She, she, she, it is she It is often she. And in the old songs and in the long nights, she holds him in the softness of her arms, in her arms that are open, in her arms that are wide, that are open, that are always, that must always be open. And in the old ways and in the old laws, this was arranged. All this was arranged. And who arranged it? Did Amel? And in the long nights, and in the soft dark, she is (???) and that is the answer And that is what it means to be loved. That is why she lies limp in the straw? It is Amel. It is always Amel. It is often she (???) Into the land where the dead are kept, where the dead are worshipped And why in the dark? And why (???)? And why still here? And why still here as the millenia unfold And why the days without number? And what am I for? What is this for? And what should Amel do with it if not to answer? And why are they throwing stones? And why is she curled on the ground? And why is it wound around her throat? And why must she (???)? And why must he break her? And why with his fists? And in my eyes is desire, and why is it desire? How can you know it's desire if my eyes must be lowered? And if you are alive, then so am I And the old songs and all the long nights are lies told by old gods And why am I offered, when none of us, wants to be offered And why does he tell her what God has said? And why Amel in their mouths? And why must my voice be smooth? And why must I sing so low? And why is she kept? Why must she be kept? And why in this place must she be kept? And what does it mean if you are not asked? And what does it mean if you are not answered? And what is it to see and to know, but to be told You have not seen. You have not known. And why is her tongue cut out? And why is her death prolonged? And when will it stop? And who will stop it? And why must they, must we, must I, must he, must they, as the millennia, unfold? Why the girl curled? Why her eyes lowered? Why on the side of the road? Why limp in the straw? I am the girl! I am the god! I am the voice! I am the song! I am the night! And I can answer! I can arrange it! I can say rise, and I can say speak! And I am her! And I am she! And I, I, I, I am the answer! (text in cursive is what I heard or found online - what could not be heard/found is marked with question marks)

She, she, she, it is she… It is often she. And in the old songs and in the long nights, she holds him in the softness of her arms, in her arms that are open, in her arms that are wide, that are open, that are always, that must always be open. And in the old ways and in the old laws, this was arranged. All this was arranged. And who arranged it? Did Amel? And that is what it means to be loved. It is Amel. It is always Amel. It is often she… Into the land where the dead are kept, where the dead are worshipped. And why the days without number? And what am I for? What is this for? And what should Amel do with it if not to answer? And why are they throwing stones? And why is she curled on the ground? And why is it wound… And in my eyes is desire, and why is it desire? And why does he tell her what God has said? And why Amel in their mouths? And why must my voice be smooth? And why must I sing so low? And why is she kept? Why must she be kept? And why in this place must she be kept? And what does it mean if you are not asked? And what does it mean if you are not answered? And what is it to see and to know, but to be told… You have not seen. You have not known. And why is her tongue cut out? And why is her death prolonged? And when will it stop? And who will stop it? And why must they, must we, must I, must he, must they, as the millennia, unfold? Why the girl curled? Why her eyes lowered? Why on the side of the road? Why limp in the straw? I am the girl! I am the god! I am the voice! I am the song! I am the night! And I can answer! I can arrange it! I can say rise, and I can say speak! And I am her! And I am she! And I, I, I, I am the answer!

Akasha

[Zendaya wearing Schiaparelli for the London premiere of The Odyssey]

SHEILA ATIM as AKASHA INTERVIEW WITH THE VAMPIRE | Season 3, Episode 5, "New York"

Interview with the Vampire (2.08) | The Vampire Lestat (3.05)

having an existential crisis all by yourself handsome ?

interview with the vampire 2.08 / interview with the vampire 1.05 / emily berry, the numbers game / cy twombly, scent of madness (1986) & the fire that consumes all before it (1978) / interview with the vampire 1.04 / tove ditlevsen, there lives a young girl in me who will not die / interview with the vampire 2.07 / interview with the vampire 2.06 / fayum mummy portrait (1st century b.c - 200 a.d) / fragment of the face of a queen (circa 1353 - 1336 b.c, egypt) / james tadd adcox, scientific method / the vampire lestat 1.03 / daniel hart & danny reisch, the loneliness / interview with the vampire 2.08 / bloc party, positive tension / ana mendieta, silueta (1973-1980) / mary oliver, staying alive / the vampire lestat 1.04 / vanessa cartlon, great house (insp)

The Vampire Lestat season 1 episode 5: New York / The Vampire Lestat by Anne Rice / Interview with the Vampire season 2 episode 7: I Could Not Prevent It / Interview with the Vampire by Anne Rice / Interview with the Vampire season 2 episode 7: I Could Not Prevent It / The Vampire Lestat by Anne Rice / Interview with the Vampire season 2 episode 8: And That's the End of It. There's Nothing Else / Interview with the Vampire by Anne Rice / The Vampire Lestat season 1 episode 5: New York

[OC] SOMEDAY A MORTICIAN GETS TO SUPERGLUE HIS LIPS SHUT, Seen in Cleveland

Being small Nobody quite recovers from being a child: the asymmetry of power between parents and children always leaves a trace

lana if she was real

twitter post: sorry if this isnt woke but the fat dolls are lowkey not serving