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styofa doing anything
we're not kids anymore.

ellievsbear

if i look back, i am lost
2025 on Tumblr: Trends That Defined the Year
taylor price
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macklin celebrini has autism

Kiana Khansmith
he wasn't even looking at me and he found me
DEAR READER
d e v o n
occasionally subtle
dirt enthusiast
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Lint Roller? I Barely Know Her
Sade Olutola
Cosmic Funnies
cherry valley forever

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@oncetamed
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The older you get, the more you realize that it isn’t about the material things, or pride or ego. It is about our hearts an who they beat for.
Anonymous (via wordsnquotes)
Georgia O’Keeffe on Ghost Ranch Portal, New Mexico, circa 1960s.
Todd Webb, Gelatin silver print, 10 x 8 in. (25.4 m). Georgia O’Keeffe Museum, Santa Fe, N.M.; Gift of The Georgia O’Keeffe Foundation.
BREAKFAST
How to know someone: watch as she prepares her breakfast. The dry brown snow of cinnamon into porridge.
Toast buttered right to the edges and cut into triangles the way it would have been done for her by someone she loved, once.
She spoons coffee into the pot, hesitates: adds another half-spoonful. Every morning, she dips her nose to the bag of grounds
and if she then holds it towards you she is trying to find out if the rich musk will stir your own memories
of long-gone cafés, old lovers, and you must smile. Roisin Kelly
I Ask Percy How I Should Live My Life
Love, love, love, says Percy. And hurry as fast as you can along the shining beach, or the rubble, or the dust.
Then, go to sleep. Give up your body heat, your beating heart. Then, trust. Mary Oliver exceptindreams
Down Will I Lie I want to be wracked like driftwood I want wave after wave of you to lick me lift me in your briney mouth swish and strip and spit me out Reach for me Always and please and again without ceasing reach for me Juleta Severson-Baker
“In general, people hop sideways instead of digging. The mental energy is deflected sideways instead of vertically. Metonymy as opposed to synecdoche. In modern poetry you see many poems written about how one thing reminds us of another and another reminds us of another. Many of my poems have been built on that kind of structure, but there’s also something to be said for taking a subject and really burrowing straight into it, and sticking with it, which is harder to do in modern life. You know, we click around to websites, but we don’t burrow into the topic. There’s not depth. So in the poems I’m writing nowadays, I wanted to explore those two ways of working.”
Lucia Perillo, from “Beautiful Decay: The Poetry of Lucia Perillo” by Sophie Grimes, Publisher’s Weekly (18 March 2016)
Greeting by Gabi Marklein
Source:imgfave-hero
Poetry, at its best, is the language your soul would speak if you could teach your soul to speak.
Jim Harrison (via memoryslandscape)
“As I sat … under the setting sun, I felt vaguely alienated from everything. Sacred fragments of my past life stirred my sluggish memory like echoes of a dying voice. I’m certainly not a nostalgic man; maybe my heart was heavy because this place used to be called ‘home.’ The scraping of tree branches against the roof; the moon in the leaves; the whirr of cicadas and the crash of rain; the smell of coal dust brushed from the furnace on an early morning—all used to accompany me to bed night after night and gently touch my soul in the darkness. But once that unique sort of loneliness settles in your chest, you feel afraid of time and life extinguished, as if your best years had been squandered completely.”
Ge Fei, from The Invisibility Cloak (NYRB Classics, 2016)
Interview
I’ve been thinking of all the words that have rearranged my life:
words like pine— opening its cathedral doors & emerald quiet; hammock— the whispered conspiracies of sisters overheard in summer’s high fever; shadow— twilight flickering red through a stained glass window—
something left of that fire like a smudge of cloud in lake skies reminds me I work by memory and struggle to perfect a story beneath a calm surface.
This afternoon I took an hour to walk the back fields with a weed stuck in my mouth and a stray cat around my feet.
I wanted to improve what I say I can see— the last days of winter, nearly gone in the precision of rain— a month of mud, of ruts, of minerals.
that smell like rot, like love, that dirty word, telling more than I wanted.
To say dark flowers bloom on wallpaper and a wasp preens on the sill names the invisible.
I’ve told my versions too many times. M.J. Iuppa
Grace
1.
What is there to be thankful for: This body, this breast That takes the softened butter, the sprigs of herbs Beneath the skin, the quartered oranges my hand has fitted into The cavity where the heart once beat, alongside hunks of onion. The heat will transform this body into something golden & holy, A consecration of the elements, its flesh into your flesh, So that when I take it into my mouth, It is you that will be melting on my tongue.
2.
At nineteen, my first lover peeled an orange. My body did not know what it wanted and yet the orange Was surprisingly welcome, each wet segment warmed As his fingers slipped them into me, then out, then into his mouth, Or into my own, this rite my first transmutation. Yet even with this, I did not know what it felt like To ascend to the top of my own head; To have my own mind whited out by my own hands, to owe nothing to anyone.
3.
The porcelain sink pinked with blood: the body’s ablution, Washed and dried as carefully as I attend to my own. When I heft the bird into the pan, fingers locked against slick skin, I think of you, of what your heavy bones might feel like Pressed between my palms. What heat does to the body. The oven a scented grove, the heat a drowsy summer to dream through. Bird body your body my body, an offering; liturgical. What else do I have to give but this. CATI PORTER
On Adultery I could explain that when he touched my arm, a field opened inside me, so I lay down there like a stunned doe wedding herself to the ground for its green.
But you should understand it began before that—
Sun as first love: when I was small, I would close my eyes each afternoon and press myself into its heat, so much like a body, a welcome weight on top of me. Its light split my skin, and I opened to the infinite red and shine beneath my lids as time thickened and pleasure oozed like syrup into the bowl of my skull.
What I mean is that I fall in love with surfaces—
When I touched his arm, the horizon flickered before us, and I knew the sky was only a scratched film of sky. I fixed on its sun nonetheless, wanting until a kind of night fell in my chest.
Rochelle Hurt
Want | Katrina Roberts
“Want” Katrina Roberts
A man walks into a museum in Paris, the Museum of Natural History, to saw
a tusk off an elephant- skeleton centuries-older than he’ll ever be, becoming
in those early morning hours part of a derelict and inglorious human history,
while swallows darn the air in loops, their glinting wings an origami of hushed folds
only glimpsed by one vigilant girl, framed as she is within a pane of glass, the door of her
heart opening onto a filigreed balcony that keeps her suspended, an unlikely wish
about someone not coming back. A man walks. A man walks in to a bar. “Whaddya
want?” Dusty continent of desire. Majesty left as ragged meat in heaps for hyenas
“laughing” in heat. Who can look away? A man sets rough elbows heavy on the lip
of zinc, thumbs each cheekbone so his pointers steeple to catch his brow, shuts eyes, heaves a sigh
then slumps to rest an unshaven cheek against the cool, unquestioning bar, as though to sink
into what’s most elemental. What’s “natural” about any man making his way alone
through empty Left Bank streets carrying not a lovely burnished box of watercolor paints in uniform
lozenge-cakes but a chainsaw? The wheeling sky sees all while sleepers sleep, still
dreaming in languages long lost when day breaks. The pinking sky sees all, but rarely speaks
though someone more Romantic might say it weeps. And the sleepless girl, orphaned by light, the bright
tusk of her hopes. The joke no joke, no punch- line, but a gut-punch in plain sight.
The Bees
Those bees you crushed in summer’s harsh heat, their stingers lancing at your feet, the life stolen in youth resides and rises inside of you, veiled wings revealed years later.
Honey words leak like sap from your tongue. Once stung, pain collides with myth and memory.
In darkness, all those secrets arise, buzzing secrets inside your wild dreams. Maureen A. Sherbondy
Los Angeles, Manila, Đà Nẵng
California drought withering the basins, the hills ready to ignite. Oh, stupid ways
I’ve loved and unraveled myself. I, a parched field, and not a spit of rain.
I announced to a room of strangers, I’ve never loved anyone more.
Now he and I no longer speak.
Outside: Manila, 40 years after my parents’ first arrival.
I deplane where they debarked. At customs, I am given a sheet warning of MERS—
in ’75, my parents received fishermen’s lunches, a bottle of fish sauce. They couldn’t enter
until they were vaccinated. My mother, 22, newly emptied of a stillborn daughter.
In Đà Nẵng, my cousin has become unrecognizable after my four year absence. His teeth, at 21,
have begun to rot. His face swollen over. I want to shield him from his terrible life.
Tazed at 15 by the cops until he pissed himself. So beaten in the mental institution, that family had to
bring him home. His mother always near tears when I ask, How are you doing?
You want to know what survivorhood looks like? It’s not romantic. The corn drying huskless
in the front yard. The ducks chasing each other in the back. The thick arms of a woman who will carry bricks
for the rest of her life. The plainness with which she speaks of hardship. The bricks aren’t a metaphor
for the weight she carries. Ánh, which means light, is sick, and cannot work,
but instead goes wandering the neighborhood, eating other people’s food, bloating
his mother’s unpayable debts. What pleasure can be found here,
even if the love is palpable? My mother stopped crying years ago.
What’s the use, she says, of all this leaking. Enough to fill a drainage ditch, a reservoir?
No, just enough to wet a pillow. What a waste of time, me pining after
a man who no longer feels for me. Today, I would give it up. Trade mine
for theirs. They tell me that they are not hungry. Happy is their toil. My uncles and their
browned skins, not a pinch of fat anywhere. They work the fields and swallow
beer after beer, getting sentimental. Whose birds have come to roost, whose pigs in the muck?
Their dog has just birthed four new pups. Despite ourselves, time moves on.
I walked lover’s lane with my cousin.
The heart-lights reflected on the river’s black. The locks clustered and dangling.
I should have left our names on that bridge. My name, the names of my family, written there. Cathy Linh Che
When the sun returns it is hallelujah time, the swallows tracing an arc of praise just off our balcony, the mountains snow-sparkling in gratitude.
Here is our real life — a handful of possible peonies from the market — the life we always intended, swallow life threading the city air with our weaving joy.
Are we this simple, then, to sing all day — country songs, old hymns, camp tunes?
We even believe the swallows, keeping time. SARAH BROWNING