x"why motherfucker is a word
and fatherfucker isn’t
is all I know of woman’s pain
on earth, and all I need
to know of Western wisdom"
— Mark Leidner, from The Angel in The Dream of Our Hangover: Aphorisms
and fatherfucker isn’t
is all I know of woman’s pain
on earth, and all I need
to know of Western wisdom"
— Mark Leidner, from The Angel in The Dream of Our Hangover: Aphorisms
x
Hesitate to Call by Louise Glück
Lived to see you throwing
Me aside. That fought
Like netted fish inside me. Saw you throbbing
In my syrups. Saw you sleep. And lived to see
That all that all flushed down
The refuse. Done?
It lives in me.
You live in me. Malignant.
Love, you ever want me, don’t.
x
Anais Mali channels Elizabeth Taylor for Mario Testino in V 73′s Fall 2011 issue
x
‘Will you marry me?’ (c. 1998) illustration from Rose Daughter (a retelling of the tale of Beauty and the Beast) by Robin Mckinley, and illustrated by Anne Bachelier
x
from “Wishbone” by Richard Siken
You can’t get out of this one, Henry, you can’t get it out of me, and with this bullet
lodged in my chest, covered with your name, I will turn myself into a gun, because
it’s all I have,
because I’m hungry and hollow and just want something to call my own. I’ll be your
slaughterhouse, your killing floor, your morgue and final resting, walking around with this
bullet inside me
‘cause I couldn’t make you love me and I’m tired of pulling your teeth. Don’t you see, it’s like
I’ve swallowed your house keys, and it feels so natural, like the bullet was already there,
like it’s been waiting inside me the whole time.
Do you want it? Do you want anything I have? Will you throw me to the ground
like you mean it, reach inside and wrestle it out with your bare hands?
If you love me, Henry, you don’t love me in a way I understand.
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The Descent from the Cross (detail of the Virgin’s dress), c. 1435-8
by Rogier van der Weyden (via invisiblestories)
x"Fashion is one of the very few forms of expression in which women have more freedom than men. And I don’t think it’s an accident that it’s typically seen as shallow, trivial, and vain. It is the height of irony that women are valued for our looks, encouraged to make ourselves beautiful and ornamental… and are then derided as shallow and vain for doing so. And it’s a subtle but definite form of sexism to take one of the few forms of expression where women have more freedom, and treat it as a form of expression that’s inherently superficial and trivial. Like it or not, fashion and style are primarily a women’s art form. And I think it gets treated as trivial because women get treated as trivial."
— Greta Christina (via source, heyicanbetheanswer)
— Greta Christina (via source, heyicanbetheanswer)
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Roman Opałka was a French-born Polish painter who painted numbers. In 1965 he began painting a process of counting – from one to infinity. Starting in the top left-hand corner of the canvas and finishing in the bottom right-hand corner, the tiny numbers were painted in horizontal rows. Each new canvas, which the artist called a ‘detail’, took up counting where the last left off. Each ‘detail’ is the same size (196 x 135 cm), the dimension of his studio door in Warsaw. All details have the same title, “1965 / 1 – ∞”; the concept had no end, and the artist pledged his life to its execution: “All my work is a single thing, the description from number one to infinity. A single thing, a single life.”
Over the years there were changes to the ritual. In Opałka’s first details he painted white numbers onto a black background. In 1968 he changed to a grey background “because it’s not a symbolic colour, nor an emotional one”, and in 1972 he decided he would gradually lighten this grey background by adding 1 per cent more white to the ground with each passing detail. He expected to be painting virtually in white on white by the time he reached 7,777,777: “My objective is to get up to the white on white and still be alive.” As of July 2004, he had reached 5.5 million.
