lady Lazarus'

& la gossamer

[theparisreview]

““Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster.””

— Sam Shepard

[aquaticwonder]

Don’t be a–

[charoshane]

“When men accuse me of using my looks to get ahead, I just want to be like, ‘Excuse me, do you have something you’re not using?’”

— snpsnpsnp (Sarah Nicole Prickett)

[durgapolashi]

epistolary:

“It took me a while to see that it is not a good idea to spend time with men who make you dislike other women, or make you forget your own plans, whether it’s the train you meant to catch or the career you want to have. I learned that sometimes being nervous around someone is thrilling but sometimes it keeps you from being your full, best self, the way you are in the company of friends. I also realized that break-ups are the kind of mistake it’s okay to cop to, that my dad was right when he told me that heartbreak is a disease 99.999 percent of people survive, except for in Tolstoy.”

Never not read Lucy Morris for TR

[mollyyoung]

Good analogy

George Eliot writes about how comforting it is to hang out with people who don’t intimidate you—and analogizes it to wearing your second-favorite articles of clothing, which are better than your actual favorite articles of clothing, because you’re not afraid of ruining them.

[metamorphesque]

— Tennessee Williams, Notebooks

[restacks]

“John Wick Is So Tired” by Kyra Wilder in The Paris Review #243

[mashatupitsyn]

From Alberto Fuguet’s 2013 film essay on Coppola’s Rumble Fish, Locations: Looking for Rusty James. As though a film were a person you are looking to find. I had this with Roeg’s Don’t Look Now. In Venice one winter, 2010, I looked everywhere for the film’s locations. “To face the ghosts.”

[muscone]

There’s a school of thought that says concepts kill beauty. Knowing history won’t help you find the stone more stony. But that’s where that philosophy was completely wrong. Jasmine has a history and a set of values associated with that history, and the more you know about something, the more you can perceive in it. So your perception is expanded by the conceptual and not broken by it.

Sianne Ngai, ‘How to Choose Your Perfume: A Conversation with Sianne Ngai and Anna Kornbluh’

[gustaving]

“A bruise, blue in the muscle, you impinge upon me. As bone hugs the ache home, so I’m vexed to love you, your body the shape of returns, your hair a torso of light, your heat I must have, your opening I’d eat, each moment of that soft-finned fruit, inverted fountain in which I don’t see me.”

— Li-Young Lee, from “The City in Which I Love You” (via thebluesthour)

[sartorsum]

Actress Fairuza Balk for Yohji Yamamoto Eyewear by Murai inc. advertisement, february 1998.

[primalscne]

Vive L'Amour (dir. Tsai Ming-liang, 1994)

[lazz]

the fantasy that busyness means your need is less

[lazz]

type is just one way of describing preference in the form of difference

how do you like your difference

[thechapess]

“Every woman or every woman artist or every person no matter the gender, every artist but especially every woman who has ever wanted to die or just said she did or had that feeling when she felt so maligned and so misunderstood and so defaced and loathed and ignored that she has either died or not, has died inside herself or has dreamed or longed for an exit like death, has been her and we who have promised ourselves to live have to live with that death and the fact it sometimes looks horrendously attractive although we reject it.”

— Ariana Reines, “An Hourglass Figure: On Photographer Francesca Woodman” (h/t Lola)

[marystaceylala]

[albumcoversthatmatter]

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