o17jl @o17jl - Tumblr Blog

I am ready for life to be gentler.

July 14, 2026

Please Please, Let me get what I want, for once. I sat in the darkest corner I found in a house made of glass. I hid my hands under my legs I hid the blood of my wound. I can't afford to feel this now. I know what'll happen. I saw my face in the mirror I felt the knife of time A broken man Butchering his own heart. I had a nightmare the other night All the pain of this life came at me Everything, all of it, all at once. The weight made my feet stumble The wave made my heart stop I felt my muscles shouting, but I never reached the sound. And for a moment I saw death For a moment I understood Dying is not what scares me Losing this little time with the cats And with you. That's what scares me the most. De pronto aquello que era temporal es permanente. Al menos en el arenero de la gran escala de las cosas. Donde el tiempo es una piedra redonda y suave al fondo de un rio. Si me dieras tu amor, no sabría que hacer con el Lo sostendría en la palma de mis manos, y te preguntaría "How do I eat this?" "It's not to eat, it's to keep." You'd answer. We we're never cut from the same cloth.

Please Please, Let us get what we yearn for, for once.

#noncursed

jadesenigma

Kodacolor 200

nemfrog

The decomposition of light by a prism. La lumière et les couleurs. 1874.

Internet Archive

wiionme

Hogan McLaughlin

nemfrog

Branched lightning. Graphis 208. September 1980.

Internet Archive

deresjot

(via Fly trap)

nemfrog

“Charles the First.” “The extra early strawberry that grows large crops of big fine berries.” Wonderful strawberries. 1918 : progressive & superb / A.R. Weston & Company. 1918.

Wonderful Wednesday

nemfrog

The Seasons. 1787.

Internet Archive

productomag

thacd

IRISIRI - Eartheater (2018)

likeafieldmouse-deactivated2015

Gustave Caillebotte - The Floor Scrapers (1875-6)

Original on top, later version below

“Despite the effort Caillebotte put into the painting, it was rejected by France’s most prestigious art exhibition, The Salon, in 1875. The depiction of working-class people in their trade, not fully clothed, shocked the jurors and was deemed a ‘vulgar subject matter.’

The images of the floor scrapers came to be associated with Degas’s paintings of washerwomen, also presented at the same exhibition and similarly scorned as ‘vulgar’”.