#picador

[capn-jims-log]

Picador belongs to @/badly-drawn-doflamingo and @/anongalactic and Deltoro to @/anongalactic 🪳🐂

[basicallyanotherwitchesthing]

Andrija Puharich - Beyond Telepathy - Picador - 1975 (cover photo by Michael Freeman)

[tyger-land]

𝗙𝗿𝗮𝗻𝗰𝗶𝘀 𝗣𝗶𝗰𝗮𝗯𝗶𝗮 La Corrida. 1941. Oil on cardboard: 105 × 76 cm (41 × 30 in).

[galina]

The best book I’ve read so far this year is Martyr! by Kaveh Akbar.

When poets write novels I always get very excited because they enter into their contract with words in a different way to other writers, with a certain level of distrust of language’s abilities, with an understanding of the disappointing paradox in metaphors, and with a playful abandon for convention.

This book is a great example of all of those things. It tore me open so many times and put me back together again, too. It’s got everything — family, identity, death, nationality, history, death, art, politics, death, love, war, did I mention death, and dreams where the dead speak to cartoon characters

[wilde522791]

[garadinervi]

Alexis Pauline Gumbs, (2024), Survival Is a Promise. The Eternal Life of Audre Lorde, Picador, London, 2025 [AK Press, Chico, CA]

[badly-drawn-doflamingo]

What the fuck happened in Impel Down, bro

[ whiteboard with @frookiethesillybilly ]

[ Picador belongs to @anongalactic and I ]

[galleryofart]

A Pass in the Bullring

Artist: José Jiménez Aranda (Spanish, 1837–1903) 

Date: 1870

Medium: Oil on panel

Collection: Thyssen Museum in Málaga, Spain

Description

A group of spectators looking out from their box in the Maestranza, Seville’s popular bullring, watch what appears - from the evident gesticulations - to be a dramatic moment in the bullfight taking place on the left. Although the action falls outside the spectator’s field of vision, the bull must have charged at and toppled the picador, as evidenced by the galloping horse that has broken loose (and the one that lies gored on the right-hand side). This atmosphere is heightened by the lively presence of the crowd in the background. The figures in the box are notable for their variety of expressions and gestures of all kinds, ranging from the one standing on the rush chair and hugging the column, who emphasizes the verticality of this element of the composition, to the one on the far left peering through a small pair of binoculars and about to stand on his own chair.