place used to be like a second home to me.
It cannot be comprehended how much I need William to have the exact same haircut as his mother when she was at her most 'powerful' (aka in his youth). He learned to cut his hair like her because he's never fully separated himself from her. The feeding of the monster never stopped, it just gets delayed by a month or two until his hair grows out.
Elena Ferrante, "The Story Of A New Name" | Garage Heathen, "Who's Lila?" | Elena Ferrante, "Those Who Leave And Those Who Stay" | Elena Ferrante, "My Brilliant Friend"
The doppelgänger, that persistent haunt of Romantic fiction, is our incessant reminder of the literal doubleness, the fact that the self with whom we live in intimacy can become deformed and a stranger; and a sobering reminder as well of the mask of commonality that passes for family happiness. In Romantic fiction by women, however, including that of Jane Austen, the sense of doubleness tends to take on a narrower focus. Its pervasive philosophic awareness of the self's protentional self-betrayal becomes a more concrete, if ambiguously shifting, vision of the double face of male authority.
Nina Auerbach, Romantic Imprisonment: Women and Other Glorified Outcasts
will at the farm
“Only Lila can say if, in fact, she has managed to insert herself into this extremely long chain of words to modify my text, to purposely supply the missing links, to unhook others without letting it show, to say more of me more than I want, more than I’m able to say. I wish for the intrusion, I’ve hoped for it ever since I began to write our story, but I have to get to the end in order to check all the pages. If I tried now, I would certainly get stuck. I’ve been writing for too long and I’m tired; it’s more and more difficult to keep the thread of the story taut within the chaos of the years, of events large and small, of moods. So either I tend to pass over my own affairs to capture Lila and all the complications she brings with her, or worse, I let myself be carried away by the events of my life, only because it’s easier to write them. But I have to avoid this choice. I mustn’t take the first path, on which, if I set myself aside, I would end up finding ever fewer traces of Lila - since the very nature of our relationship dictates that I can reach her only by passing through myself.”
— The Story of the Lost Child, Elena Ferrante
William and Tanya dancing together.
more of these
my favourite thing about Tanya being the self sabotaging asshole she was is just how fragile her whole image was. It really only took Will calling her out on her bs (in an incredibly kind and mature way) for it to become clear she was just lashing out from pressure. She has this air of a complicated individual, but it's really that simple.
then in a roundabout way that makes her even more complex in my eyes, because her hatred for herself and anyone who couldn't seem to figure her out is purely out of fear that she's not gonna live up to their expectations. She's insecure she might not be a good enough friend/ partner or that she might not be smart enough, so she might as well go ahead and ruin her relationships before they ruin themselves. Save her the disappointment.
Who's Lila x Severance AU. Worms of Lawrence performing a severance of their own on William to make room for Lila in his head and still keep her in check with the many contingencies. Her finding a loophole in the system and taking over full time after William 'remembers' something he shouldn't have, as he's not supposed to remember anything in his 'severed' state.
And I've had recurring nightmares that I was loved for who I am, and missed the opportunity to be a better man.
Muse, "Hoodoo" | Garage Heathen, "Who's Lila?"
Nayyirah Waheed, "Salt" | Gillian Flynn, "Sharp Objects" | Egon Schiele, "Mother and Child (Madonna)" | Garage Heathen, "Who's Lila?" | Virginia Woolf, "The Early Journals"
Clarice Lispector, "The Hour of the Star" | Garage Heathen, "Who's Lila" | Joel Anderson, "Lake Mungo"