Cross-dressing in Photographs of 1920s and 1930s Egypt, Palestine and Lebanon X
wallacepolsom

pixel skylines
Cosmic Funnies

if i look back, i am lost
Game of Thrones Daily
"I'm Dorothy Gale from Kansas"
ojovivo

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Fai_Ryy

@theartofmadeline

titsay
macklin celebrini has autism
Monterey Bay Aquarium
YOU ARE THE REASON
will byers stan first human second
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Noah Kahan
The Stonewall Inn
Sweet Seals For You, Always

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@divinepit
Cross-dressing in Photographs of 1920s and 1930s Egypt, Palestine and Lebanon X
Death by Sex Machine, Franny Choi
― Ali Smith, The Whole Story and Other Stories
[text ID: It was a Sunday in September. There would only be four.]
07/31
Cento made entirely of lines from the script of Mandy (2018)
Every beetle is a gazelle in the eyes of its mother
god is basically a kind of mold that grows in your body from the inside out but it does it so lovingly so it's cool
booty shorts with if thine eye offends thee, pluck it out written on the ass.
and i think… i think that’s what a father is - a blade that never stops cutting.
the new york times, ‘carlos sainz jr learned early to be the hunter, not the prey’ ++ e. schwab, the invisible life of addie larue // marla miniamo, ‘sea salt’ // hermann hesse, demian // frank bidart, ‘the third hour of the night’ // katherine angel, daddy issues // [x] // leah horlick, for your own good // hera lindsay bird, ‘mirror traps’ // mario puzo, the godfather // andrea gibson, ‘i sing the body electric, especially when the power’s out’ // [x] // [x] // deaf havana, ‘caro padre’ // [x] // [x] // [x] // [x] // rachel mckibbens, blud // [x] // [x] // ocean vuong, ‘someday ill love ocean vuong’ // molly brodak, ‘bee in jar’ // eleanor hsieh, ‘the last scene in the movie’ // andrea abi-karam, villainy // the national, ‘blank slate’ // rainer maria rilke in a letter to lou andreas-salomé // etel adnan, ‘untitled’ // [x] // [x] // [x] // myther, SPEAK FOR YOURSELF, OR SOMEONE ELSE WILL // [x] // [x] // rainer maria rilke, letters to benvenuta // richard siken, ‘little beast’ // erin slaughter, i will tell this story to the sun until you remember that you are the sun // [x] // sigmund freud, die traumdeutung // rachel mckibbens, blud // silas denver melvin - nov 4 2021 // desireé dallagiacomo, ‘origin story’ // james baldwin, ‘they can’t turn back’ // [x] // traci brimhall, come the slumberless to the land of nod // natalie diaz, ‘grief work’ // alain de botton, essays in love // [x] // richard siken, ‘the dislocated room’ // sylvie baumgartel, song of songs // ocean vuong, ‘dear peter.’
My Gender Workbook by Kate Bornstein (1998)
now with a link to read it for yourself!! xx
Southern Comfort (2001)
A beautiful scene featuring transgender man Robert Eades and his transgender girlfriend Lola.
[TRANSCRIPT:
Robert: – and now she’s coming out, full blown… she is something else.
Lola: Oh, please, stop it.
Robert: What? I’m just telling her how wonderful you are, and how beautiful, and how organised, and…
Lola: Actually, you know, I really should put all of this on tape, you know? For when I’m not feeling so great.
Robert: Sweetheart, it is on tape.
[BOTH LAUGH]
Robert: Just in the last couple of months now, it’s come on real strong, but she just really blushes! I can get her to blush all the way from head to toe. See? And she can’t deal with it! She’s never blushed like that before!
Lola: [SIGHS]
[BOTH LAUGH]
Robert: All my life, I’ve been looking for the perfect woman… and all this time, she’s been right there in front of me, and I didn’t even realise it, ‘cause I never thought I’d have a chance with her.
Lola: Why? You’re like… completely loveable.
Robert: To be loved by you, that’s… that’s…
Lola: I had no notion, to think that we would have this little fling.
Robert: That’s what I feel - we have this nice friendship, we can’t go out, we have fun together, we got no entanglements and stuff and then - bam! Just… all of a sudden, next thing I know, we’re in love with each other and we can’t stop it.
END TRANSCRIPT]
JOAQUIN PHOENIX, ROONEY MARA 77th Annual Golden Globe Awards — January 5, 2020
“I think of beauty as an absolute necessity. I don’t think it’s a privilege or an indulgence, it’s not even a quest. I think it’s almost like knowledge, which is to say, it’s what we were born for.”
— Toni Morrison, from The Paris Review Podcast (via mesogeios)
The Möbius structure of relationships, one of David Byrne’s hand-drawn pencil diagrams of the human condition
Uta Uta Tjangala was one of the founding members of the Western desert Aboriginal art movement. In the early part of his career he painted on Composition board. Many of his early works are ritual in nature. They contain secret imagery meant only for the eyes of initiated men.
[“When we survive violence, we are transformed by it. The nature of that change varies widely, but the fact of it is nearly universal. And if we are truly a part of something, if our existence and membership in something larger than ourselves is real and matters, then that change in us should show up somehow in our world.
When our pain is not acknowledged, the ways we are changed have no bearing on our world. Everything goes on as it did before. Here we are, fundamentally different than before, and here the world is, exactly the same. That disconnect can feel like unbearable isolation to survivors. As creatures of belonging and of community, it is not our nature as human beings to be so isolated. We fight it. And when what we are fighting is the invisibility and irrelevance of our pain to others, then in our fight we make that pain visible and we make it relevant.
One way we can do that is through revenge. When we enact revenge, the world is different because of what happened to us. Someone who wasn’t hurting is hurting now because of us. That difference, ugly and largely unsatisfying as it may be, can feel like an affirmation of our connection and our influence on the larger thing of which we are a part. But though it may be a form of what we need, revenge is not itself the thing we need. It is not more pain that affirms us and quiets the terror and injustice of isolation.
What we need is for something in our world to reflect what is different in us. What we need is to be recognized. As so many characters in movies say before carrying out retaliatory violence, “You see me now.” Revenge is in part an inescapable demand to be witnessed. The fundamental human need that can manifest as revenge, particularly when it is otherwise unmet, is the need for recognition. Recognition affirms our membership in something bigger than ourselves and our importance to that larger group. It affirms that when we are different, so, too, is the world, and in that way recognition combats our isolation and the legitimate terror that accompanies it. When that recognition comes from the responsible person, and especially when it is witnessed by community, it can fulfill the need that underlies the desire for revenge and can, not always but often, release survivors from it.”]
danielle sered, from until we reckon: violence, mass incarceration, and a road to repair, 2019