why am I getting new followers >:[
[secretes a defensive slime]
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PUT YOUR BEARD IN MY MOUTH
Misplaced Lens Cap

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@deadpanwalking
why am I getting new followers >:[
[secretes a defensive slime]
VERONICA MARS 2.01 // 2.22
Elizabeth Bishop, North & South (1946)
Helen M. Dennis, from “Questions of Travel”: Elizabeth Bishop and the Negative Sublime, Poetry and the Sense of Panic: Critical Essays on Elizabeth Bishop and John Ashbery ed. Kelly Lionel
“We were all curious to know why the man in the longshoreman’s cap was fishing with a common clothesline and obviously without a float. Mama asked him in tones of good-natured mockery, calling him “Uncle”. Uncle grinned, showing tobacco-stained stumps; offering no explanation, he spat out a long, viscous train of tobacco juice which landed in the sludge amid the granite boulders, coated with tar and oil, at the base of the sea wall. There his spittle bobbed up and down so long that a gull circled down and, deftly avoiding the boulders, caught it up and flew off, drawing other screaming gulls in its wake.
We were soon ready to go, for it was cold out there and the sun was no help, but just then the man in the longshoreman’s cap began to pull in his line hand over hand. Mama still wanted to leave. But Matzerath couldn’t be moved, and Jan, who as a rule acceded to Mama’s every wish, gave her no support on this occasion. Oskar didn’t care whether we stayed or went. But as long as we were staying, he watched. While the longshoreman, pulling evenly hand over hand and stripping off the seaweed at every stroke, gathered the line between his legs, I noted that the merchantman which only half an hour before had barely shown its superstructure above the horizon, had changed its course; lying low in the water, she was heading for the harbor. Must be a Swede carrying iron ore to draw that much water, Oskar reflected.
I turned away from the Swede when the longshoreman slowly stood up. “ Well, s’pose we take a look.” His words were addressed to Matzerath, who had no idea what it was all about but nodded knowingly. “S’pose we take a look,” the longshoreman said over and over as he continued to haul in the line, now with increasing effort. He clambered down the stones toward the end of the line and stretched out both arms into the foaming pond between the granite blocks, clutched something—Mama turned away but not soon enough—he clutched something, changed his hold, tugged and heaved, shouted at them to make way, and flung something heavy and dripping, a great living lump of something down in our midst: it was a horse’s head, a fresh and genuine horse’s head, the head of a black horse with a black mane, which only yesterday or the day before had no doubt been neighing; for the head was not putrid, it didn’t stink, or if it did, then only of Mottlau water; but everything on the breakwater stank of that.
The man in the longshoreman’s cap—which had slipped down over the back of his neck—stood firmly planted over the lump of horsemeat, from which small light-green eels were darting furiously. The man had trouble in catching them, for eels move quickly and deftly, especially over smooth wet stones. Already the gulls were screaming overhead. They wheeled down, three or four of them would seize a small or medium-sized eel, and they refused to be driven away, for the breakwater was their domain. Nevertheless the longshoreman, thrashing and snatching among the gulls, managed to cram a couple of dozen small eels into the sack which Matzerath, who liked to be helpful, held ready for him. Matzerath was too busy to see Mama turn green and support first her hand, then her head, on Jan’s shoulder and velvet collar.
But when the small and medium-sized eels were in the sack and the longshoreman, whose cap had fallen off in the course of his work, began to squeeze thicker, dark-colored eels out of the cadaver. Mama had to sit down. Jan tried to turn her head away but Mama would not allow it; she kept staring with great cow’s eyes into the very middle of the longshoreman’s activity.
“Take a look,” he groaned intermittently. And “S’pose we!” With the help of his rubber boot he wrenched the horse’s mouth open and forced a club between the jaws, so that the great yellow horse teeth seemed to be laughing. And when the longshoreman—only now did I see that he was bald as an egg—reached both hands into the horse’s gullet and pulled out two at once, both of them as thick and long as a man’s arm, my mother’s jaws were also torn asunder: she disgorged her whole breakfast, pouring out lumpy egg white and threads of egg yolk mingled with lumps of bread soaked in café au lait over the stones of the breakwater. After that she retched but there was nothing more to come out, for that was all she had had for breakfast, because she was overweight and wanted to reduce at any price and tried all sorts of diets which, however, she seldom stuck to. She ate in secret. She was conscientious only about her Tuesday gymnastics at the Women’s Association, but on this score she stood firm as a rock though Jan and even Matzerath laughed at her when, carrying her togs in a drawstring bag, she went out to join those comical old biddies, to swing Indian clubs in a shiny blue gym suit, and still failed to reduce.
Even now Mama couldn’t have vomited up more than half a pound and retch as she might, that was all the weight she succeeded in taking off. Nothing came but greenish mucus, but the gulls came. They were already on their way when she began to vomit, they circled lower, they dropped down sleek and smooth; untroubled by any fear of growing fat, they fought over my Mama’s breakfast, and were not to be driven away—and who was there to drive them away in view of the fact that Jan Bronski was afraid of gulls and shielded his beautiful blue eyes with his hands.
Nor would they pay attention to Oskar, not even when he enlisted his drum against them, not even when he tried to fight off their whiteness with a roll of his drumsticks on white lacquer. His drumming was no help; if anything it made the gulls whiter than ever. As for Matzerath, he was not in the least concerned over Mama. He laughed and aped the longshoreman; ho-ho, steady nerves, that was him. The longshoreman was almost finished. When in conclusion he extracted an enormous eel from the horse’s ear, followed by a mess of white porridge from the horse’s brain, Matzerath himself was green about the gills but went right on with his act. He bought two large and two medium-sized eels from the longshoreman for a song and tried to bargain even after he had paid up.
My heart was full of praise for Jan Bronski. He looked as if he were going to cry and nevertheless he helped my mama to her feet, threw one arm round her waist, and led her away, steering with his other arm, which he held out in front of her. It was pretty comical to see her hobbling from stone to stone in her high-heeled shoes. Her knees buckled under her at every step, but somehow she managed to reach the shore without spraining an ankle.
Oskar remained with Matzerath and the longshoreman. The longshoreman, who had put his cap on again, had begun to explain why the potato sack was full of rock salt. There was salt in the sack so the eels would wriggle themselves to death in the salt and the salt would draw the slime from their skin and innards. For when eels are in salt, they can’t help wriggling and they wriggle until they are dead, leaving their slime in the salt. That’s what you do if you want to smoke the eels afterward. It’s forbidden by the police and the SPCA but that changes nothing. How else are you going to get the slime out of your eels? Afterward the dead eels are carefully rubbed off with dry peat moss and hung up in a smoking barrel over beechwood to smoke.
Matzerath thought it was only fair to let the eels wriggle in salt. They crawl into the horse’s head, don’t they? And into human corpses, too, said the longshoreman. They say the eels were mighty fat after the Battle of the Skagerrak. And a few days ago one of the doctors here in the hospital told me about a married woman who tried to take her pleasure with a live eel. But the eel bit into her and wouldn’t let go; she had to be taken to the hospital and after that they say she couldn’t have any more babies.
The longshoreman, however, tied up the sack with the salted eels and tossed it nimbly over his shoulder. He hung the coiled clothesline round his neck and, as the merchantman put into port, plodded off in the direction of Neufahrwasser. The ship was about eighteen hundred tons and wasn’t a Swede but a Finn, carrying not iron ore but timber. The longshoreman with the sack seemed to have friends on board, for he waved across at the rusty hull and shouted something. On board the Finn they waved back and also shouted something. But it was a mystery to me why Matzerath waved too and shouted “Ship ahoy!” or some such nonsense. As a native of the Rhineland he knew nothing about ships and there was certainly not one single Finn among his acquaintances. But that was the way he was; he always had to wave when other people were waving, to shout, laugh, and clap when other people were shouting, laughing, and clapping. That explains why he joined the Party at a relatively early date, when it was quite unnecessary, brought no benefits, and just wasted his Sunday mornings.
Oskar walked along slowly behind Matzerath, the man from Neufahrwasser, and the overloaded Finn. Now and then I turned around, for the longshoreman had abandoned the horse’s head at the foot of the beacon. Of the head there was nothing to be seen, the gulls had covered it over. A glittering white hole in the bottle-green sea, a freshly washed cloud that might rise neatly into the air at any moment, veiling with its cries this horse’s head that screamed instead of whinnying. When I had had enough, I ran away from the gulls and Matzerath, beating my fist on my drum as I ran, passed the longshoreman, who was now smoking a short-stemmed pipe, and reached Mama and Jan Bronski at the shore end of the breakwater. Jan was still holding Mama as before, but now one hand had disappeared under her coat collar. Matzerath could not see this, however, nor could he see that Mama had one hand in Jan’s trouser pocket, for he was still far behind us, wrapping the four eels, which the longshoreman had knocked unconscious with a stone, in a piece of newspaper he had found between the stones of the breakwater.”
Günter Grass, The Tin Drum, (tr. Ralph Manheim)
A pdf of the original BLAST manifesto is available for free online, as if you care.
George Platt Lynes (American, 1907–1955), T. S. Eliot, 1947
Dior’s industrious designer finds inspiration in century-old modernist poem, as well as the fashion house’s own history
I'M LOSING MY GODDAMN MIND
“I do not minimise the services of modern poets in exploiting the possibilities of rhymeless verse. They prove the strength of a Movement, the utility of a Theory. What neither Blake nor Arnold could do alone is being done in our time. ‘Blank verse’ is the only accepted rhymeless verse in English – the inevitable iambic pentameter. The English ear is (or was) more sensitive to the music of the verse and less dependent upon the recurrence of identical sounds in this metre than in any other. There is no campaign against rhyme. But it is possible that excessive devotion to rhyme has thickened the modern ear. The rejection of rhyme is not a leap at facility; on the contrary, it imposes a much severer strain upon the language. When the comforting echo of rhyme is removed, success or failure in the choice of words, in the sentence structure, in the order, is at once more apparent. Rhyme removed, the poet is at once held up to the standards of prose. Rhyme removed, much ethereal music leaps up from the word, music which has hitherto chirped unnoticed in the expanse of prose. Any rhyme forbidden, many Shagpats were unwigged.
And this liberation from rhyme might be as well a liberation of rhyme. Freed from its exacting task of supporting lame verse, it could be applied with greater effect where it is most needed. There are often passages in an unrhymed poem where rhyme is wanted for some special effect, for a sudden tightening-up, for a cumulative insistence, or for an abrupt change of mood. But formal rhymed verse will certainly not lose its place. We only need the coming of a Satirist – no man of genius is rarer – to prove that the heroic couplet has lost none of its edge since Dryden and Pope laid it down. As for the sonnet I am not so sure. But the decay of intricate formal patterns has nothing to do with the advent of vers libre. It had set in long before. Only in a closely-knit and homogenous society, where many men are at work on the same problems, such a society as those which produced the Greek chorus, the Elizabethan lyric, and the Troubadour canzone, will the development of such forms ever be carried to perfection. And as for vers libre, we conclude that it is not defined by absence of pattern or absence of rhyme, for other verse is without these; that it is not defined by non-existence of metre, since even the worst verse can be scanned; and we conclude that the division between Conservative Verse and vers libre does not exist, for there is only good verse, bad verse, and chaos.”
T.S. Eliot, from 'Reflections on Vers libre' (New Statesman, March 3, 1917)
I’m sure this has been reposted before, but I can’t find it.
is the Athenaeum in Boston worth visiting if i have the opportunity to go on a tour?
Definitely—I imagine it feels like a slog for the lookie-loos who are only in it for the anthropodermic bibliopegy, but when I was a member, I'd tarry just to listen to the docents talking to their groups about the architecture and art.
THE AMERICANS S1E1: "Pilot"
one time I went over to a friend's house and their housemate was making paper in the living room, and we saw this big tub full of water they were using to dissolve old scrap paper into a slurry, and everyone was immediately like "oh, you need scrap paper?" and started turning out their jacket pockets and producing expired coupons and bus tickets and crumpled receipts and old shopping lists and whatever else they'd been carrying round with them for no good reason, and passing it all to the paper-making housemate to make sure it was suitable before it got torn up and dropped into the tub, while people took turns stirring the slurry with a big wooden stick. it was strangely ritualistic, like presenting an offering to some kind of temple elder for inspection before placing it in a watery shrine to be devoured and reformed. pulp for the pulp god.
When you are brutally losing at chess implore your opponent to look inwards its called the little pony gambit
you'll get the urge as an artist or a writer to say out loud the things you're worried about "the proportions are off" "kind of out of character" "i'm not good at summaries" "didn't get as much detail as i wanted" "i made a mistake and here's how" and that's the self-conscious part of your brain telling you "it's bad and if you don't tell them you know it's bad then they'll think you're stupid" but you've got to ignore that little voice and pretend you think it's good or else that little voice is going to ruin your life
Some of the best advice I have ever gotten was from a creative writing professor. She said never apologize for your work. Never critic it before someone else does.
Her reasoning was you are the creator. You made your work from nothing and can see all the flaws and seems and holes. But your audience may not see any of it. Maybe they will; maybe they won't. But if you TELL them about the holes and the mistakes and the problems....they will 100% see them. So don't tell them. Don't sabotage yourself just because you think you're not good enough.
just had a really good mango it was so good that i had to illustrate how it made me feel afterwards.
op’s tags are so fucking important to me
“Charm is the great English blight. It does not exist outside these damp islands. It spots and kills anything it touches. It kills love; it kills art; I greatly fear, my dear Charles, it has killed you.”
— Anthony Blanche to Charles Ryder in Brideshead Revisited by Evelyn Waugh; p. 273.
Galina Brezhneva, the daughter of Soviet leader Leonid Brezhnev, dancing on a table during a “home holiday” in the early 1990s