Edoras , Mt. Sunday II - Grietje Postma , 2025.
Dutch, b. 1961 -
Woodcut , 36 x 19.5 cm.

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Edoras , Mt. Sunday II - Grietje Postma , 2025.
Dutch, b. 1961 -
Woodcut , 36 x 19.5 cm.
Mahmoud Darwish, In The Presence of Absence translated by Sinan Antoon (x)
“I think it’s true that a romantic relationship is a sort of delusion between two people. There’s an agreement to imagine something together, and you create this idea of each other and the relationship and what you mean to each other. And when one person stops imagining all this, basically that’s when the whole thing falls apart.”
— Sheila Heti, in an excerpt from “We Need the Eggs: On Annie Hall, Love, and Delusion”, The Paris Review, 22 April 2022
“i asked ai” well i asked a femme lesbian because they know all the secrets of the universe and are never wrong
she was guarding an old grave
the structural goal of lesbian media representation is to make being a dyke look as unappealing as possible. u have cops u have bullies u have blandly feminine white women pecking dispassionately it's so disconnected to the vital pulse of lesbian existence that's sexy and subversive and iconoclastic and countercultural. they can't show real lesbians because too many of them are fat communists and look good doing it
Under the Tree - Kenne Grégoire , 2016.
Dutch, b. 1951 -
Acrylic on panel , 85 x 60 cm
you ever remember all the first times you realized you were butch? i cant remember who i was but i have a memory of being half my current height, hair braided tight to my skull, looking in the wall wide mirror of my dance studio and vaguely thinking that i looked like an avatar of a trickster deity, then feeling something bloom in me because i looked like a little boy
and i remember the detached way i understood my gender as a childthing, dont remember exactly who i was but i have handfuls of memories where id think “i am one of my parents girls but i am not one of their girlchildren”, id think “when i grow up and im a boy i’ll ___”, id think “i am my fathers only son”
and i remember pocketing words like scruffy and tomboy and rakish, wearing them loose around my neck to contrast the stifling tight noose of all the things my mother planned for me. dont remember exactly who i was but i have pages of poetry where i clung to the word ragged like a dying man; something in the fragmental state of it
and i remember the drawn and quartered feeling of my gender identity versus the way i feel when im surrounded by women (my writing camp and my sisters and sitting cross legged on the floor while my mothers friends are over) dont remember exactly all the names of the people i became behind my ribcage, but i have the contrasting memories of myself in solitude; genderless like moonlight and just as gossamer; and myself in the company of women; warm to my roots, grown into everyone like ivy and budding flowers at the corners of my mouth
and i remember who i was, barista with a bad haircut, art student with hot glue singed hands, when i heard a thespian sing me the concept of butch. and i remember who i was, weary call center worker sitting on the sidewalk waiting for the afternoon bus home, when i read leslie fernberg describe, in technicolor heartache, the concept of butch
and i understood like a gunshot wound the camaraderie that the past can give, the way you can reach back through decades and touch hands to someone else who understands
what it means to only feel like a woman in the company of other women, what it means to define your womanhood in the whooping laughter and acrylics against your skin. what it means to push up out the dirt as a whole different beast than the thing that dropped your seeds. the duality of it. the specificity of the vagueness of your masculinity, and the kaleidoscope strange wildness of your femininity
First thing you see after you zoom in is how you die
How you dying 👀
I made a wheel for this for better randomising.
this is some kind of eldritch beast to me
I'm not even GOOD comic relief.
thinking about diatoms again
microscopic living stars made of glass that eat the sun. and they're all around us. in every body of water. glass sun-eating stars.
I like them a lot. they produce up to half of all earth's oxygen. the air you breathe is thanks to sun-eating stars made of glass. and that's pretty cool.
and you know. like oblongs and triangles and some other bullshit
Did you know that the very first assembly of photographs in sequential order to create a motion picture was a two-second clip of a Black man on a horse? Yes, it was. Yes, it was. Look it up.
NOPE • 2022, dir. Jordan Peele
it's 1pm at the marsh! come on down, we've got
𝓃𝑜𝓉𝒽𝒾𝓃𝑔 𝒷𝓊𝓉 𝒷𝓁𝒶𝒸𝓀𝒷𝒾𝓇𝒹𝓈!!!
Full moon and magpie outside of Bridgeport, California. 11 May 2025.
Fennel’s Wuthering Heights carries on that old imperial habit of touching a wonderful thing it does not understand and salivating with animal larceny impulse. This is the part that feels rancid to me: not merely that the adaptation fundamentally, egregiously misunderstands the novel, but that it misunderstands it in the precise shape of empire.
Take the outsider. Whiten the outsider. Take the violence. Aestheticize the violence. Corsets. Flower crowns. Latex. Softcore pornography in ribbons. Plunging necklines. Take the mud the dirt the miremuck of disgraced colonial history. Make it editorial. Make it swing flaccidly towards camp, yes mama boots the house down. Take the class rage. Sell it as background atmosphere, thoughtful addendum, glorious footnote of gold. Take the gaping racial wound. Disappear it. Call its absence “modern.” Then stand there, powdered and well-funded, asking why everyone is being so dramatic about the missing body.
Daughters of the Dust, 1991 - Julie Dash ~
one time i told a group of lesbian and bi women that i have never watched wicked and they were shocked, gagged, gooped, “but you’re queer. you like pussy. how have you not seen wicked?” yeah. well. i like pussy, not musicals?
i’m this exact post. all this just to fuck women.
“are you going to the lucy dacus concert?” no. i listen to gucci mane.
W. Hugo Book of Cloud Prints With Two Boxes of Photographic Negatives 1888