The Greys

[kripimalviya]

Paresthesia

To not undo the act but to live in the remarkable of it

Eyes only fall or fixate as we lustrate

our motion in this sickness- itch, scrape, scab, scar,

their odium

I see mountains now, whole and close and I never reach them

The world moves right- snow, carriers, wall, wake

our assent

[kripimalviya]

Journal of a Nobody

[kripimalviya]

“The sea was sapphire coloured, and the sky Burned like a heated opal through the air;” — Oscar Wilde, from “Greece”, Selected Poems.

[kripimalviya]

metamorphesque

The relation between nature and human being: Agnieszka Lepka

[mesogeios]

“A language is not just a body of vocabulary or a set of grammatical rules, a language is a flash of the human spirit. It’s a vehicle through which the soul of each particular culture comes into the material world. Every language is an old-growth forest of the mind, a watershed of thought, an ecosystem of spiritual possibilities”

— Wade Davis (via linguisten)

[soracities]

“Human heart beautiful as a seismograph. Royalty of silence […] This beauty will be convulsive or not be at all.”

— André Breton, Nadja

[lizormianillustration]

whatever was left, that was ours for a while.

sunrise - louise glück

[luthienne]

Rita Dove, from Playlist for the Apocalypse: Poems; "Ghettoland: Exeunt"

[Text ID: You stop to gaze at the softening sky / because there is nowhere else to look / without remembering pity and contempt, / without harboring rage.]

[flowerytale]

Susan Sontag, from As Consciousness Is Harnessed to Flesh: Journals and Notebooks 1964-1980

[purplemonkeysexgod69]

[weltenwellen]

T.S. Eliot, from “East Coker”, Collected Poems, 1909-1962

[journalofanobody]

“What man of us has never felt, walking through the twilight or writing down a date from his past, that he has lost something infinite?”

— Jorge Luis Borges, Dreamtigers (via quotespile)

[blackswaneuroparedux]

She was like a bird for speed, an arrow for directness.

- Virginia Woolf, To the Lighthouse    

**Rebecca Ferguson

[funeral]

In his work The Architectural Uncanny, Vidler draws on the theoretical aspects of the uncanny and grounds them within the domain of architecture. He suggests that:

Architecture has been intimately linked to the notion of the uncanny since the end of the eighteenth century. At one level, the house has provided a site for endless representations of haunting, doubling, dismembering, and other terrors in literature and art. At another level, the labyrinthine spaces of the modern city have been constructed as the sources of modern anxiety, from revolution and epidemic to phobia and alienation.

Vidler suggests that architecture is memetic in nature, a projection of mankind’s phobias. It is therefore the architecture itself, whether the house or the city, which gives rise to feelings of terror. It is the physical nature of architecture which engages the uncanny, “for if the theoretical elaboration of the uncanny helps us to interpret the conditions of modern estrangement, the special characteristics of architecture and urbanism as arts of spatial definition allow us to advance the argument into the domain of the tangible.” Perhaps even more troubling, is that the cause of the terror comes not from an outside source but rather from within the confines of inhabitable space.

—Amanda Bingham Solomon, Haunting the Imagination: The Haunted House as a Figure of Dark Space in American Culture

[davetname]

[weltenwellen]

Octavio Paz, tr. by Eliot Weinberger, from “Soliloquy”, The Poems of Octavio Paz

[weltenwellen]

Fernando Pessoa,  tr. and ed. by Edwin Honig and Susan M. Brown, from “Recalling who I was, I see somebody else”, Poems of Fernando Pessoa