𝔢𝔳𝔞𝔦𝔫𝔢

I had palms that s(t)ung.

[foalskin]

Springtime, NYC, c. before 1911

[foalskin]

Patient and nurses, c. 1914

[foalskin]

Two Latvian nurses standing side by side, c. 1915

[foalskin]

St. Gerardus Majella Stichting: Bussum operatie-kamer ph. Michael Zwerdling, Netherlands, 1940

[foalskin]

The Wormwood Star (1956), dir. Curtis Harrington

[dropdome]

The 1922 Austin Twin Tornadoes

[vintagegermany]

Zweibrücken, Germany 1920s

[vintagecamping]

A man sitting on the edge of a lake with Golden Ears in background.

British Columbia

1922

[foalskin]

The Wormwood Star (1956), dir. Curtis Harrington

[gacougnol]

ALEXANDER RODCHENKO (Russian, 1891–1956)

Malioutina, Moscow 1936

[funeral]

Trauma evacuates memory in that it perpetually disturbs one’s sense of being settled. Memory is poised to take flight whenever it is threatened, when there is a sense of a trauma returning or of a new trauma that is about to happen. This sense of impending catastrophe is an illusion, however, because the trauma never quite arrives. It never arrives because it has already happened; it is already in the present as an effect of some persistent past. The traumatized subject is continually uprooted. She might seem to be in a familiar place, in the sense that she has been there before, and she will most likely return there again and again through the force of repetition. Yet this place is neither an origin nor a final destination, keeping her suspended between a failed remembering and an incomplete forgetting. If trauma is understood as that which is in excess of frames of understanding, it is often impossible to positively speak one’s memory of a traumatic event or to know what really happened. Yet memory is also not bound by the subject who forgets. It materializes in the most unlikely places or fixes itself to things with no logical connection to the traumatic event. It yields an overvaluation of objects, as Freud called it, the condition in which something becomes so full of desire and longing and fear that it is hardly recognizable.

Grace M. Cho, Haunting the Korean Diaspora

[azidahaka]

Angra Mainyu (Ahriman)

[jonahinthebellyofawhale]

[diana-andraste]

Apparition, Małgorzata Maj/Sarachmet

x

[littlespiritpaw]

[undinesea]

I anguish amorously upon your heart whose mortal rhythm I hear, weeping — the pure, limitless rush of silence.

Anna de Noailles, "Silence," from Persephone Unbound: Dionysian Aesthetics in the Works of Anna de Noailles

[foalskin]

Firelight The Favourite (2018), dir. Yorgos Lanthimos