𝙵𝚎𝚋𝚛𝚞𝚊𝚛𝚢 𝟷, 𝟷𝟿𝟸𝟸 𝚃𝚑𝚎 𝙳𝚒𝚊𝚛𝚒𝚎𝚜 𝙾𝚏 𝙵𝚛𝚊𝚗𝚣 𝙺𝚊𝚏𝚔𝚊, 𝟷𝟿𝟷𝟺-𝟷𝟿𝟸𝟹
[ID: February 1. Nothing, merely tired. END ID]
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@hindsightttt
𝙵𝚎𝚋𝚛𝚞𝚊𝚛𝚢 𝟷, 𝟷𝟿𝟸𝟸 𝚃𝚑𝚎 𝙳𝚒𝚊𝚛𝚒𝚎𝚜 𝙾𝚏 𝙵𝚛𝚊𝚗𝚣 𝙺𝚊𝚏𝚔𝚊, 𝟷𝟿𝟷𝟺-𝟷𝟿𝟸𝟹
[ID: February 1. Nothing, merely tired. END ID]
— Edna St. Vincent Millay, from a letter to Arthur Davison Ficke
Natalie Díaz, from “American Arithmetic”, Postcolonial Love Poem (2020)
“Everybody has experienced the defeat of their lives. Nobody has a life that worked out the way they wanted it to work out. We all begin as the hero of our own dramas, in centre stage, and inevitably life moves us out of centre stage, defeats the hero, overturns the plot and the strategy and we’re left on the sidelines, wondering why we no longer have a part, or want a part, in the whole damn thing. So everybody’s experienced this. When it’s presented to us sweetly, the feeling goes from heart to heart and we feel less isolated and we feel part of the great human chain, which is really involved with the recognition of defeat.”
— Leonard Cohen on why people enjoy listening to melancholy songs. From a BBC radio interview in 2007. (via elviskeepsmypictureinhiswallet)
My therapist once told me, “You are the guiltiest feeling person I’ve ever met” and just to prove her right, I took it to heart. An astrologer said, “You have so much water in your chart. What is it like to feel the emotions of every single person alive, everyday?” and I wept because I sensed he was displeased. A teacher told my parents “She’s very sensitive. Far more than the other kids in her class.” I took my SATs at 9 years old, but they encouraged my mother to hold me back because of how my eyes glistened when I heard the word no. She told them to go to hell. So I cried my way through my education until high school when they said “You take everything so personally, you’ll never survive in a company environment. You wouldn’t make a good employee.” So I employed myself (out of spite or…necessity) and then later, I hired 200 people. A boyfriend told me “Don’t be so dramatic, everything isn’t a movie.” Fine, so it’ll be an album then. The doctor said “This shouldn’t hurt a bit.” I tread daily on a minefield that leaves me classifying the variations in footsteps, the tonality in voice, a change in breath. “Is everything okay? You seem mad” is my pledge of allegiance to this tightly wound bundle of flesh. I am cut open, butterflied and flayed, with every single nerve exposed like live wires and, yes, they all hurt to touch. Each interaction is a litmus test of how well liked I am, and therefore how worthy to live. I wake up every morning and the moral barometer resets, T-minus 12 hours to prove to myself that I am not the bad person I believe I must be. Sleep, repeat. An amnesiac nightmare. Prometheus on a rock and the gull in my guts is myself. I once envied those with greater armor, but not anymore. “Why do you care so much?” Guard yourself from the little grievances, but the shield does not differentiate. The space where I am vulnerable to the pain that passes through is an entry point for the microscopic good that others may miss. I live in technicolor torment. If I could do it over again and choose the comfortable grey, I would seize a knife and cut the little keyholes back into my every limb. So the light can get in.
by Gordon Hart
Fortesa Latifi, from The Truth About Grief.
Alex Dimitrov, from “Love,” in Love and Other Poems
[text ID: I love August and its sadness.]
Margaret Atwood
The history of corporate propaganda.
Anaïs Nin, The Diary of Anaïs Nin, Vol. 1: 1931-1934
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