PER ASPERA AD ASTRA

𝑎𝑚𝑎𝑟𝑎𝑛𝑡𝘩𝑖𝑛𝑒 (𝑎𝑑𝑗.) 𝑢𝑛𝑑𝑦𝑖𝑛𝑔, 𝑖𝑚𝑚𝑜𝑟𝑡𝑎𝑙; 𝑒𝑡𝑒𝑟𝑛𝑎𝑙𝑙𝑦 𝑏𝑒𝑎𝑢𝑡𝑖𝑓𝑢𝑙.

[found-bodies]

[kleyalove]

I already gave my flesh to you, and I already gave you my end. I gave you my sword. I gave you myself. I did it while knowing I'd do it all again, without hesitation, because all I ever wanted you to do was eat me

-Tamsyn Muir, Harrow the Ninth

[philosophybits]

“The understanding of signs is not a mere matter of recognition (of a stable equivalence); it is a matter of interpretation.”

— Umberto Eco, Semiotics and the Philosophy of Language (via thirdity)

[infectiouspiss]

when god closes a door you reach your little paws under it and go mrrwwaaaooow mmreeaaow

[thoughtcascades]

I come from a long line of people with something wrong with them

[anonymousalchemist]

I consider myself a microinfluencer in the way I can get ten to fifteen people to consume a piece of media if I’m annoying enough about it

[shisasan]

𝙹𝚞𝚕𝚢 𝟷𝟿, 𝟷𝟿𝟷𝟶 𝚃𝚑𝚎 𝙳𝚒𝚊𝚛𝚒𝚎𝚜 𝙾𝚏 𝙵𝚛𝚊𝚗𝚣 𝙺𝚊𝚏𝚔𝚊, 𝟷𝟿𝟷𝟶-𝟷𝟿𝟷𝟹

[ID: July 19, slept, awoke, slept, awoke, miserable life. END ID]

[klassizismus]

Get Thee Behind Me, Satan, c. 1895, Ilya Repin 

[shisasan]

July 19, 1927 Journals of Anais Nin 1927-1931 [volume 4]

[sandersstudies]

Being an actor keeps me sane. Yeah I have to work a day job but know what? When my day job is stressful and I want to scream I get to go hey wait. I have a scream scheduled at 7:30 tonight. Gotta save up. And then I go back to what I was doing.

[sandersstudies]

I have a scream scheduled, I have a kiss scheduled, I have an argument scheduled, I have a making up scheduled, I have a sing and dance scheduled, I have a get slapped in the face scheduled, I have a cry scheduled, whatever. It’s all good.

[sandersstudies]

Something something the Greeks were right about catharsis.

[sandersstudies]

ohhhhhhhhhh my god and when you argue you always have a comeback, and when you make up there’s no lingering anger, and when you scream you don’t have to hold back, and when you get slapped in the face you know you’re safe, and when you cry you know all will be well.

[sandersstudies]

Oh and if it doesn’t turn out and your character dies or something well then you can go to the greenroom and have a snack and that’s good too.

[sandersstudies]

Everyone saying “oh like bdsm” or “oh like larping.” Yes. Humans thrive on imagination and play in many ways.

[coffincoitus]

characters who refuse to bury the loved one... who hide the rotting body somewhere in the house. who drag it for miles bc they can't leave it behind. who cannibalize. who taxidermize. who come back and dig up the bones

[brokestrapmountain]

Love me and eat me. Possession, Andrzej Żuławski // Tanaka Mhishi, Literary Sexts // Hélène Cixous, Stigmata // Jennifer’s Body, Karyn Kusama // Postcolonial Love Poem, Natalie Diaz // Killer, Phoebe Bridgers // Bones and All, Luca Guadagnino // Famous Last Words (An Ode To Eaters), Ethel Cain // Hannibal, Bryan Fuller

[qiornono]

the dinner party

[macaulaytwins]

Richard Siken, Crush // Bones and All, dir. Luca Guadagnino // Ethel Cain, “Ptolemaea” // Car Seat Headrest, “The Gun Song”

[frankencain]

Star Wars: Knights of the Old Republic II: The Sith Lords / Lara Williams, Supper Club / Théodore Géricaul, The Raft of the Medusa (1818–19) / Jenefer Shute, Life-Size / Ovid (tr. Henry T. Riley), The Story of Erysichthon from Metamorphoses / Guillermo Lorca Garcia-Huidobro, The Banquet (2013-14) / Maya C. Popa, from “The Color Wheel Has Been Cancelled”, American Faith / Haruki Murakami, Norwegian Wood / Interview With the Vampire (1994) / Yves Olade, Belovéd / Natalie Diaz, Postcolonial Love Poem / William-Adolphe Bouguereau, Dante and Virgil (1850) / J. Karl Bogartte, A Curious Night for a Double Eclipse / Leah Raeder, Black Iris / Hannibal (2013-2015) / Marina Tsvetaeva, Poem of the End / The Terror (2018) / CS Lewis, The Horse and His Boy / Beastars (2019 - ?) / Hélène Cixous from “The Love of the Wolf” / “The Cannibal” / Azra T. / Raw (2016) / Richard Siken, from Crush; “Wishbone” / Severance (2022 - ?) / Emma Rebholz, No Good Boodsuckers / Aex Lemon, Another Last Day / Francisco Goya, Saturn Devouring His Son (c. 1819–1823) / Anne Carson, Plainwater: Essays and Poetry / Black Sails (2014 - 2017) / Kathy Acker, Empire of the Senseless / Anaïs Nin, Henry and June / Neon Genesis Evangelion (1995–1996) / Tanaka Mhishi / Margaret Atwood, You Are Happy / Jennifer’s Body (2009) / KotOR II / Edna St. Vincent Millay, from The Collected Poems of E. M; “True Encounter”

[frankencain]

Star Wars: Knights of the Old Republic II: The Sith Lords / Lara Williams, Supper Club / Théodore Géricaul, The Raft of the Medusa (1818–19) / Jenefer Shute, Life-Size / Ovid (tr. Henry T. Riley), The Story of Erysichthon from Metamorphoses / Guillermo Lorca Garcia-Huidobro, The Banquet (2013-14) / Maya C. Popa, from “The Color Wheel Has Been Cancelled”, American Faith / Haruki Murakami, Norwegian Wood / Interview With the Vampire (1994) / Yves Olade, Belovéd / Natalie Diaz, Postcolonial Love Poem / William-Adolphe Bouguereau, Dante and Virgil (1850) / J. Karl Bogartte, A Curious Night for a Double Eclipse / Leah Raeder, Black Iris / Hannibal (2013-2015) / Marina Tsvetaeva, Poem of the End / The Terror (2018) / CS Lewis, The Horse and His Boy / Beastars (2019 - ?) / Hélène Cixous from “The Love of the Wolf” / “The Cannibal” / Azra T. / Raw (2016) / Richard Siken, from Crush; “Wishbone” / Severance (2022 - ?) / Emma Rebholz, No Good Boodsuckers / Aex Lemon, Another Last Day / Francisco Goya, Saturn Devouring His Son (c. 1819–1823) / Anne Carson, Plainwater: Essays and Poetry / Black Sails (2014 - 2017) / Kathy Acker, Empire of the Senseless / Anaïs Nin, Henry and June / Neon Genesis Evangelion (1995–1996) / Tanaka Mhishi / Margaret Atwood, You Are Happy / Jennifer’s Body (2009) / KotOR II / Edna St. Vincent Millay, from The Collected Poems of E. M; “True Encounter”

[minima--moralia]

“Forgive this interlude for a while: I became infinitely / glamorous and careless, like the best memory, of past / loves.”

— Joanne Kyger, in an excerpt from June 7. To get a head start…, featured in The Paris Review, Issue no. 56 (Spring 1973)