You cannot love. I cannot. Yet, I cannot be sated without you.
NOSFERATU (2024) dir. Robert Eggers
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You cannot love. I cannot. Yet, I cannot be sated without you.
NOSFERATU (2024) dir. Robert Eggers
Reader loves to kiss Spinner. like on the cheeks, on the tip of his nose, but when he asks “What was that for?” She says “because you are just so irresistible I couldn’t resist.” He becomes a blushing studdering mess but also greatful.
(He deserves more love he is not just an underrated side character 🥺)
He fell first, but you fell HARDER!
ft. Spinner
You wonder how he wasn't already taken when you met him at that shady used comic shop you stumbled into trying to find a rare Magic the Gathering set. He's standing there, telling a young group of kids about a new Dungeons and Dragons book, and he looks so excited while talking about it. Your eyes meet, and you approach him and asked him out.
That was months ago now.
Sure, Spinner is head over heals in love with you, but he has no idea how important he's become for you.
If you don't get to give him a kiss on the cheek or cuddle with him, you claim to lose a year off your life. You are down BAD! Shigaraki wants to fight you every time you come over because he knows you're about to be all over Spinner the entire time, and he's sick of it. But secretly, he loves that you appreciate his best friend the way he deserves.
You already played video games before dating Spinner, but you're just as addicted to them as he is now, but only because you spend more time with him that way when he's away on missions. He makes sure to always pack his switch so you can play duos together.
my five crushes in gifs
i was tagged by @sepastian-ahoey thank you babe i love this 😏
1. Evan ‘Buck’ Buckley <3
2. Eddie Diaz <3
3. Tyler Seguin <3
4. Oliver Stark <3
i dont think i have fifth one 😳
Vampirisme (Bernard Chaouat; Patrice Duvic, 1967)
Anjali Nerlekar (2017) “‘Indian’ doesn’t exclude me”: An interview with Eunice de Souza, in Journal of Postcolonial Writing, 53:1-2
Anjali Nerlekar: A common theme I find in poets of your generation is that you’re going back to much earlier literature to look for literary connections or heritage.
Eunice de Souza: Well you know, that was mainly because everybody keeps going on about everything they don’t like being from the west. And the second thing is that we are not genuinely England. My thesis was about that – the critique in the postcolonial culture. And there are absolutely horrendously backward ideas of what “Indian-ness” consists of. So I spent years reading everything I could about what “Indian” was supposed to be. And in the end, you don’t really find anything.
AN: There is no one definition or it should be left unstated?
E de S: No, no, it is often stated. M.K. Naik says, someone like Ramanujan, because he’s a Hindu, can be Indian. You know what I mean – they treat Ramanujan as a Hindu poet. So he has access, emotionally and otherwise, to certain traditions and myths and so on, which we don’t have. That’s complete crap.
AN: You have been critiqued by some for having co-opted “Indian” for all English poetry – the interpretation being that you equate Indian to English.
E de S: I have never done that. I’m just saying, Indian doesn’t exclude me. You know, in all these fantasies, where authors in English are scribbling in their elegant drawing rooms, while in reality, the garbage can across the street smells up again – I said please come visit where I live and negotiate dead rats and garbage. You know, it’s a kind of fantasy world you imagine the English writers living in. I’m amazed at the extent to which they go on and on about it. I went to a seminar once, and Rajendra Yadav was supposed to talk about Hindi writing, yet he spent the entire lecture ranting about writers in English. I mean talk about what you’re supposed to talk about! My blood boils when I hear an Indian talking about “Indian culture”. This is a primitive impulse, finding something coherent and limited and saying, “This is Indian culture”, and everybody else is excluded.
AN: And that naturally brings us to religion in your poems, especially with the references to the Catholic Church.
E de S: Well there’s that little poem “Conversation Piece”:
My Portuguese-bred colleague picked up a clay shivalingam one day and said: Is this an ashtray? No, said the salesman, This is our god. (de Souza 2009, 14)11
Darryl D’Monte, who was the editor of the Times of India, published a couple of my poems in a supplement they had begun publishing. One of the angry letters sent to me at the time asked me, “What if we mistook the crucifix for a fork?” I don’t understand this, but this is dangerous.
I guess I am looking at religion but I am not part of it. I am aware of it and I know that people need it. I don’t need it myself, but lots of people do.
AN: Is this because of your background, how or where you were raised?
E de S: Yes, the ideas of hell and sin are so deeply rooted in us, that even though I am not religious at all, I still sometimes have these feelings about the possibilities of hell. Also a sense of guilt and responsibility. This is true of every Catholic woman I know. It may also be true of others but the Catholic woman always feels she can never do enough.
Chiral's Manga Volume of the Day 5.21.26: Koharu and Minato: Happy Life with my Girlfriend Vol. 1
hidden figures
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Gravity - Official Soundtrack "Debris" - Steven Price