â I have been here before, But when or how I cannot tell: I know the grass beyond the door, The sweet keen smell, The sighing sound, the lights around the shore. â - Dante Gabriel Rossetti.

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â I have been here before, But when or how I cannot tell: I know the grass beyond the door, The sweet keen smell, The sighing sound, the lights around the shore. â - Dante Gabriel Rossetti.
Another reality
Santa Muerte by Ravi Zupa
Adilakshmi by S. Rajam
Heavenly beings, Thai art
Death thy breath by Ravi Zupa
Ardhaniswara (Shiva and Parvati joined) Nepali paubha
Syama Tara by Samundra Man Singh Shrestha, Nepal
Vintage Lesbian Pulp Art Prints from PulptasticPrints
v / x x / x x / x x / x x / x
Gay pulp prints here
somebody has to pay the bills
Manasa, Kalighat painting, Bengal
in response to the crisis going on in chechnya right now, i wanted to underline how important it is to understand the complexity of russian homophobia, which has proven to be distinct from many western strains of homophobia due to historical circumstances. historically, same-sex attraction has been seen as non-russian due to its connection to bourgeois decadence of the west (which opposed proletarian values), as well as long-term invisibility of the LGBT+ community under stalin and its sudden reemergence in the 90s (when the soviet union collapsed) which shapes much of contemporary homophobia. there are also other factors, such as promotion of hypermasculinity within the soviet union after WWII and the generally sexphobic culture prevalent under the regime. while biological arguments (âitâs unnaturalâ) and religion have also played a role in modern russian homophobia, it is the association of LGBT+ existence with the west that has causes the most retaliation against LGBT+ activism. (we can see this most evidently with sochi olympics and now with the chechnya crisis; external activist efforts are rejected because âthe west is trying to meddle with russian politics/valuesâ and internal efforts are rejected because âtheyâre brainwashed by the westâ)
since i just finished my massive research paper on russian lgbt+ history, here are a few sources that i would highly recommend for learning more about how russia came to be so homophobic:
DAN HEALEY (aka the champion of russian LGBT+ history):Â
Book: Homosexual Desire in Revolutionary Russia: The Regulation of Sexual and Gender Dissent - excellent and meticulously detailed overview of the complexities of russian LGBT+ lives at the beginning of the 20th century; discusses both progressiveness of leninâs regime and the violent repression and erasure of LGBT+ identity under stalin, as well as so much more
Journal: HOMOSEXUAL EXISTENCE AND EXISTING SOCIALISM: New Light on the Repression of Male Homosexuality in Stalinâs Russia;Â a more brief overview than the book; may be more easily accessible. strongly recommend if youâre interested in history and want a starting point for learning about early soviet politics and how they affected LGBT+ lives
BRIAN BAER:
Book: Other Russias: Homosexuality and the Crisis of Post-Soviet Identity; excellent examination in the role that invisibility of the LGBT+ community (due to stalinâs repression and sudden reappearance in the 80s and 90s after gorbachevâs reforms) has played in making russians believe that same-sex attraction is a product of western infiltration into russian society. offers excellent criticisms of discourse surrounding russian LGBT+ issues by western scholars.
DAVID TULLER:
Book: Cracks in the Iron Closet: Travels in Gay and Lesbian Russia; offers a more accessible insight into russian LGBT+ society through recounting the authorâs travels. over all a good book, but is not as far reaching or deeply analytical as some of the other sources. thereâs a preview on google books, so you can easily skim through it.
MULTIPLE AUTHORS:
Book: Out of the Blue: Russiaâs Hidden Gay Literature; An Anthology (ed. Kevin Moss); a wonderful read revealing numerous hidden gay/LGBT+ figures throughout russian literary scene. youâll be surprised to find how many of the famous russian authors and poets were not straight.
Book: Gender in Russian History and Culture (ed. Edmondson); features a chapter by my man Healey discussing lesbianism and the medical/endocrinological discoveries of the 1910s-1920s that shaped russian discourse on homosexuality later on, as well as many interesting discussions about womanhood in russian and early soviet society.
if you went to discuss anything with me or have any questions about russian LGBT+ history, homophobia, or things about my personal experience as a same-gender attracted russian & ukrainian woman, my inbox/IM is available (just keep in mind that this is a highly sensitive subject for me and there may be some things iâm not comfortable disclosing)
Bengali Dialect Comparison: Present System Verbs
Although Bengali has one standard written form throughout Bengal, the vernaculars of Bangladesh and West Bengal (India) vary considerably. In this post, weâll focus on the differences between present system verb forms in Bangladeshi and Indian Bengali.The two major dialects weâll focus on are the dialects of Dhaka, Bangladesh, and Kolkata, West Bengal, the two biggest cities in each region. Weâll also use romanized forms for the verbs, since the Bengali alphabet does not adequately represent the sounds of Bangladeshi dialects.
The two verbs weâll be looking at are āĻāϰāĻž kôra âto doâ and āĻāĻžāĻā§āĻž gaoa âto singâ.
Overall, the Kolkata dialect uses the same verb conjugations as standard Bengali, while the Dhaka dialect differs considerably in the continuous and perfect tenses.
Present Simple
The present simple is usually translated as âI do/singâ.
The present simple tense, both Dhaka and Kolkata dialects tend to use the standard forms.
kôra: ami kori, tui korish, tumi kôro, apni kôren, she kôre
gaoa: ami gai, tui gash, tumi gao, apni gan, she gay
Present Continuous
The present continuous is translated as âI am doing/singingâ.
In the present continuous, the Kolkata dialect tends to  use the standard forms.
kôra: ami korchi, tui korchish, tumi korcho, apni korchen, she korche
gaoa: ami gacchi, tui gacchish, tumi gaccho, apni gacchen, she gacche
However, some speakers of the Kolkata dialect use a slightly different form for verbs like gaoa, substituting -ich- for -cch-:
gaoa: ami gaichi, tui gaichish, tumi gaicho, apni gaichen, she gaiche
The Dhaka dialect uses very different forms, substituting -tes- for the standard -ch- and -ites- for standard -cch-.
kôra: ami kortesi, tui kortesish, tumi korteso, apni kortesen, she kortese
gaoa: ami gaitesi, tui gaitesish, tumi gaiteso, apni gaitesen, she gaitese
Present Perfect
The present perfect is translated as âI did/sangâ or âI have done/sungâ.
The Kolkata dialect uses standard forms of the present perfect:
kôra: ami korechi, tui korechish, tumi korecho, apni korechen, she koreche
gaoa: ami geyechi, tui geyechish, tumi geyecho, apni geyechen, she geyeche
The Dhaka dialect substitutes -s- or -is- for standard -ech-, and it doesnât use a modified stem for verbs like gaoa.
kôra: ami korsi, tui korsish, tumi korso, apni korsen, she korse
gaoa: ami gaisi, tui gaisish, tumi gaiso, apni gaisen, she gaise
In the negative form of the present perfect, both standard and Kolkata dialect attach -ni to the end of the present tense verb (ami korini âI didnât doâ), while Dhaka dialect prefers -nai (ami korinai).
Bangladesh By Ferdinando Scianna
"āύāĻĻā§āϰ āĻāĻĒāĻžāϰ āĻāĻšā§ āĻāĻžāĻĄāĻŧāĻŋāϝāĻŧāĻž āύāĻŋāĻļā§āĻŦāĻžāϏ, āĻāĻĒāĻžāϰā§āϤ⧠āϏāϰā§āĻŦāϏā§āĻ āĻāĻŽāĻžāϰ āĻŦāĻŋāĻļā§āĻŦāĻžāϏāĨ¤ āύāĻĻā§āϰ āĻāĻĒāĻžāϰ āĻŦāϏāĻŋ āĻĻā§āϰā§āĻāĻļā§āĻŦāĻžāϏ āĻāĻžāĻĄāĻŧā§; āĻāĻšā§, āϝāĻžāĻšāĻž āĻāĻŋāĻā§ āϏā§āĻ āϏāĻāϞāĻŋ āĻāĻĒāĻžāϰā§āĨ¤"
-āϰāĻŦā§āύā§āĻĻā§āϰāύāĻžāĻĨ āĻ āĻžāĻā§āϰ
Transliteration:
"NodÄĢr epÄr kôhe chÄášiyÄ niÅ'ÅÄs, opÄrete sôrbosukh ÄmÄr biÅ'ÅÄs. NodÄĢr opÄr bosi dÄĢrghoÅ'ÅÄs chÄáše; kôhe, zhÄhÄ kichu sukh sôkoli opÄre.
-RobÄĢndronÄth ášŦhÄkur
Translation:
Exhaling on the this side of the river, he says, I believe all happiness is on the other bank. Sitting on the other bank of the river, he sighs; Says, whatever happiness there is, is on the other side.
-Rabindranath Tagore
Maya Memsaab (1993)