wallacepolsom

oozey mess
let's talk about Bridgerton tea, my ask is open
AnasAbdin
will byers stan first human second

pixel skylines

η₯ζ₯ / Permanent Vacation
Acquired Stardust
noise dept.

izzy's playlists!
Monterey Bay Aquarium
sheepfilms

JVL
we're not kids anymore.
$LAYYYTER
hello vonnie
cherry valley forever

ellievsbear

JBB: An Artblog!

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@certainrivers

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the gulf between how genuinely progressive and forward thinking the franchaela storyline is compared to the rest of the show and ESPECIALLY what they're doing with eloise is kind of comical. like one minute we're doing delicately written subtext that sensitively addresses the self-blame a lesbian may feel compounded on top of the self-blame from her infertility issues for not being able to be a wife to a man "the right way" in a storyline that is going to lead to self-acceptance that will come from her liberation from heteropatriarchal norms and the next we're doing a woman who has spent 4 years straight insisting she doesn't want to get married on feminist grounds having her political convictions worn down for choice feminism and The Power Of Love. like what is going on here.
John Singer Sargent - Study for Judgment, c. 1903
i'm reading Leonora Carrington's short stories and two cabbages just had a terrible fight. this book rules

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"Not long ago an outlet interviewed an author whose book was marketed as a feminist retelling of The Odyssey. I adore retellings, and Iβm fascinated by work that examines gender in antiquity. But I felt my hopes fall when the author readily admitted to never having read the epic, dismissing the poem as backward and boring, whereas her taleβof courseβwas dynamic and new. Well, I thought, thatβs not a fucking retelling then, is it? Retellings can and do grapple with or criticize or slyly comment on their source texts, but buried in the premise of the genre or form is an actual, active engagement with the story being retold. This desire for genreβs trappings without any of its rhetorical commitments or risks is not unique to contemporary SFF. How often does a show marketed as a social satire lack the courage to commit to its critique, or a mystery novel make certain promises within its premise that it fails to meet (or creatively subvert)?
Caroline, you might be saying by now, who cares where a book gets shelved at Barnes and Noble or if VampyreBabe98 thinks Anne Rice is committing thought crimes from beyond the grave? And you know what, fair. There is so much to care about, and so much more pressing and dire than any of this bullshit. But I still think we need the tools of genre more than ever, and we need the varied worlds and works genre fiction offers us in all their nuance and complication. Le Guin wrote:
βTo describe society since the mid twentieth centuryβ global, multilingual, infinitely interlinkedβ we need the global, intuitional language of fantasy. GarcΓa MΓ‘rquez wrote his histories of his own nation in the fantastic images of magical realism because it was the only way he could do it.β
Fantasy, she claims in the same essay, is our first and oldest kind of fiction, and perhaps that long lineage sometimes allows us to explore in the realm of the fantastic what we cannot off the page or confined by the limits of a more realist lexicon.Β There are many great contemporary genre authors following in MΓ‘rquezβs footsteps, writing their vital histories and futures in the only way they can, with the tools at hand. I hope when those books find their readers, we are ready for them, and we read them with the care and curiosity they deserve."
--Caroline Shea (April Newsletter: New Fiction, Imagined Languages, and Who's Afraid of Genre? (pt. 1000))
The only reason I was able to read as voraciously as I did growing up was because of mass market paperbacks.
Special hardcover editions are nice or paperbacks with deckle edges and sprayed sides, but the mass market paperback is the pillar of society.
Francesca Woodman, Some Disordered Interior Geometries, 1981
Octavia Butler is inspo
Louise Bourgeois

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genuinely does anyone know how the fuck to get over someone you painfully fancy. i am scared i might just be someone who never gets over anything, i just eventually develop new fixations lol. it feels so insanely adolescent i hate it! making a big deal of literally nothing, like why can't i just find someone hot and be normal about it
The Lovers by Jef Joseph Marie Thomas Lambeaux (1852-1908)
'the greatest reveal in the history of media was-' no. the greatest reveal in the history of media was in the novel Howl's Moving Castle by Diana Wynne Jones (1986), wherein after having spent the entire book up to this point in the fantasy land of Ingary, where fairy tales come true, it is revealed that the real reason that Howl is so odd, so strange, so different from everyone else is that he is not, in fact, like everyone else. and this is not because he is a wizard, or a layabout, or heartless--it is because he is Welsh. as in, he is from modern day Wales. as in, he and his pals from Magic World go for a quick trip to visit his family in Wales, circa 1984-6. and suddenly everything about Howl Pendragon aka Howell Jenkins suddenly makes a lot more sense
imagine being a dog and you think your chances are pretty good. and then you look over and there's Mitski getting her wallet out
i do not know what it is about the kind of men i find myself drawn to that i keep getting rejected in such mealy-mouthed ways. my best friend says i'm being unreasonable but idk i find it soooo much worse to be told i'm so great and it's just a bad time and they totally would but... blah blah blah. give a girl a clean, kind no for the love of god

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ARTIST: Louise Bourgeois (French, 1911-2010) WORK: The Welcoming Hands
MEDIUM: Bronze with silver nitrate
somebody posted this Calvin and Hobbes strip and i cannot overstate just how topical this fuckin thing is