TAN & OCHRE.

𝚂𝙸𝙳𝙴𝙱𝙻𝙾𝙶 𝚃𝙾 @𝙲𝙰𝙳𝙸𝚂𝙵𝙻𝚈

[cithaerons]

Leila Chatti, When I Tell My Father I Might Begin to Pray Again

[bluebeardsbride-archive]

(i) Thomas Harris, Red Dragon (ii) T.S. Eliot, ‘The Love Song of Saint Sebastian’

[neoyorzapoteca]

“Give me your premonitions, give me your book, give me your prodigious memory, give me the blue gaze from your dark eye, give me the devotion of your sleeping birds.”

— Valerie Mejer, from “from the wave, the way,” Rain of the Future (Action Books, 2013)

[tsukiyamo]

[heartshop]

Anne Sexton, ‘Sweeney’

[existential-celestial]

Roland Barthes, from “Talking,” in A Lover’s Discourse: Fragments

[snowyoghurt]

Interno di un convento/  Walerian Borowczyk/ 1978

[forestlore]

“It’s not ‘natural’ to speak well, eloquently, in an interesting articulate way. People living in groups, families, communes say little–have few verbal means. Eloquence–thinking in words–is a byproduct of solitude, deracination, a heightened painful individuality.”

— Susan Sontag, As Consciousness Is Harnessed to Flesh (via theliteraryjournals)

[antigonick]

Weeping too, perhaps, when you remember how he loved and yet wished to leave you: always both, at once.

Rainer Maria Rilke, excerpt of “Ariel (After reading Shakespeare’s Tempest) [Der Geist Ariel]”, from New Poems, trans. by Stephen Mitchell in The Selected Poetry of Rainer Maria Rilke

Source—Aufweinend vielleicht auch  wenn man bedenkt wie’s einen liebte und fortwollte beides immer ganz in Einem.  

[kuutamosonaatti]

When we have gone from this life, I will always have this place...The Norman Chapel in Palermo; severe, beautiful, and timeless...where you can always find me.

[firstfullmoon]

You think about being small, a child. No. Smaller, a bird. Smaller still, a small bird. You think about the art of holding, of being held. This hand can crush you.

— Donika Kelly, from “Catalogue,” in Bestiary: Poems

[snailmailthings]

Hannibal 1.08 Fromage / The Jealousy of Harlequin, Nina Petrova (2018)

[rotgospels]

Charles Wright, ‘Clear Night’ 

[primulaceas]

Amal El-Mohtar and Max Gladstone, This Is How You Lose the Time War

[hirokazukoreeda]

The Silence (1963) dir. Ingmar Bergman The Talented Mr. Ripley (1999) dir.  Anthony Minghella Thirst (1949) dir. Ingmar Bergman Portrait of a Lady on Fire (2019) dir. Céline Sciamma Persona (1966) dir. Ingmar Bergman Mulholland Drive (2001) dir. David Lynch La Pointe-Courte (1955) dir. Agnès Varda

[luthienne]

natalie diaz, from postcolonial love poem; “my brother, my wound” / (x) / anne carson from the beauty of the husband; “i dedicate this book to keats”

[bloodstainedlamb]

Hatred would have been easier. With hatred, I would have known what to do. Hatred is clear, metallic, one-handed, unwavering; unlike love.

- Cat's Eye, Margaret Atwood

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