#on monstrosity

[milfclaren]

rosquez // on monstrosity, and love

||Roland Barthes, A Lover's Discourse: Fragments | Saul Bellow, Herzog | Marc Marquez’s Childhood Bedroom | Ocean Vuong, On Earth We Are Briefly Gorgeous | Clarice Lispector, The Hour of The Star | Becca Del La Rosa, Mabel | Frank Bidart, In The Western Night | Karen Emmerich, Rien ne va Plus | David Cronenberg, Consumed | Sylvia Plath, Dialogue Between Ghost and Priest | Jeanette Winterson, The Agony of Intimacy | The Crane Wives, Tongues and Teeth | Trista Mateer, The Dogs I Have Kissed | Fury Quote, Source Unknown | Various Headlines, Quotes and Pictures from Rossi and Marquez over the years | Ocean Vuong, On Earth We Are Briefly Gorgeous | Fortesa Latifi, We Want to Be Ruined | Caitlyn Siehl, Start Here||

[mnyd]

on making monsters — max verstappen

in the blood — john mayer / planet f1 / max verstappen for gq / ocean vuong / the third hour of the night — frank bidart / i'm your man — mitski / cut — catherine lacy / snow and dirty rain — richard siken / victoria chang / umbrella academy / gp blog / silas denver melvin / gerrit geerts — Max Verstappen-biografie vertaald door Linda Vermeeren uit Leeuwarden: “Een monsterklus” / the wolf and the lamb — jean baptiste oudry / daniel in the lion’s den — briton riviere / f1briefings / nicola yoon

[lesbianbarbaragordon]

I. GERYON Geryon was a monster everything about him was red

How stiff the red landscape where his cattle scraped against Their hobbles in the red wind

Dream Geryon’s dream began red then slipped out of the vat and ran Upsail broke silver shot up through his roots like a pup Secret pup At the front end of another red day

XI. RIGHT Are there many little boys who think they are a Monster? But in my case I am right said Geryon to the Dog they were sitting on the bluffs The dog regarded him Joyfully

He would remember when he was past forty the dusty almost medieval smell of the screen itself as it pressed its grid onto his face. She was behind him now. This would be hard for you if you were weak but you’re not weak, she said and neatened his little red wings and pushed him out the door.

She studied him a few moments then said slowly—but the gnome gave the piano a shove against the wall and Geryon almost missed it—Who can a monster blame for being red? What? said Geryon starting forward. I said looks like time for you to get home to bed, she repeated, and stood, pocketing her cigarettes.

XIV. HERAKLES’ ARROW Arrow means kill It parted Geryon’s skull like a comb Made The boy neck lean At an odd slow angle sideways as when a Poppy shames itself in a whip of Nude breeze

XVI. GERYON’S END The red world And corresponding red breezes Went on Geryon did not

XV. TOTAL THINGS KNOWN ABOUT GERYON He loved lightning He lived on an island His mother was a Nymph of a river that ran to the sea His father was a gold Cutting tool Old scholia say that Stesichoros says that Geryon had six hands and six feet and wings

He was red and His strange red cattle excited envy Herakles came and Killed him for his cattle The dog too

[ripeteeth]

“What though the field be lost?

All is not Lost; the unconquerable will,

And study of revenge, immortal hate,

And the courage never to submit or yield.”

[Lucifer upon being rejected by God.

John Milton, Paradise Lost, Book 1]

“I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge the other.”

[The Creature upon being rejected by Victor.

Mary Shelley, Frankenstein]

“In uncertainty I am certain that underneath their topmost layers of frailty men want to be good and want to be loved. Indeed, most of their vices are attempted short cuts to love. When a man comes to die, no matter what his talents and influence and genius, if he dies unloved his life must be a failure to him and his dying a cold horror.”

[John Steinbeck, East of Eden]

“The world resists me and I resist the world.”

[Grendel.

John Gardner, Grendel]

[gorgonapologist]

Still from the 1984 film ‘The Company of Wolves’

[gorgonwoman]

having a lot of thoughts about monstrosity as physical manifestations of internal trauma, esp with medusa: trauma lives in the body but so too does power

monstrosity as wound, monstrosity as grief

[witchstone]

Beauty, like monstrosity, enthralls, and female beauty in particular was perceived—and, to a certain extent, is still perceived—to be both enchanting and dangerous, or even fatal.

Kiki Karoglou, Dangerous Beauty: Medusa in Classical Art: The Metropolitan Museum of Art Bulletin, v.75, no. 3