Cross-dressing in Photographs of 1920s and 1930s Egypt, Palestine and Lebanon X
Lint Roller? I Barely Know Her
wallacepolsom
occasionally subtle
Not today Justin

Janaina Medeiros
Misplaced Lens Cap

if i look back, i am lost
2025 on Tumblr: Trends That Defined the Year
noise dept.

sheepfilms

JBB: An Artblog!
art blog(derogatory)

Kiana Khansmith
Cosimo Galluzzi
Three Goblin Art

izzy's playlists!
Jules of Nature

Aqua Utopiaď˝ćľˇăŽĺşă§č¨ćśăç´Ąă

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@divinepit
Cross-dressing in Photographs of 1920s and 1930s Egypt, Palestine and Lebanon X

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Death by Sex Machine, Franny Choi
â Ali Smith, The Whole Story and Other Stories
[text ID: It was a Sunday in September. There would only be four.]
07/31
Cento made entirely of lines from the script of Mandy (2018)
Every beetle is a gazelle in the eyes of its mother

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god is basically a kind of mold that grows in your body from the inside out but it does it so lovingly so it's cool
booty shorts with if thine eye offends thee, pluck it out written on the ass.
and i think⌠i think thatâs what a father is - a blade that never stops cutting.
the new york times, âcarlos sainz jr learned early to be the hunter, not the preyâ  ++   e. schwab, the invisible life of addie larue // marla miniamo, âsea saltâ // hermann hesse, demian // frank bidart, âthe third hour of the nightâ // katherine angel, daddy issues // [x] // leah horlick, for your own good // hera lindsay bird, âmirror trapsâ // mario puzo, the godfather // andrea gibson, âi sing the body electric, especially when the powerâs outâ // [x] // [x] // deaf havana, âcaro padreâ // [x] //  [x] // [x] // [x] // rachel mckibbens, blud // [x] // [x] // ocean vuong, âsomeday ill love ocean vuongâ // molly brodak, âbee in jarâ // eleanor hsieh, âthe last scene in the movieâ // andrea abi-karam, villainy // the national, âblank slateâ // rainer maria rilke in a letter to lou andreas-salomĂŠ // etel adnan, âuntitledâ // [x] // [x] // [x] // myther, SPEAK FOR YOURSELF, OR SOMEONE ELSE WILL // [x] // [x] // rainer maria rilke, letters to benvenuta // richard siken, âlittle beastâ // erin slaughter, i will tell this story to the sun until you remember that you are the sun // [x] // sigmund freud, die traumdeutung // rachel mckibbens, blud // silas denver melvin - nov 4 2021 // desireĂŠ dallagiacomo, âorigin storyâ // james baldwin, âthey canât turn backâ // [x] // traci brimhall, come the slumberless to the land of nod // natalie diaz, âgrief workâ // alain de botton, essays in love // [x] // richard siken, âthe dislocated roomâ // sylvie baumgartel, song of songs // ocean vuong, âdear peter.âÂ
My Gender Workbook by Kate Bornstein (1998)
now with a link to read it for yourself!! xx
Southern Comfort (2001)
A beautiful scene featuring transgender man Robert Eades and his transgender girlfriend Lola.
[TRANSCRIPT:
Robert: â and now sheâs coming out, full blown⌠she is something else.
Lola: Oh, please, stop it.
Robert: What? Iâm just telling her how wonderful you are, and how beautiful, and how organised, andâŚ
Lola: Actually, you know, I really should put all of this on tape, you know? For when Iâm not feeling so great.
Robert: Sweetheart, it is on tape.Â
[BOTH LAUGH]
Robert: Just in the last couple of months now, itâs come on real strong, but she just really blushes! I can get her to blush all the way from head to toe. See? And she canât deal with it! Sheâs never blushed like that before!
Lola: [SIGHS]
[BOTH LAUGH]
Robert: All my life, Iâve been looking for the perfect woman⌠and all this time, sheâs been right there in front of me, and I didnât even realise it, âcause I never thought Iâd have a chance with her.
Lola: Why? Youâre like⌠completely loveable.
Robert: To be loved by you, thatâs⌠thatâsâŚ
Lola: I had no notion, to think that we would have this little fling.
Robert: Thatâs what I feel - we have this nice friendship, we canât go out, we have fun together, we got no entanglements and stuff and then - bam! Just⌠all of a sudden, next thing I know, weâre in love with each other and we canât stop it.
END TRANSCRIPT]

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JOAQUIN PHOENIX, ROONEY MARA 77th Annual Golden Globe Awards â January 5, 2020
âI think of beauty as an absolute necessity. I donât think itâs a privilege or an indulgence, itâs not even a quest. I think itâs almost like knowledge, which is to say, itâs what we were born for.â
â Toni Morrison, from The Paris Review Podcast (via mesogeios)
The MĂśbius structure of relationships, one of David Byrneâs hand-drawn pencil diagrams of the human condition

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Uta Uta Tjangala was one of the founding members of the Western desert Aboriginal art movement. In the early part of his career he painted on Composition board. Many of his early works are ritual in nature. They contain secret imagery meant only for the eyes of initiated men.
[âWhen we survive violence, we are transformed by it. The nature of that change varies widely, but the fact of it is nearly universal. And if we are truly a part of something, if our existence and membership in something larger than ourselves is real and matters, then that change in us should show up somehow in our world.
When our pain is not acknowledged, the ways we are changed have no bearing on our world. Everything goes on as it did before. Here we are, fundamentally different than before, and here the world is, exactly the same. That disconnect can feel like unbearable isolation to survivors. As creatures of belonging and of community, it is not our nature as human beings to be so isolated. We fight it. And when what we are fighting is the invisibility and irrelevance of our pain to others, then in our fight we make that pain visible and we make it relevant.
One way we can do that is through revenge. When we enact revenge, the world is different because of what happened to us. Someone who wasnât hurting is hurting now because of us. That difference, ugly and largely unsatisfying as it may be, can feel like an affirmation of our connection and our influence on the larger thing of which we are a part. But though it may be a form of what we need, revenge is not itself the thing we need. It is not more pain that affirms us and quiets the terror and injustice of isolation.
What we need is for something in our world to reflect what is different in us. What we need is to be recognized. As so many characters in movies say before carrying out retaliatory violence, âYou see me now.â Revenge is in part an inescapable demand to be witnessed. The fundamental human need that can manifest as revenge, particularly when it is otherwise unmet, is the need for recognition. Recognition affirms our membership in something bigger than ourselves and our importance to that larger group. It affirms that when we are different, so, too, is the world, and in that way recognition combats our isolation and the legitimate terror that accompanies it. When that recognition comes from the responsible person, and especially when it is witnessed by community, it can fulfill the need that underlies the desire for revenge and can, not always but often, release survivors from it.â]
danielle sered, from until we reckon: violence, mass incarceration, and a road to repair, 2019