out in the garden @oparhelion - Tumblr Blog

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majestativa

#<#cover crush #clarice lispector #beloved

a-state-of-bliss

Elie Saab Haute Couture Fall/Wint 2016

#fashion

kuutamosonaatti

Olafur Eliasson 'Solar Compression' 2016

#ph #s

godsopenwound

When I first began watching horror, I was drawn in by the display of appetite—specifically female appetite—in all its forms: not only the way Rosemary slices into her steak, but also the way Ginger Fitzgerald begins eating human flesh in Ginger Snaps (2000), her eyes a disturbing jolt of light; the way Justine tears into uncooked chicken with her teeth in Raw (2016); the way Rose and Iris Parker steadily eat their father’s body at the dining table in We Are What We Are (2013), the remake of the 2010 Mexican film Somos lo que hay.

Food-based metaphor in horror is so often visceral and tacky and overwrought, so why does our delight still stand? As a woman, to say that you have found eating uncomfortable at times is not particularly groundbreaking. The anxiety has become mundane because it is so common for women, but isn’t that in itself noteworthy? Horror invites us to sit with this disgust, this anxiety, to acknowledge our appetite, to refuse to let us suppress it. There is something uncomfortable and enthralling about watching a woman devour what she likes with intent. It was the kind of eating I longed for. I looked on with jealousy, with desire, with newly-found resolve.

When I began watching horror regularly, I found its relationship with food satisfying because it often spoke to those dual desires at once: hunger and disgust. It was the same split sensation I had seeing Rosemary plunge into the steak with a fork. I was disgusted, but the disgust arrived with the ignition of my own appetite. The task was to let the hunger override the disgust. To let appetite overwrite the shame.

And, really, wasn’t my shame at eating alone about the shame of being witnessed, being caught desiring, too? To be witnessed wanting, and then to witness the capacity of your own appetite.

What if you allowed yourself to want what you want? What wonderful, terrifying things would happen then? There are dual horrors here: the horror of recognizing your capacity for desire in another person, and where it can drive you—and the horror of being observed in this primal state, unedited and unfiltered, acting on what you want.

— Laura Maw, There’s Nothing Scarier Than a Hungry Woman

#words #on horror #on hunger

hungryfictions

adrienne rich, of women born: motherhood as experience and institution / alexandra levasseur - body of land collection, 2015 / ana teresa barboza - bordados collection, 2004 / margaret atwood, “europe on $5 a day” / tracey emin - it was all too much, 2018 / clarice lispector, a breath of life / gérard lartigue- femme bougie, 2018 / jenefer schute, life-size / louise bourgeois - i DISTANCE myself from myself, 2010 / wayne koestenbaum, “figure” / henrik uldalen - caries and surge, 2017 / andrés cerpa, “the vault” / jennifer’s body (2009) / enrico robusti- food, sex, & irony collection, 2014 / sylvia plath, the bell jar

i distance myself from myself

#web weaving

adreciclarte4

Nastassja Kinski by Robert Doisneau, 1983

#people #nastassja kinski

linguisten

“Mother tongues, like any other first love, are very hard to forget. They are loyal and forgiving. Even when our speech shrivels and our writing is plagued with errors. Even when our native letters appear foreign and our native sounds ring forsaken. After all, our mother tongues raised us. They knew us when we didn’t know ourselves. They watched us learn to speak, to write, to reason. They taught us to love and to grieve. They showed us the rules and the exceptions. They know they’ll echo within our walls long after we become guests in our own homes: from the way we will combine the new words, to the way we will whisper the old prayers.”

— Marianna Pogosyan, “Why learning a new language is like an illicit love affair” (via malavermelha)

#words #on language

fashionlandscapeblog

Alfredo Oliani

O Último Adeus (The Last Goodbye), Cemitério São Paulo, circa 1946

#art #sculpture

weltenwellen

Margaret Atwood, from “Four Small Elegies”, Selected Poems II: 1976 - 1986

#words #margaret atwood #on language

lifeinpoetry

“There must be a kind of painting totally free of the dependence on the figure—or object—which, like music, illustrates nothing, tells no story, and launches no myth. Such painting would simply evoke the incommunicable kingdoms of the spirit, where dream becomes thought, where line becomes existence.”

— Michel Seuphor

#words #michel seuphor

run-florist-run

Puzzle purse love tokens from 1790 to 1816

#misc

unusual-suspects

kismet by Katariina Salomaa

Ilya Batrakov

monster theory reading list

this list is going to be some recommended reading when it relates to literary teratology or monster theory. some of these works predate 'monster theory' as a concept (which was coined in 1996 by jeffrey jerome cohen) but are foundational to that work regardless.

i'll try to include links to any readings that are freely available online and links to doi etc but if something isn't and you're really keen, hit me up and y'know we'll see what i can do.

monster theory: reading culture (1996) by jeffrey jerome cohen - the original and defining text on monster theory by the man himself. here is a link to a pdf of the first chapter, which i spoke about at length in another post.

the horror reader (2000) by ken gelder (editor) - an incredibly insightful collected edition about the horror genre as a whole, however gelder's introduction to part three, as well as marie-hélene huet's chapter introduction to monstrous imagination were incredibly helpful to my work personally. very generously, gelder has allowed free access to the entire work in pdf form!

the monster theory reader (2020) by jeffrey andrew weinstock - an amazing collected edition featuring cohen, creed, kristeva and a number of others that provides a really good foundational background knowledge of what contributed to the creation of monster theory as well as some fantastic takes on it post cohen.

classic readings on monster theory (2018) by asa simon mittman & marcus hensel - similar to weinstock, this collected edition features a number of classical foundational essays and some more modern ones surrounding monster theory. a very helpful starting point! here is a link to the introductory chapter by mittman and hensel in pdf form!

the monstrous feminine: film, feminism, psychoanalysis (1993) by barbara creed - creed's idea of the monstrous feminine is one of the foundational underpinnings of monster theory and is key in comprehending the 'other' as monstrous, particularly as it relates to women in a patriarchal society. highly recommend! here is the entire book in pdf form!

powers of horror: an essay on abjection (1982) by julia kristeva - kristeva's idea of abjection is a precursor to a lot of theoretical frameworks regarding the horror genre, in particular as a direct precursor to creed's work, then to cohen's work. here is the entire book in pdf form!

this is definitely not an all encompassing list of sources, but it is a good starting point for anyone interested in this particular niche field of literary theory. these are texts that were crucial for me in understanding the basics when i was starting work on my thesis.

#ref #horror