@isailmyships - Tumblr Blog

"I'm looking respectfully" well can you look at me like you're dying of a fever. like you're delirious and it hurts. like you're fighting desperately for your life.

sweetieboydyke

like maybe i WANT YOU TO LOOK DISRESPECTFULLY

lavenderprose

I love how some fics are called shit like "They Only Shoot The Birds Who Cannot Sing" and it's like the most insane porn you're ever read and then some fics are called Spit On Me and it's 18,000 words of the most achingly id-scratching prose you've ever read and they're both. They're both so fucking good. thank God for fanfiction.

sharp-tender-shock-deactivated2

This is a comment someone appended to a photo of two men apparently having sex in a very fancy room, but it’s also kind of an amazing two-line poem? “His Wife has filled his house with chintz” is a really elegant and beautiful counterbalancing of h, f, and s sounds, and “chintz” is a perfect word choice here—sonically pleasing and good at evoking nouveau riche tackiness. And then “to keep it real I fuck him on the floor” collapses that whole mood with short percussive sounds—but it’s still a perfect iambic pentameter line, robust and a lovely obscene contrast with the chintz in the first line. Well done, tumblr user jjbang8

headspace-hotel

I hate that my aesthetic sense agrees with this but everything you just said was correct

headspace-hotel

I went back to dig up this post because I was thinking about poetry.

This is one of those non-poem things that are among my favorite poems.

As the OP stated, the use of alliterative consonants is aesthetically just great, especially the placement of the strongest use at the end: “fuck him on the floor.” The use of “chintz” is indeed great word choice.

Because I’m insane, decided to scan the poem:

Not only is the second sentence, indeed, perfect iambic pentameter, the entire poem is perfectly metered, though the first sentence has four iambs rather than five.

There are further things I love about this poem, though: I like the casual connotations of “keep it real” juxtaposed with “chintz.” It causes me to interpret the “chintz” more strongly as meaning something fake, a facade. There is also of course the coarseness of “fuck,” which is a contrast with “chintz” but a different kind of contrast, gutsy and carnal where “chintz” is flimsy and inanimate.

And then there is the storytelling: there is SO MUCH storytelling in just these two lines. To break it down: The speaker is having sex with a married man, in the house he shares with his wife, which is “filled with chintz”—something that here connotes fakeness, in contrast with “keep it real.”

The illicit encounter in the poem takes place within a house filled with facade, the flimsy construction of the wife’s marriage and domestic sphere, but the encounter itself is a taste of something “real.” That’s a story, and it’s just two lines.

This is EIGHTEEN SYLLABLES, y’all. The amount of meaning condensed into these eighteen syllables is stunning, and it is so elegantly done.

From a technical standpoint (and ive taken 300- and 400-level poetry classes so I can say this) this is damn near flawless as a poem.

agent-octopus

Kept thinking about this ever since I saw it and had to do something

headspace-hotel

there's art now

jetlaggingbehind

questions-within-questions

Ah dang to go further; the floor is framed as a refuge. As if there is literally no other space in this house that hasn't been populated by his wife with flimsy inanimate fakery. There is no space for this man in this house save for the floor. There is no space for him on the sofa, oon the counter tops, and most notably, no space for him in the marital bed.

normal-horoscopes

I’d also like to point out the use of the word “has.” The wife has filled the house with chintz. She isn’t filling the house with chintz. She doesn’t fill the house with chintz. She has filled the house with chintz. Use of the past-tense makes the wife a subtly removed element in the story, someone whose presence we see in the environment, but who is blissfully distant during the actors throes of passion. There is an element of physical as well as emotional separation from the wife that is catalyzed by being fucked on the floor. Use of the past tense is an end to the wife presence in the actors life, a carnal catharsis amid cold fragility and emotional distance.

stargazing-enby

This is my new favourite post in the world

astronomical-bagel

everyone cheer for the one (1) time tumblr had reading comprehension

trekkiesagainstchastity

And, predictably, it's because it was about gay sex

inkeee

Just discovered Clint Walker tonight and it’s like, what if Halsin were real and starred in westerns in the 60s

inkeee

I need you all to see what I mean

mouseunnie

@hotvintagepoll

hotvintagepoll

new. hot. men

systlin

“A daffodil bulb will divide and redivide endlessly. That’s why, like the peony, it is one of the few flowers you can find around abandoned farmhouses, still blooming and increasing in numbers fifty years after the farmer and his wife have moved to heaven, or the other place, Boca Raton. If you dig up a clump when no one is nearby and there is no danger of being shot, you’ll find that there are scores of little bulbs in each clump, the progeny of a dozen or so planted by the farmer’s wife in 1942. If you take these home, separate them, and plant them in your own yard, within a couple of years, you’ll have a hundred daffodils for the mere price of a trespassing fine or imprisonment or both. I had this adventure once, and I consider it one of the great cheap thrills of my gardening career. I am not advocating trespassing, especially on my property, but there is no law against having a shovel in the trunk of your car.”

― Cassandra Danz, Mrs. Greenthumbs: How I Turned a Boring Yard into a Glorious Garden and How You Can, Too

z-a-d-i-e

I clicked the link because I enjoyed this quote and was not disappointed

stiickleback

does anyone have that one drawing of a greyhound from like the 1920s or whatever please please please i need it the one where it looks like a single piece of forlorn wire i need it

plaguedocboi

Is this your boy

blemgoid

THE POMPOUS FOP has declined your gift.

1x MID-GRADE BRANDY 1x STRINGY GAME HEN 1x MEDIOCRE PLUM PUDDING

Have been returned to your inventory.

rivetgoth

I keep thinking about this tweet and laughing

isailmyships

@a-still-deeper-shadow verschrikkelijk

themoonandmyman

what’s one thing you’re doing today that’s good for you mentally and/or physically :)

#morning pages...#buying gifts for other people #writing??

peoplegettingkindamadatfood

crtter

This pizza was made over here in Brazil and I’m happy to inform everyone that the method they used to get the toppings over the whole dough evenly is just slightly less funny than what the last poster in the thread suggested:

They hovered a guy over it using a crane and maneuvered him around by pushing him with a pole.

apesoformythoughts

“One of the poets, whose name I cannot recall, has a passage, which I am unable at the moment to remember, in one of his works, which for the time being has slipped my mind, which hits off admirably this age-old situation.”

— P.G. Wodehouse

tastylemonbread

a post about when someone tags someone else on your post

tastylemonbread

love and beauty in the tags of this post. we are all humans and loving is all we can hope to do on this earth

concerningwolves

i am so so gently asking abled storytellers to try this little exercise: consider that maybe the main character doesn't miraculously get through traumatic event number 8277 with minor injuries. maybe they don't make a full, narratively-convenient recovery. there are tangible, long-term effects on their health. they are disabled. there are lots of ways to be disabled, and you can pick whatever makes the most sense. the point is that because they're the main character, they have to stay at the heart of the narrative. what happens to your story after that? just for the sake of this exercise, you're not allowed to have them spiral into helpless depression, or collapse under self-loathing, or turn their story into a quest for a cure or an uplifting recovery narrative. think it through instead. how can you tell this story with the character's disability? what needs to change? are there any reasons why these changes can't happen?

at the end of it, you might change nothing. but I think this is worth doing, because sometimes you'll find that the reason you didn't want your character to have a limp, or lose a limb or sense, or have some kind of SFF-appropriate fantasy disability is because of internalised biases. those are worth challenging & i truly believe that creators miss out on richer stories when they view disability either as a fate worse than death or as nothing more than a catalyst for tragedy.