A rule of thumb: The more avidly you want an explanation of the meaning behind a powerful and cryptic work of art—from David Lynch’s Mullholland Drive ...

Kiana Khansmith
Keni
Aqua Utopia|海の底で記憶を紡ぐ
Xuebing Du
trying on a metaphor
will byers stan first human second
Sweet Seals For You, Always

Andulka

Product Placement
sheepfilms
Mike Driver
let's talk about Bridgerton tea, my ask is open
taylor price
$LAYYYTER

oozey mess
noise dept.
tumblr dot com
occasionally subtle
todays bird

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@what-we-talk-about-when
A rule of thumb: The more avidly you want an explanation of the meaning behind a powerful and cryptic work of art—from David Lynch’s Mullholland Drive ...
From the poem Eating Fire by Margaret Atwood
“Like a nightingale with a toothache.” - Erik Satie’s directions to the performer, Embryons desséchés for piano(1913), I. d’Holothurie.
John Cage | “In a Landscape” for piano solo (1948)
Alexeï Lubimov, piano
Writing poems is easy. Writing good poems is difficult. Writing a great poem is almost impossible. This is why I try not to think about it. If I contemplated how many actual great poems there are in the world, and how hard it is to write one, I would give up. I think poets, and artists in general, have to have this combination of audacity and humbleness. On the one hand, you have to have this grand and supreme faith in yourself that what you see, hear, touch, taste, think and feel, has importance, and will be meaningful to another human being. On the other hand, you have to know deep down that what you are trying to do is impossible, unattainable, unfeasible, impractical, out of the question, and completely hopeless. And then you try anyway.
Dorianne Laux, from an interview (via violentwavesofemotion)
Dyed Carnations
by Robyn Schiff
There’s blue, and then there’s blue. A number, not a hue, this blue is not the undertone of any one but there it is, primary. I held the bouquet in shock and cut the stems at a deadly angle. I opened the toxic sachet of flower food with my canine and rinsed my mouth. I used to wash my hands and daydream. I dreamed of myself and washed my hands of everything. Easy math. Now I can’t get their procedure at the florist off my mind. The white flowers arrived! They overnighted in a chemical bath and now they have a fake laugh that catches like a match that starts the kind of kitchen fire that is fanned by water. They won’t even look at me. Happy Anniversary.
FEAR
by Lydia Davis Nearly every morning, a certain woman in our community comes running out of her house with her face white and her overcoat flapping wildly. She cries out, "Emergency, emergency," and one of us runs to her and holds her until her fears are calmed. We know she is making it up; nothing has really happened to her. But we understand, because there is hardly one of us who has not been moved at some time to do just what she has done, and every time, it has taken all our strength, and even the strength of our friends and families too, to quiet us.
The point of the daily diary exercise is not to record what you already know about what happened to you in the last 24 hours. Instead, it’s an invitation to the back of your mind to come forward and reveal to you the perishable images about the day you didn’t notice you noticed at all.
Lynda Barry (via austinkleon)
Sadie Stein on things to do to cure your loneliness.
The Bench by Mary Ruefle
My husband and I were arguing about a bench we wanted to buy and put in part of our backyard, a part which is actually a meadow of sorts, a half acre with tall grasses and weeds and the occasional wild flower because we do not mow it but leave it scrubby and unkempt. This bench would hardly ever be used and in summer when the grasses were high would remain partially hidden from view. We both knew we wanted the bench to be made of teak so that it would last a long time in the harsh weather and so that we would never have to paint it. Teak weathers to a soft silver that might, in November or March, disappear into the gray hills that are the backdrop of our lives. My husband wanted a four foot bench and I wanted a five foot bench. This is what we argued about. My husband insisted that a four foot bench was all we needed, since no more than two people (presumably ourselves) would ever sit on it at the same time. I felt his reasoning was not only beside the point but missed it entirely; I said what mattered most to me was the idea of the bench, the look of it there, to be gazed at with only the vaguest notion it could hold more people than would ever actually sit down. The life of the bench in my imagination was more important than any practical function the bench might serve. After all, I argued, we wanted a bench so that we could look at it, so that we could imagine sitting on it, so that, unexpectedly, a bird might sit on it, or fallen leaves, or inches of snow, and the longer the bench, the greater the expanse of that plank, the more it matched its true function, which was imaginary. My husband mentioned money and I said that I was happier to have no bench at all, which would cost nothing, than to have a four foot bench, which would be expensive. I said that having no bench at all was closer to the five foot bench than the four foot bench because having no bench served the imagination in similar ways, and so not having a bench became an option in our argument, became a third bench. We grew very tired of discussing the three benches and for a day we rested from our argument. During this day I had many things to do and many of them involved my driving past other houses, none of which had benches, that is they each had the third bench, and as I drove past the other houses I could see a bench here and a bench there; sometimes I saw the bench very close to the house, against a wall or on a porch, and sometimes I saw the bench under a tree or in the open grass, cut or uncut, and once I saw the bench at the end of the driveway, blocking the road. Always it was a five foot bench that I saw, a long sleek bench or a broken down bench, a bench with a slatted back or a bench with a solid, carved back, and always the bench was empty. But I knew that for my husband the third bench was only four feet long and he saw always two people sitting on it, two happy or tired people, two people who were happy to be alive or two people tired from having worked hard enough to buy the bench they were sitting on. Or they were happy and tired, happy to have reached the end of some argument, tired from having had it. For these people, the bench was an emblem of their days, which were fruitful because their suffering had come to an end. On my bench, which was always empty, nothing had come to an end because nothing had begun, no one had sat down, though the bench was always there waiting for exactly that to happen. And the bench was always long enough so that someone, if he desired to, could lie all the way down. That day passed. Another day followed it and my husband and I began, once more, to discuss the bench. The sound of our voices revealed a renewed interest and vigor. I thought I sensed in him a coming around to my view of the bench and I know he sensed in me a coming around to his view of the bench, because at one point I said that a four foot bench reminded me of rough notes towards a real bench while a five foot bench was like a fragment of an even longer bench and I admitted it was at times hard to tell the difference. He said he didn’t know anything about the difference between rough notes and fragments but he agreed that between the two benches there was, possibly, just perhaps—he could imagine it—very little difference. It was, after all, only a foot we were talking about. And I think it was then, in both of our minds, that a fourth bench came into being, a bench that was only a foot long, a miniature bench, a bench we could build ourselves, though of course we did not. This seemed to be, essentially, the bench we were talking about. Much later, when the birds came back, or the leaves drifted downwards, or the snow fell, slowly and lightly at first, then heavier and faster, it was this bench that we both saw when we looked out the window at the bench we eventually placed in the meadow which continued to grow as if there were no bench at all.
Mary Ruefle, “The Bench” from Among the Musk Ox People: Poems. Copyright © 2002 by Mary Ruefle. Reprinted by permission of Carnegie Mellon University Press. Source: Among the Musk OX People: Poems (Carnegie Mellon University Press, 2002)
My favorite lovers
2014
The Seventh Continent by Michael Haneke
Come away with me, he said, we will live on a desert island.
Margaret Atwood, from Selected Poems: 1965-1975 (via violentwavesofemotion)
"One has to imagine, one has to create (exaggerate, lie, fabricate from whole cloth and patch together from remnants), or the thing will not come alive as art. Of course, what one is interested in writing about often comes from what one has remarked in one’s immediate world or what one has experienced oneself or perhaps what one’s friends have experienced. But one takes these observations, feelings, memories, anecdotes—whatever—and goes on an imaginative journey with them. What one hopes to do in that journey is to imagine deeply and well and thereby somehow both gather and mine the best stuff of the world. A story is a kind of biopsy of human life. A story is both local, specific, small, and deep, in a kind of penetrating, layered, and revealing way."
Extremely grateful to have my work featured in Ain't Bad Magazine.