/and then i’ll come home

mila :) she/her

[seaoflove]

some of my favourite vídeo essays about art history:

whose migrant mother was this? the story of the native american woman who became the face of the 1930s depression (and got almost nothing for it)

bauhaus design is everywhere, but its roots are political how even a simple choice between what font to use can be a political act

edvard munch: what a cigarette means munch + tobacco = art? (yes we’re still on the topic of art as a political weapon)

art that was never finished how great masters sometimes even didn’t finish stuff. also! the history behind the colour aquamarine

fka twigs on mary magdalene (if you like asmr you’re gonna love this)

having a coke with frank ohara (technically not art history but this video is too good for me not to mention)

video postcard: woman at her toilette a quick dive into my favourite painting of woman impressionist berthe morrisot

this documentary about georgia o´keeffe (that ive seen about 10 times)

david hockney on vincent van gogh on love of nature, beauty, attention, and the art of looking (essentially a mary oliver poem in interview format!!!!)

[phocids]

I highly highly recommend whose afraid of modern art: vandalism, video games and fascism by Jacob Geller as well

[flowerflamestars]

Daylight sneak peek

Four months after she’d run from frozen exile, the High General of the Night Court sent Nesta his sword and siphons.   An apology that transcended apology as only an Illyrian would make it, an extreme that ignited Nesta’s blood.   Not the weapons he’d worn the last time she’d seen him. What he’d carried into war and relied on to keep himself, and eventually her, alive. A promise writ in blood and regret, meaning as faceted as the shattered siphons still bound in gauntlets: my safety is yours, my life is yours, my honor is as broken as this blade, but it is yours. Nesta sidestepped a border dispute and winnowed straight to windswept Summer, to throw the lot- the massive blade Hybern had broken, seven keening gems that pulsed in her hand- straight into the sea.   Heart racing painfully, she went back to the libraries, and set on fire the dress she’d worn to escape for good measure.   Safety. Honor. What the hell did either matter? Where had that implied safe harbor been when she’d been thrown out of her home?   Dragged to his- where she could never, ever belong, and no expected or wanted her to.

[firsttailor]

tumblr is trying to silence me by not letting me comment love and joy but that will NOT stop me

[armandeos]

video essays about horror, fear and dread

Films That Feel Like Bad Dreams

The Nightmare Artist

Fear of Big Things Underwater

Control, Anatomy, and the Legacy of the Haunted House

House of Leaves: The Horror Of Fiction

Monsters in the Closet: A History of LGBT Representation in Horror Cinema

The History of Insane Asylums and Horror Movies

The Saddest Horror Movie You’ve Never Seen

Fear of Forgetting

Slender Man: Misunderstanding Ten Years Of The Internet

The Real Reason The Thing (1982) is Better than The Thing (2011)

The Bizarre Clown Painting No One Fully Understands

The Little Book of Cosmic Horrors

The Disturbing Art of A.I.

Fear of Depths

Goya’s Witches

David Lynch: The Treachery of Language

The True History That Created Folk Horror

The Existential Horror of David Cronenberg’s Camera

Keep reading

[metamorphesque]

To All My Friends, May Yang

[tendermimi]

— Mary Oliver, North Country

[stardust-musing]

“To live in this world, you must be able to do three things: to love what is mortal; to hold it against your bones knowing your own life depends on it; and, when the time comes to let it go, to let it go.”

—Mary Oliver

[luthienne]

Hieu Minh Nguyen, from This Way to The Sugar: Poems; "Buffet Etiquette"

[Text ID: My house is a silent film. My house is infested with subtitles. ::: That's all. That's all. I have nothing else to say.]

[lindsay-weirs]

ICONIC FLORAL MOMENTS IN RECENT FILM & TELEVISION

SHARP OBJECTS ( 2018 )

MIDSOMMAR ( 2019 )

EUPHORIA ( 2022 )

[aconissa]

I LOVE THE WORLD FROM LOVING YOU

Chen Chen, ‘Elegy’ Mitski, ‘Strawberry Blond’ Ellen He, The Good-Morrow Holly Warburton, a moment! Danez Smith, ‘Acknowledgments’ E.C., ‘Love Freely’

[firstfullmoon]

“Like many poets, I’m in love with how the word “stanza” comes from the Italian for “room,” or more literally, a “standing place.” I love thinking about how poems consist of rooms and can stand as houses, live as meeting places. I obsess about what kind of meetings a poem can bring about—surprising ones, strange ones. […] I’d like my poems to say (to myself, to a reader): you can bring all of yourself into these rooms, including what you have yet to know about yourself, your worlds, your dreams. Your myths and questions, yes.”

— Chen Chen, from his interview with 32 poems

[luthienne]

Chen Chen, from When I Grow Up I Want to Be a List of Further Possibilities; “Elegy”

[herdingdog-deactivated20231014]

our little lives.

[luckystarinsky]

"I throw away my half-finished letters to him in my tiny pink wastebasket, but

my aim is no good. The floor is scattered with fire hazards, declarations unread."

-Aimee Nezhukumatathil

[godsopenwound]

Aimee Nezhukumatathil, "Baked Goods" from Lucky Fish

[julienbakerfavormp3-deactivated]

Louise Gluck, from “October”

[felderwin]

Noah as the one person who knows all the pieces of TRC’s story but experiences them fragments and at different times and doesn’t know how they’ll all come together? Noah who exits the story permanently once it’s all played out, even though the cycle stays still in time playing out as if he was still there? Noah’s relationship to the events of the story being the same as an author’s???