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In reading a novel, any novel, we have to know perfectly well that it's all nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have been changed a little, as if by having met a new face, crossed a street we never crossed before. But it's very hard to say what we have learned, how we were changed.

Ursula K. Le Guin, Introduction to The Left Hand of Darkness (1976)

#Ursula K. Le Guin #Dreams Must Explain Themselves / Selected Non-Fiction #non fiction #quote #on fiction

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saxifraga-x-urbium

Older LGBT science fiction database

tinyurl.com/oldgaySF

NOTE: the “in print”/availability info was last updated around September ‘24

Older LGBT science fiction database

#science fiction #to read

ericusrexlovesartinallforms-dea

Modern Romance - Kevin Sloan

snailkites

This work is modeled on the Gyrfalcon plate from John James Audubon’s Birds of America!

I don’t add this to discredit the artist, only to point out the reference. Audubon himself referenced the work of multiple contemporary artists when he illustrated BoA, though he claimed he painted them all from life, meaning from dead birds he had in his possession.

jeezypetes

This is one of my favorite poems by Claudia Emerson. The line “There will always be such things I regret knowing” always gets me.

#art #poetry #eco

minipliny

For distracting questions, what's your favorite weird historical fact?

Thank you for asking this, I say, weeks later and at 3:30 am! I think my go-to is probably all of Pliny the Elder’s increasingly weird and terrible wine facts, in PARTICULAR the wine which is either floated in a completely sealed amphora in the sea to give it flavour (….obviating the point as no osmosis could occur) or mixed WITH seawater to make tasty, salty wine. Shoutout also to the wine which increases women’s fertility but deranges men’s wits, all the black thick wines which get diluted to 1/80 concentration for drinkability, adding aloe and herbs to make it look like your wine is more valuable than it is, and smoking wine to make it taste ??? better ??? It gives me great pleasure to imagine so many Romans drinking so much weird wine.

I’m also obsessed with Paul Cuffe’s journal and his inexplicable privateering career, so I have to explain this as I did painstakingly liveblog it to at least two of my suffering friends. Paul Cuffe Jr was the far less well known son of famous formerly enslaved whaling captain Paul Cuffe!

HIS FATHER: A man who ran blockades around Nantucket to bring in supplies during the Revolutionary War! a man who faced jail for invoking his voting rights as a Native American/African American, in like, the 18th century! Met President James Madison! Opened America’s first integrated school! Went to Sierra Leone to look into opening a colony there as part of the beginning of the ‘Back to Africa’ movement! a devout convert to Quakerism!

Paul Cuffe Jr wrote these memoirs entitled ‘Memoirs of the Life of Paul Cuffe: A Pequod Indian” and he. Firstly. Has a gloriously laconic and prosaic writing style at all times. I can’t properly explain the style, he’s just very interested in noting down the practicalities of his situation at all times and while the memoirs cover a lot of events they constantly do so without delving deeply into his motivations. Occasionally I think he is joking but joking so dryly it is....impossible to tell? He also gets raised by an incredibly prominent Quaker (which is a pacifist religion) and then becomes a privateer without commenting ever on WHY or how he FELT ABOUT IT. It’s just, one minute he’s helping his father deliver a meticulously catalogued amount of iron, the next he is standing over a British officer with a tomahawk, then he’s in jail in Jamaica, escapes in a canoe, is recaptured, gets ransomed, wanders across America eating berries, and has two whaling expeditions where the captain is constantly drunk. I think about his memoirs excessively. They’re both a genuinely great primary source and a fascinating sidelight on his father and also....his personality comes through so clearly that he makes a guest appearance in my MD fanfiction just because I could so clearly imagine narrator Ishmael running into him in the timeframe of the novel’s composition, telling him the story, and Paul Cuffe Jr just saying a very sincerely felt ‘that’s rough buddy’.

#to read #history

ub-sessed

White Americans ... are terrified of sensuality and do not any longer understand it. The word “sensual” is not intended to bring to mind quivering dusky maidens or priapic black studs. I am referring to something much simpler and much less fanciful. To be sensual, I think, is to respect and rejoice in the force of life, of life itself, and to be present in all that one does, from the effort of loving to the breaking of bread. ... Something very sinister happens to the people of a country when they begin to distrust their own reactions as deeply as they do here, and become as joyless as they have become. It is this individual uncertainty on the part of white American men and women, this inability to renew themselves at the fountain of their own lives, that makes the discussion, let alone elucidation, of any conundrum—that is, any reality—so supremely difficult. The person who distrusts himself has no touchstone for reality—for this touchstone can be only oneself. Such a person interposes between himself and reality nothing less than a labyrinth of attitudes. And these attitudes, furthermore, though the person is usually unaware of it (is unaware of so much!), are historical and public attitudes. They do not relate to the present any more than they relate to the person.

--James Baldwin, The Fire Next Time, 1963

#james baldwin #racism

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ciaran

smth i see very frequently even in fandom discussions of kink is this framing that “the sub is the one actually in charge of what is happening” which is like, obviously an attempt to rescue kink from allegations of abuse by reframing the submissive/power-abdicating partner as the one ultimately in charge. whether or not this is true irl (which it is not. i don't think questions of power are so easy to answer. subs get abused a lot, in ways directly linked to them being subs. doms also get abused, often in ways that are linked to them being doms. it's not about who "actually" has the power every time but the way in which people in particular dynamics might sift out power for themselves in order to abuse others, and anyone can do that)—whether or not it's true irl, i think it would be more fruitful to frame the question in terms of: what can power do for this character, or what can the lack of it do? and what am I interested in? am i interested in the narrative of (sexual, emotional, physical) surrender that scans as total and is not rescued by an “actually he was in control the whole time”? am i interested in the way that submission can produce empowerment? am i interested in dominance that is not in service of pleasure, or that is in service of pleasure but not selflessly, or dominance as a truly selfless act? etc & such other questions i think would lead to a way for people to identify more closely what they actually want out of narratives & ships. and then they would talk about such things in ways i find interesting & generative

#on writing #bdsm and kink #sadomasochism

gnomesittingunderalargetoadstool

turning over this passage from Garth Greenwell's essay on Miranda July's All Fours and how we deal with art that provokes bad feelings (emphasis my own) and probably will be for a long time:

I’m all for people having and honoring their feelings, and I think we should have a pretty high bar for telling anybody their feelings are wrong, especially about art. But I also think the whole point of art is to do things with our feelings. I’ve argued before that one of the key motivations for making art is to give us something to do with bad feelings—a way to take feelings that threaten to be purely negative or destructive and make them productive. This strikes me as a real source of art’s power, and suggests one way art might intervene in the world, at least our internal worlds—how it might in some decisive way be saving. But what happens when we’re experiencing art, not making it; what can we do with the bad feelings art provokes? It’s always problematic to talk about art, including offensive or politically retrograde art, as causing harm; it’s especially problematic to invoke metaphors of violence, which are almost never appropriate and have disquieting consequences. One of my concerns about casting art as harm is that it treats aesthetic reception as entirely passive. This is a way to emphasize, I think radically to exaggerate, our vulnerability to the experience of reading a book or looking at a painting; but it distorts what actually happens in our encounters with art. When that encounter is meaningful, it’s an exchange. I don’t mean to suggest some overblown theory of reader reception; I think a great deal of the meaning of a work of art inheres in the work of art, independent of us. But I also think we’re agents when we experience an artwork, and that a profound encounter with art results in a new thing—a feeling, a thought, an act in the world, a poem—that is in some way the fruit of collaboration.

gnomesittingunderalargetoadstool

I think about this often in class, when students sometimes shut down in response to offensiveness in a work of art I see as having this kind of value. I find myself using two metaphors that are a little contradictory—or maybe not contradictory; maybe they’re two steps in a process. One is a metaphor of suspension. I don’t want to shut down my students’ offendedness, I don’t want to repress it. But maybe we can try to hold it in abeyance, suspending it long enough to see if there are things to value in the work, or (if we’re in a writing workshop, say) things to learn. Such value doesn’t cancel out the offense, which is only suspended, not dismissed; we may decide that our instincts were right and the work’s value doesn’t, for us, balance out its offensiveness. That’s a perfectly appropriate response to some works of art. The second metaphor is helpful in the case of art that I think intends its offensiveness, wants to put it to work. In this case, I say to my students, what if we don’t suspend our offense but instead try to stay in it, to find a way of engaging with the art not despite but through our offendedness? I’m interested in this as a response to bad feeling, because sometimes we can find something of immense value, maybe of transformative value, on the other side of bad feeling. This is always a gamble; there’s no knowing if you’re going to find it or not; you might just be letting yourself in for the kind of unredeemed unpleasantness I find in that scene from Persuasion. But some of my most powerful experiences of art have been the result of this strategy: of dwelling in bad feeling to see if it might turn into something else. I’m writing this essay because I want to figure out how that works.

#on writing #essays

thirdity

“In terms of a writerly ontology, I don’t even believe “story” exists — except as a convenient way to talk about an effect of writing; whereas readers and writers who are comfortable in that discourse are content with a concept of “writing” that makes it one with a notion of “style,” which they see as a variable aspect, like color, of a solid, visible, and locatable entity called a story. Whereas for me, words are the solid and locatable elements in a text, and meaning, story, style, and tone are all shifting and flickering aspects to various combinations of words that are, all of them, equally evanescent and intangible, intricately interrelated and inextricable — analyzable yes, but never simple or exhaustible.”

— Samuel R. Delany, “Zelazny/Varley/Gibson — and Quality”

#on writing #samuel r delany

lauralot89

19th Century Vampire Retrospective

I spent the past year reading every 19th century vampire work I could get my hands on, beginning with 1801's Thalaba the Destroyer* and ending with 1897's Dracula.

*Actually I began with 1748's "Der Vampir," but that's not 19th century so it isn't on my official list.

In total, I read 66 vampire works from the 19th century, all of which I list in this post. The post also contains links to my reviews/liveblogging of each work, as well as my rating for the work out of five stars.

My sources for finding most of these works were two posts by @atundratoadstool: Post One, Post Two. If ever a link in those posts did not work, I used the Wayback Machine to find an archived copy, or else googled until I found another online source. There were some books I had to buy, which I will list below.

Note: I purchased a copy of The Black Vampyre, but have since found it free online here.

So let's get down to the stats.

Works By Medium

31 short stories

18 novels/novellas

11 poems

3 plays

2 nonfiction books

1 opera

Vampires By Gender

42 male vampires

28 female vampires

4 vampires of indeterminate gender

3 ghouls

Vampire/Victim by Gender

13 male vampires feeding from female victims

12 female vampires feeding from male victims

9 male vampires feeding from male victims

5 female vampires feeding from female victims

2 vampires of unspecified gender feeding from male victims

2 vampires of unspecified gender feeding from female victims

Number of Works Just Titled "The Vampire" or "The Vampyre"

13 works. It's not confusing at all.

Number of Works Adapting Polidori's "The Vampyre"

6 works (3 plays, 1 novel, 1 short story, 1 opera)

Works From @atundratoadstool's List I Did Not Read

Almost everything listed as "not explicitly about vampires"

The Castle of the Carpathians by Jules Verne (mentions vampires in passing, but is about an allegedly haunted castle)

Lilith by George MacDonald (there is blood drinking, but it's from a sorceress who turns into a leopard)

Works I Did Read That Were Not About Vampires

NOTE: I am not including works where the lack of actual vampires is a plot twist, as those inclusions would be spoilers.

"Vampirismus" by ETA Hoffman (Debatable, but I'd say this is about a ghoul)

Smarra, or Demons of the Night by Charles Nodier (Debatable. There's a blood-sucking demon, but it was never human and wasn't possessing a human body)

"Pepopukin in Corsica" by Arthur Young (The characters enact a vampire hoax)

"The Fate of Madame Cabanel" by Eliza Lynn Linton (An ordinary woman is accused of vampirism)

"Let Loose" by Mary Cholmondeley (It's about if Thing from The Addams Family were evil)

"The Parasite" by Sir Arthur Conan Doyle (It's a story about hypnotism)

"A Kiss of Judas" by Julian Osgood Field (The creatures in this story do not drink blood, though they kill their victims by kissing them)

"The Prayer" by Violet Hunt (A woman prays for her dead husband to be resurrected and he is. He does not display any vampire traits once revived)

Phorfor by Matthew Phipps Shiel (I assume this one was included in the list because of a moment where the protagonists prick their fingers and each lick a drop of the other's blood to make a pact. There's nothing else remotely vampirish about it, unless I missed something)

Works I Did Not Read As They Were Insults to God and Man

Spiritual Vampirism by Charles Wilkins Webber (TL;DR: Misogyny, antisemitism, racism, general insufferability)

Works You Should Not Read As They Are Insults to God and Man

The Blood of the Vampire by Florence Marryat (TL;DR: Racist on an insurmountable scale)

The Names of the Vampires

Male Names: Sigismund, Augustus Darvell, Lord Ruthven/Ruthwen, Zembo/Barabbas, Mr. Personne, Gorcha, Georges, Pierre, Sir Francis Varney, Lord Lodore, Bobby Bobson/Ange de Ténèbre, Otto Goetzi, Azzo/Ezzelin von Klata, Graf von Markfeld/Hermann von Rosenthal/Bem Strombold, King Harold, Prince Boris Liatoukine, Sava Savanović, Manor, Count Vardalek, Semyon Semyonovich Telyaev, Count Dracula

Female Names: Oneiza, Mrs. Personne, Bettina, Brunhilda, Alinska, Bertha, Clarimonde, Sdenka, Sugrobina, Clara Crofton, Countess Marcian Gregoryi, Polly Bird, O Toyo, Maria, Ethelind Fionguala, Vespertilia, Ariadne, Carmilla/Millarca/Countess Mircalla Karnstein, Lucy

Other Names: Smarra

Works Mentioning a Banjo

"Ken’s Mystery" by Julian Hawthorne

"The Parasite" by Sir Arthur Conan Doyle

Works You Should Read Instead of Varney the Vampire, or, The Feast of Blood

Because while Sir Francis Varney is a wonderful character, his book is a long, long, long mess

@mayhemchicken-varneyposting's Varney the Vampire chapter summaries

Vivian Shaw's Strange Practice series, in which Varney is a main character

@lxgentlefolkcomic's League of Extraordinary Gentlefolk comic, in which Varney cameos for two panels

Works That I Had to Purchase to Read

Smarra, or Demons of the Night by Charles Nodier (English translation)

The Vampire Lord Ruthwen by Cyprien Bérard (English translation)

The Virgin Vampire by Étienne-Léon de Lamothe-Langon (English translation)

"The Vampyre" by Elizabeth F. Ellet

The Skeleton Count; or, The Vampire Mistress by Elizabeth Caroline Grey

"The Pale Lady" by Alexandre Dumas (English translation)

The Vampire and the Devil's Son by Pierre Alexis Ponson du Terrail (English translation)

The Vampire Countess by Paul Féval (English translation)

Knightshade by Paul Féval (English translation)

Vampire City by Paul Féval (English translation)

The Vampire of the Val-de-Grace by Leon Gozlan (English translation)

"After Ninety Years" by Milovan Glišic (English translation)

Top 10 Works I Recommend The Most

Excluding Dracula because we all know about Dracula already

"The Vampire" by John Stagg

"The Vampire Bride" by Henry Thomas Liddell

"The Family of the Vourdalak" by Aleksey Tolstoy

"The Pale Lady" by Alexandre Dumas

"The Horla" by Guy de Maupassant

“The Mysterious Stranger” by Karl von Wachsmann

Carmilla by Joseph Sheridan Le Fanu

"The Vampire" by Jan Naruda

"Manor" by Karl Heinrich Ulrichs

"The Old Portrait" by Hume Nisbet

Works I Don't Recommend

Along with the two already decried above for their crimes against humanity

Smarra, or Demons of the Night by Charles Nodier

"Wake Not the Dead" by Ernst Raupach

"The Vampyre" by James Clerk Maxwell

The Vampires of London by Angelo de Sorr

Vikram and the Vampire by Sir Richard Francis Burton

Phorfor by Matthew Phipps Shiel

The Real Hero Here

Brian Stableford, who translated eight obscure French vampire novels into English (Lord Ruthwen of the Vampires, The Virgin Vampire, The Vampire and the Devil's Son, The Vampire Countess, Knightshade, Vampire City, Captain Vampire, and The Vampire of the Val-de-Grace)

A round of applause for Brian Stableford!

Most Unique Take on a Vampire

"The Old Portrait" by Hume Nisbet

The Two Gayest Works

"Manor" by Karl Heinrich Ulrichs

Carmilla by Joseph Sheridan Le Fanu

mayhemchicken-varneyposting

Your commitment to this project is truly inspirational.

I'm now morbidly curious as to how the wordcount of Varney the Vampire compares to the collective wordcount of all other 19th century vampire fiction, although actually figuring that out sounds like a hellish undertaking. It would be hilarious if Varney were longer.

#gothic #vampires #to read #well. not all of it of course

reallyreallyreallytrying

how do we kill children

#war #violence #poetry

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There's huge chunks of Sadean Woman that I have massive quibbles with, but I also feel much too stupid and out of the loop of specifically the second wave's discussion of pornography (since much is imo simply uninteresting to me as a queer, kinky, disabled nd & arguably trans third/fourth waver) to really get into it; specifically the (self-deceived) polemics in the beginning. I simply cannot agree with a text which argument that pornography (here including literary erotica as written pornography) is eg inherently of the realm of fascist art if pornography is understood as something always made by a (cishet) male pornography for a (cishet) male consumer, never for a queer or cishet feminine audience, even as the text acknowledges that women (middle- and upper-class women, not the also enthusiastically discussed sex workers*, I assume, lol) are generally denied 'access to pornography (...) at any level, often on the specious grounds that women do not find descriptions of the sexual act erotically stimulating.' I understand excluding women-centric** pornography from the discussion if you specifically want to discuss Sade (queer-centric pornography, less so, considering), but I do not understand simply pretending they basically don't exist (especially if you are discussing SADE (famously not straight and imo not actually writing for a straight audience. Idk who he (though he) was writing for, but it's not the 1700s mainstream!) and tangentially Histoire d'O, which famously is by a woman--the continued incredulous de- and misgendering wrt this work in feminist circles I find fucking FASCINATING btw) since you can't tell me Angela Carter in 1979 was not aware that dyke porn, and specifically kinky dyke porn, was being enthusiastically produced, distributed and consumed in the community.

*how come, by the way, that men directing porn are considered its artistic creators, but the workers in front of the camera are relegated to the status of passive artistic object by feminist scholars? Why is the (already conveniently universalised-as-cishet&male) pornographer pointing his camera an active subject but the men and women doing the fucking and sucking passive and uninvolved in creating whatever artistic merit (or lack there-off) is being discussed? (This is a rhetorical question, we all know why)

**for lack of a snappier term atm

#sex and love #bdsm and kink #feminism #angela carter #sadomasochism

minoar

‘Spectrum’ interior object - Newest coated canvas artwork

Sizes: 45x60cm, 83x110cm, 120x160cm

To complete one’s lifestyle | Worldwide delivery

#art

But our flesh arrives to us out of history, like everything else does. We may believe we fuck stripped of social artifice; in bed, we even feel we touch the bedrock of human nature itself. But we are deceived. Flesh is not an irreducible human universal. Although the erotic relationship may seem to exist freely, on its own terms, among the distorted social relationships of a bourgeois society, it is, in fact, the most self-conscious of all human relationships, a direct confrontation of two beings whose actions in the bed are wholly determined by their acts when they are out of it. If one sexual partner is economically dependent on the other, then the question of sexual coercion, of contractual obligation, raises its ugly head in the very abode of love and inevitably colours the nature of the sexual expression of affection. The marriage bed is a particularly delusive refuge from the world because all wives of necessity fuck by contract. Prostitutes are at least decently paid on the nail and boast fewer illusions about a hireling status that has no veneer of social acceptability, but their services are suffering a decline in demand now that other women have invaded their territory in their own search for a newly acknowledged sexual pleasure. In this period, promiscuous abandon may seem the only type of free exchange.

But no bed, however unexpected, no matter how apparently gratuitous, is free from the de-universalising facts of real life. We do not go to bed in simple pairs; even if we choose not to refer to them, we still drag there with us the cultural impedimenta of our social class, our parents’ lives, our bank balances, our sexual and emotional expectations, our whole biographies – all the bits and pieces of our unique existences. These considerations have limited our choice of partners before we have even got them into the bedroom. (...) Our literature is full, as are our lives, of men and women, but especially women, who deny the reality of sexual attraction and of love because of considerations of class, religion, race and of gender itself.

- Angela Carter, The Sadeian woman and the ideology of pornography (1979)

#angela carter #sex and love #violence #sadomasochism #sex work

valtsv

while i'm thinking about intimacy and violence and the ways they intersect there's something so compelling to me about allowing someone to hurt you. seeing someone consumed by their rage and pain so completely that it's burning them up from the inside out and saying you need to set this loose before it destroys you. you need to let it out. so give it to me. i can take it. take it out on me. i'm giving you permission. i want you to hit me as hard as you can, for as long as it takes for you need to. the way it blurs the lines between who is the victim and who is the perpetrator. who is in control and who is bowing to whose power and authority. who is truly dependent on whom.

valtsv

especially when it's also an act of self-flagellation on both sides - when the person taking the beating is doing so out of a sense of blame - whether relevant to the situation or stemming from a more pathological source - and desire for punishment, and likewise the person delivering it lets their self-control slip and allows themselves to express their violence on someone they might consider a friend, or at the very least undeserving of this kind of brutal treatment, in order to drive their internalized guilt and self-loathing deeper and help it to establish stronger roots. to place themselves entirely in someone else's hands, like a sacrifice being led to slaughter - but who is holding the knife?

#violence #sex and love #sadomasochism

canineical

[Image Description: A zine in an 8-page layout.

The first page displays the title of the zine “Nature Where You stand” in big letters. Around it is a collage of plants— a mix of old photos and line-art of leaves and flowers. It is separated from the title text by a solid, squiggly line.

The second page reads “For my birthday, my uncle got me a book with a pretty cover: Root & Ritual”. The book’s title is written below and bigger than the rest of the text, and has a simple line-art drawing of a sprout on one side and a line-art drawing of some sort of grain on the other side. There are also four simple stars surrounding the book title.

The third page reads “I was interested, but also intimidated. Knowing the natural world intimately felt so… out of reach.” The words ‘out of reach’ surround a drawing of a hand reaching out to the top right corner of the page.

The fourth page reads “So I treaded with care through the book, hoping to explore a new language. I knew I felt connected to the land, but felt so lost on how to interact with it.” In the bottom right corner, there is a doodle of one side of a small, rocky hill.

The fifth page reads “When it talked about foraging, it reminded me that dandelions are edible, something that felt familiar and accessible. Suddenly, foraging wasn’t just hiking endlessly.” In the middle right section of the page, there is a small line-art drawing of a dandelion— the yellow kind, not the fluffy kind.

The sixth page reads “Once I tried one, a whole world opened up. I started seeing plants and wondering if they were edible or poisonous or maybe just gross. I tasted white clover and learned to avoid petty spurge.” On the bottom of the page is a line-art drawing of petty spurge leaves, and a white clover flower sticking out in front of the leaves.

The seventh page reads “I’d known that humans and ‘civilization’ aren’t separate from nature, and can’t be treated as such, but I’d never felt it. Nature is all around me, and I can engage with it all.” At the bottom of the page is line-art of a tuft of grass, some flowers, and cabbage sprouting from the ground.

The eighth page reads “Curiosity has bloomed, and there is so much more to learn. Try + let it bloom for you, too.” Below that, there is a dashed line, which has the words “by Xalli, 4 May 2023” underneath it. Underneath those words is the Instagram logo next to “desertfirelight,” the Substack logo next to “palmlungs,” and the Tumblr logo next to “baringteeth.” Best to those usernames is line-art of a little bird with a word bubble that says “Ty for reading!” /End ID]

hi there !! this is my first ever zine called Nature Where You Stand, about connecting to the earth and realizing that we are not as separate from the natural world as we feel

you’re free to turn your screen over and over to read this on your device, or you can print it out and fold it into a zine, using only one sheet of paper. linked in these words is a little visual & word-based tutorial on how to do it

it’ll look like this (though hopefully a bit better, if you have a nicer printer than i do) !

[Image Description: A photo of a hand holding a printed-out version of the zine, where the zine is slightly open so you can see the cover and a little bit inside of one of the pages. /End ID]

of course, fold where the page visually ends and not just where it should end, because i’m certainly not practiced enough at zines to get it too accurate…

you’re absolutely free to print and keep or even distribute or trade this zine– just please don’t cut out my name or socials !

#zine #eco

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huariqueje

Shadows on Door - Line Holtegaard

Danish , b, 1980 -

Oil on canvas , 100 x 150 cm.

#art

urgetocreate

Thomas Paquette, Straight Up, Tionesta, Pa., 2025, Oil on linen

#art #light #eco

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