there are some things worse than ghosts

they/them | 20s | lesbian

[asspostate]

miss me with that ‘weapon accuracy’ shit. im shooting everything. im laying down cover fire. im shooting the walls. im shooting my teammates. im shooting myself. my accuracy is 100% yall just dont know what im aiming at

[dailyoliviacooke]

THIS BARBIE IS EVERYTHING.

[vikander]

You can’t ascribe great cosmic significance to a simple Earthly event. Coincidence, that’s all anything ever is. Nothing more, than coincidence. Tom had finally learned there are no miracles, there is no such thing as fate, nothing is meant to be. — (500) Days of Summer (2009) dir. Marc Webb

[flowerytale]

Anne Carson, from The Glass Essay

[amysantiego]

gotta follow more hardcore tenrose stans & active defenders bc i swear if i stumble upon another so-called timepetals stan who positively engage with these annoying, bandwagon-like “[insert here any ship, but it’s usually ninerose] > tenrose” takes, i will end it all. i will literally become the joker

[brbarou]

average high school girl soccer team

[seaoflove]

every three weeks on the dot the voice of frank ohara comes into my head and he read me that line from having a coke with you in his 60s new york accent: and what good does all the research of the impressionists do them / when they never got the right person to stand near the tree when the sun sank

…… and i loose it all over again

[stlowens]

Ocean Vuong, from “Dear Peter.” [ID in alt text]

[prideandprejudice]

Pride and Prejudice (2005) | Red, White & Royal Blue (2023)

[thestateofardadreaming]

“As with nature, there is something about love that remains ineffable, that stands outside or above language. This is so often where we—poets, lovers—fail–we use too many words, or too few words, or words that we think will tell someone how we feel but are ultimately unsuccessful. In love poetry, as in nature poetry, the challenge is double: even if we could see the other, how could we successfully communicate that experience? Poets are constantly gesturing towards the ineffable, arranging our words so that they make or represent something beyond human language. I often think of poetry as a medium between written language and music; it can communicate both literal linguistic meaning and something that is above that meaning, the way instrumental music communicates without accessing the means of spoken language. I see the potential in poetry to express the ineffable, as does [poet, Don] McKay: ‘Poetry comes about because language is not able to represent raw experience, yet it must.’”

— Annick MacAskill, from “To Say, To Kiss, To See: Notes on Love Poetry,” Arc Poetry Magazine (no. 88, Spring 2019)

[bwbeautyqueens]

Anya Taylor-Joy photographed by Adam Whitehead for Wonderland Magazine (March 2020)  

[ohmystarsy]

url graphics  → dearoswin

[jinnyskeanns]

Awww, they are so precious! (っ＾▿＾)！！ 💖💖

[weltenwellen]

when hozier said "there's a part of me I'm afraid will always be trapped within an abstract from a moment of my life"

[playedtilmyfingersbled]

the hope

[weltenwellen]

when hozier said "there's a part of me I'm afraid will always be trapped within an abstract from a moment of my life"

[artfoli]

Les Raboteurs de Parquet (The Floor Scrapers), 1875, by Gustave Caillebotte (1848-1894)

“This is one of the first paintings to feature the urban working class. It reintroduces the subject of the male nude in the painting, but in a strikingly updated form. Instead of the heroes of antiquity, here are the heroes of modern life - sinewy and strong - in stooped poses that would appear demeaning if they did not convey a sense of masculine strength and honest labor.”