the love cartel

[unreadable]

[les-fleur]

Porcile (1969, dir. Pier Paolo Pasolini)

[toiich]

Young and Beautiful (2013), dir. François Ozon

[me-lapislazuli]

[earthanthem]

Seljalandsfoss, Iceland

[perriaeyjeve]

[expressions-of-nature]

Tulip Fields Between Sassenheim and Lisse, Netherlands via Atlantide Phototravel

[04k96]

[toiich]

Agnès Varda

[thedireful]

Clarice Lispector, from Selected Cronicas

[achillesinhighheels]

The kiss sculpture in Vienna Central cemetery

[rozzed]

why not have the reader re-read a sentence now and then? it won't hurt him....

[metamorphesque]

why do all the words sound heavier in my native language?

—  @metamorphesque, Yoojin Grace Wuertz (Mother Tongue), Still Dancing: An Interview With Ilya Kaminsky (by Garth Greenwell), Jhumpa Lahiri (Translating Myself and Others), @lifeinpoetry

[freeartzombie]

This excerpt is from the documentary ANDREY TARKOVSKY - A POET IN THE CINEMA, directed by Donatella Baglivo.

[jacobtheloofah]

source: x

[funeral]

東京暮色 / Tokyo Twilight (1957) dir. Yasujirō Ozu

[metamorphesque]

"Schiele paints what Kafka dares to write: the soul, caught mid-exit from the collapsing architecture of the flesh. The silence of Schiele’s paintings echo the inky words of Kafka, as if Schiele’s paintbrush and Kafka’s pen were touching opposite sides of the same wound. And yet, what fascinates me most is not just how Kafka and Schiele expose the rupture between body and self, but the difference in how they respond to the shame it brings. Kafka turns inward. He tries to vanish into language, to dissolve into the walls of his prose. His characters shrink, fold into themselves, dissolve, wither — devoured not just by the world but by their own self-disgust. His response to shame is silence, erasure, disappearance. But Schiele does the opposite — he confronts shame with brutal visibility. He drags it into the light, paints it in trembling lines and raw color, and then dares us to look at it — at him. His figures do not hide their distortion — they weaponize it. They do not avert their eyes; they catch ours. They demand to be seen, even in their distortion, and especially in their nakedness."

Portrait of a Body in Revolt: Schiele and Kafka, Tathev Simonyan

[metamorphesque]

Adonis, Motion (tr. Khaled Mattawa)