Kaveh Akbar, from “Personal Inventory: Fearless (Temporis Fila)”, Calling a Wolf a Wolf
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@strepentsilences
Kaveh Akbar, from “Personal Inventory: Fearless (Temporis Fila)”, Calling a Wolf a Wolf
— Frank Bidart, from “Half-light: Collected Poems 1965-2016; ‘The Third Hour of the Night’", published c. 2017
But compared to the danced religions of the past, today's "faiths" are often pallid affairs—if only by virtue of the very fact that they are "faiths," dependent on, and requiring, belief as opposed to direct knowledge. The prehistoric ritual dancer, the maenad or practitioner of Vodou, did not believe in her god or gods; she knew them, because, at the height of group ecstasy, they filled her with their presence. Modern Christians may have similar experiences, but the primary requirement of their religion is belief, meaning an effort of the imagination. Dionysus, in contrast, did not ask his followers for their belief or faith; he called on them to apprehend him directly, to let him enter, in all his madness and glory, their bodies and their minds.
Barbara Ehrenreich, Dancing in the Streets: A History of Collective Joy
approaching love with no sudden movements, no loud noises. approaching love with caution, like any second it will prove dangerous and lash out to strike, to rend, to maim. approaching love with wary gentleness, coaxing love closer with promises of food and safety.
sitting quietly with love, day by day, getting used to its presence. slowly relaxing when love is around. marveling in the way love feels so soft once you can bring yourself to hold it without flinching. warming yourself at love's side, comfortably sated.
I know this is not going to be a particularly controversial opinion, but
In the last three weeks I have seen two (2) films about the multiverse, featuring a threat to said multiverse revolving around the family dynamics and parent-child grief of a woman with undiagnosed depression. One was Doctor Strange into the Multiverse of Madness, and the other was Everything, Everywhere, All At Once.
I have not looked up the actual budgetary difference between the two because I care not for your ridiculous “facts” in the face of my own opinions, which are sacrosanct. But as Doctor Strange is Disney and EEAAO is an indie film I’m going to take a stab in the dark and say the former cost about eight times the latter. EEAAO had a much smaller cast that got cleverly reused. Far fewer sets, too, which probably helped.
I bring this up because, of the two, it was the one that looked about eight times more expensive. If I knew nothing about those films, I would assume it was the one with the budget. Literally everything about it was better without exception. The writing by multiple orders of magnitude, the acting, the directing, and yes, the special effects. That was honestly one of the most incredible films I’ve ever seen. There were moments when my husband was openly sobbing in the cinema. The most he managed for Doctor Strange was an “Oh, that’s poignant” once.
I don’t know where I’m going with this but it’s probably something something let artists do their thing and stop making everything CGI something something idk
But I do care
Slightly less than an order of magnitude difference.
You’re shitting me
Literally eight times the budget
I was bang on right
You’re shitting me
Am I done thinking about this movie? No. Am I going to fully think through my point this time before inflicting it on you all? Also no
We keep being told over and over again that Marvel cannot have queer characters because of the looming spectre of the Chinese Market, and I saw people (kind of rightly) lose their shit about America Chavez in Doctor Strange (although fuck me that was appalling America Chavez characterisation).
Everything, Everywhere, All At Once had two explicit and one implicit queer relationships. And the exaltation of one of them was central to the film’s denouement.
I never want to hear BUT CHINA used to justify Disney’s all-American homophobia ever again is what I’m saying
“You don’t know anyone at the party, so you don’t want to go. You don’t like cottage cheese, so you haven’t eaten it in years. This is your choice, of course, but don’t kid yourself: it’s also the flinch. Your personality is not set in stone. You may think a morning coffee is the most enjoyable thing in the world, but it’s really just a habit. Thirty days without it, and you would be fine. You think you have a soul mate, but in fact you could have had any number of spouses. You would have evolved differently, but been just as happy. You can change what you want about yourself at any time. You see yourself as someone who can’t write or play an instrument, who gives in to temptation or makes bad decisions, but that’s really not you. It’s not ingrained. It’s not your personality. Your personality is something else, something deeper than just preferences, and these details on the surface, you can change anytime you like. If it is useful to do so, you must abandon your identity and start again. Sometimes, it’s the only way.”
— Julien Smith, The Flinch (via wnq-anonymous)
You know that Ada Limón poem where she’s like “i can’t help it i love the way men love”? my dad recently confessed to me that he became a shoemaker because they buried my grandma shoeless
oh.......................................
Accident Report in the Tall, Tall Weeds - Ada Limón
Gregory Orr, from “Ode to Some Lyric Poets”
“If love did not exist, I would be so goddamn sane. My poems would be billboards. Suburbia would be enough. I would not have to gut myself to find my spine crushed into powder and brushed on her cheek bones. My hair would not be a humming bird’s nest. My mind would not have to move this fast just to rest.”
— Andrea Gibson, Staircase (via weight-of-her)
Let me call my anxiety, desire, then. Let me call it, a garden. Maybe this is what Lorca meant when he said, verde que te quiero verde — because when the shade of night comes, I am a field of it, of any worry ready to flower in my chest.
— Natalie Diaz, from Postcolonial Love Poem; From the Desire Field.
Poet James Schuyler to painter John Button (Spring 1956)
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“I have pasts inside me I did not bury properly.”
— Ijeoma Umebinyuo, from “Confessions”, published in “Questions for Ada” (via weltenwellen)
Natalie Wee, from ‘Least of All’, Our Bodies & Other Fine Machines
Langston Hughes, from ‘Tired’ featured in Selected Poems