[sesiondemadrugada]

Depero Futurista (1927).

[chenchenwrites]

“I didn’t want to feel alienated from my own book.” - José Orduña on why he decided not to translate much of the Spanish in his book, The Weight of Shadows: A Memoir of Immigration & Displacement.

I almost cried hearing this today. So moved. Over and over in writing programs I have been expected to write less angry, less funny, less “overtly” queer and Asian and immigrant. I have been asked to compromise and translate and explain and make things more digestible. 

Folks in workshop have said things like “most readers won’t understand this” or “most readers will stop reading this” or “well I represent millions of readers and this makes me uncomfortable.“ I have felt isolated and punished for trying to say what is beautiful or meaningful to me. But holding my first book in my hands this week…I know something true. I did not compromise. I insisted on my words. I believe in these poems. I’m proud of my book. I hold it and hope readers will be welcomed and also challenged by it. I hold it and know it is a place I created for myself, sometimes when I felt I had no place among writers and the literary. With this first book, I decided to make a home for myself: unapologetically queer, magically Asian American, in love with climbing trees.

[criterioncollection]

We now present Lady Snowblood killing six men in 58 seconds (and a single tracking shot). Enjoy …

[purplebuddhaproject]

How could she feel nostalgia when he was right in front of her? How can you suffer from the absence of a person who is present? You can suffer nostalgia in the presence of the beloved if you glimpse a future where the beloved is no more.

Milan Kundera, Identity (via purplebuddhaproject)

[proustitute]

We don’t know how to say goodbye: we wander on, shoulder to shoulder. Already the sun is going down; you’re moody, I am your shadow. Let’s step inside a church and watch baptisms, marriages, masses for the dead. Why are we different from the rest? Outdoors again, each of us turns his head. Or else let’s sit in the graveyard on the trampled snow, sighing to each other. That stick in your hand is tracing mansions in which we shall always be together.

Anna Akhmatova, from Poems, trans. Max Hayward (via proustitute)

[sarsutterlin-deactivated2017100]

Baveuse.

[thelandlockedmariner-deactivate]

But I would never kiss anyone who doesn’t burn me like the sun.

Jens Lekman  (via dailystendhalnitesaudade)

[yimmyayo]

[truemarmalade]

The full audio of this story.

[litechoking]

[heppenfeld]

Mantra Portends by Köhn (aka Jürgen De Blonde)

[prmrymtphr]

I could be bounded in a nutshell, and count myself a king of infinite space—were it not that I have bad dreams.

Hamlet (via primarymetaphor)

[berfrois]

[the-exit-deactivated20220117]

“There are strong and fascinating polarities at play in these images. Many of them induce a feeling of loneliness or alienation, which somehow merges with an underlying sense of hope and possibility. These artists are all American: they all engage what is sometimes called the “American vernacular” to reveal both its beauty and its darkness. They present the American vernacular as a fragmented landscape of shadows and reflections: a hall of mirrors.

My own work comes back again and again to the American Dream and its darker inverse. Without the work of such artists, our understanding of the complexities of American life, and its angels and demons, would be far less interesting. And my own vision would, without question, have taken another shape entirely.”

-Gregory Crewdson, Aperture 2008

[nosex]

DUNE (DAVID LYNCH, 1984)

[199714424-deactivated20161223]

“The voice of Paul himself has a direct, physical impact: by raising his voice, he can not only derange his adversary, he can even blow up the hardest rock. At the end of the film, Paul raises his voice and shouts back at the old priestess who tried to penetrate his mind, causing her to jump away as if she has been dealt a physical blow. As Paul himself says, his words can kill—that is, his speech does not only function as a symbolic act, it cuts directly into the Real. The disintegration of the ‘normal’ relationship between bodily surface and its beneath or beyond is strictly correlative to this change in the status of speech, to this emergence of a word that operates directly at the level of the Real.”

/one of three paragraphs i managed to understand from the metastases of enjoyment. 

[thetargetbird]

1 is probably 2 2 is probably 3 Therefore, 1 is probably 3 1 is indeed 2 2 is indeed 3 Therefore, 1 is indeed 3 1 is 2 enough 2 is 3 enough Therefore, 1 is 3 enough 1 is certainly 2 2 is certainly 3 Therefore, 1 is certainly 3 1 is occasionally 2 2 is occasionally 3 Therefore, 1 is occasionally 3 1 saw 2 2 saw 3 Therefore, 1 saw 3 1 was 2 2 was 3 Therefore, 1 was 3 1 is waiting on 2 2 is waiting on 3 Therefore, 1 is waiting on 3 1 is perhaps 2 2 is perhaps 3 Therefore, 1 is perhaps 3 1 likes 2 2 likes 3 Therefore, 1 likes 3 1 walked with 2 2 walked with 3 Therefore, 1 walked with 3 1 imagined 2 2 imagined 3 Therefore, 1 imagined 3 1 is meaner than 2 2 is meaner than 3 However, 3is downright evil next to 1 1 has no relation with 2 2 has no relation with 3 Therefore, 1 has no relation to 3 1 misunderstands 2 2 misunderstands 3 Therefore, 1 misunderstands 3 Is 1 really 2? Is 2 really 3? Therefore, is 1 really 3? 1 is/has 2 2 is/has 3 Therefore, 1 is/has 3 1 might be 2 2 might be 3 Therefore, 1 might be 3 1 is seemingly 2 2 is seemingly 3 Therefore, 1 is seemingly 3 Is 1 really 2, I wonder? Is 2 really 3, I wonder? Therefore, is 1 really 3, I wonder? Come on, tell me! 1 thinks it is 2 2 thinks it is 3 In other words, 1 thinks it is 3 1 is a famous singer-actress in 2’s eyes 2 is a famous singer-actress in 3’s eyes Therefore, 1 is a famous singer-actress in 3’s eyes 1 is treating 2 as a problem 2 is treating 3 as a problem Therefore, 1 is treating 3 as a problem 1 alone is 2 2 alone is 3 Therefore, 1 alone is 3 Well, of course, 1 is 2 Well, of course, 2 is 3 Therefore, well, of course, 1 is 3 1 and 2 don’t understand 2 and 3 don’t understand Therefore, 1 and 3 don’t understand 1 could have been 2 2 could have been 3 Therefore, 1 could have been 3 1 finds 2 despicable 2 finds 3 despicable Therefore, 1 finds 3 despicable 1 is probably really 2 2 is probably really 3 So 1 is probably really 3 1 repeats 2 2 repeats 3 Therefore, 1 repeats 3 1 is the reverse of 2 2 is the reverse of 3 Therefore, 1 is the reverse of 3, right? 1 only understands 2 2 only understands 3 Therefore, 1 only understands 3 1 also understands 2 2 also understands 3 Therefore, 1 also understands 3 1 doesn’t understand anyone but 2 2 doesn’t understand anyone but 3 Therefore, 1 doesn’t understand anyone but 3 1 is not different than 2 2 is not different than 3 Therefore, 1 is not different than 3 1 does not understand 2 2 does not understand 3 Therefore, 1 does not understand 3 1 is 2, ain’t it? 2 is 3 ain’t it? So, 1 has gotta be 3, right! Well, of course 1 is 2! Well, of course 2 is 3! So, well, of course 1 is 3! 1 is always totally 2 2 is always totally 3 Therefore, 1 is always 3 (LOL) 1 is 2’s lover 2 is 3’s lover Therefore, 1 is 3’s lover 1 slugged 2 2 slugged 3 So 1 hauled off and slugged 3 1 is born from 2 2 is born from 3 Therefore, 1 is born from 3 1 is a figment of 2’s imagination 2 is a figment of 3’s imagination Therefore, 1 is a figment of 3’s imagination 1 took 2 by surprise 2 took 3 by surprise However, 3 took 1 by surprise 1 wants to be 2 2 wants to be 3 Therefore, 1 wants to be 3 1 is sometimes 2 2 is sometimes 3 Therefore, 1 is sometimes 3 Surprised, 1 is 2 Surprised, 2 is 3 Therefore, surprised, 1 is 3 1 says to 2 2 says to 3 So 1 says to 3 1 is smoking 2 2 is smoking 3 Therefore, 1 is smoking 3 1 is 2, don’t ya think? 2 is 3, don’t ya think? So 1 is 3, don’t ya think? Could 1 be 2? Could 2 be 3? So how could 1 possibly be 3? 1 is more numerous than 2 2 is more numerous than 3 Therefore, 1 is more numerous than 3 1 might not be 2 2 might not be 3 So 1 might not be 3 1 is whispering with 2 2 is whispering with 3 Therefore, 1 is whispering with 3 The 2 that was a 1 is a 3 The 3 that was a 2 is a 1 Therefore, the 1 that was a 3 is a 2 I don’t know if it’s 1 or 2 I don’t know if it’s 2 or 3 So I don’t know if it could be 1 or 3 1 is at war with 2 2 is at war with 3 Therefore, 1 is at war with 3 1 is in front of 2 2 is in front of 3 Therefore, 1 is in front of 3 1 feels sorry toward 2 2 feels sorry toward 3 Therefore, 1 feels sorry toward 3 1 is not necessarily 2 2 is not necessarily 3 Therefore, 1 is not necessarily 3 1 is the subject of 2’s vicious rumors 2 is the subject of 3’s vicious rumors Therefore, 1 is the subject of 3’s vicious rumors 1 also likes 2 2 also likes 3 Therefore, 1 also likes 3 1 thinks 2 has talent as a poet 2 thinks 3 has talent as a poet Therefore, 1 thinks 3 has talent as a poet 1 thinks of 2 as 3 2 thinks of 3 as 1 Therefore, 3 thinks of 1 as 2

- “Logic Poems” by Tanaka Atsusuke (trans. by Jeffrey Angles)

[stuffandsonenterprises]

[the-rx]

Alighiero Boetti : Permutazione : 1970

[prmrymtphr]

Žižek & Judy: Segment of Slavoj Žižek Speech at Colombia University.