Serpentine Prison // Matt Berninger
do not forgive me, i’m a reptile
Today's Document

oozey mess
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Love Begins
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JVL

if i look back, i am lost
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Not today Justin
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Sweet Seals For You, Always

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@dumpster-bitch
Serpentine Prison // Matt Berninger
do not forgive me, i’m a reptile

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“Every one of us is losing something precious to us,” he says after the phone stops ringing. “Lost opportunities, lost possibilities, feelings we can never get back again. That’s part of what it means to be alive. But inside our heads - at least that’s where I imagine it - there’s a little room where we store those memories. A room like the stacks in this library. And to understand the workings of our own heart we have to keep on making new reference cards. We have to dust things off every once in a while, let in fresh air, change the water in the flower vases. In other words, you’ll live forever in your own private library.”
Kafka On the Shore, Haruki Murakami
new views ✨
She sits down beside me now with a big white bowl of peaches in her lap. She makes my heart sing. Her lap and her peaches. Gun keeps going off deep in the birch. Saplings squeak. Tamarack. Black butterfly struggles in the wind. Dog keeps her one good eye on the loons. Red sumac. Indian plumage. Shoshone. Arapaho. Someone keeps shooting. Far off. Must be just practice, for something big. Something coming up.
“Holyoke”, Day Out Of Days: Stories, Sam Shepard
“Aphrodite’s thirst was never quenched; it was cruel and dreamy. It was certainly the most splendid kind of thirst.”
— Arthur Rimbaud, from Selected Poems & Prose; “Silence and Sacrifice,”

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Some excellent party masks. Paris, 1950.
Akihiro Higuchi aka 樋口明宏 (Japanese, b. 1969, Tokyo, Japan) - 1: Mitate-Urushi (K0218), 2018 2: Hana (H0418), 2018 3: Mai-Tanzen (M0718), 2018 4: Mai (M1218), 2018 5: No Title 6: Hana (H0218), 2018 7: Collection-Dress (D0118), 2018 8: Hana (H0818), 2018 9: Mitate-Urushi (K0118), 2018, Insects, Urushi, Gold, Silver.
Twigg Studios

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And then, as his eyes grow heavy and sleep begins to wash over him, he thinks how strange it is that everything has its own color. Everything we see, everything we touch - everything in the world has its own color. Struggling to stay awake a little longer, he begins to make a list. Take blue for example, he says. There are bluebirds and blue jays and blue herons. There are cornflowers and periwinkles. There is noon over New York. There are blueberries, huckleberries, and the Pacific Ocean. There are blue devils and blue ribbons and blue bloods. There is a voice singing the blues. There is my father’s police uniform. There are blue laws and blue movies. There are my eyes and my name. He pauses, suddenly at a loss for more blue things, and then moves onto white. There are seagulls, he says, and terns and storks and cockatoos. There are the walls of this room and the sheets on my bed. There are lilies-of-the-valley, carnations, and the petals of daisies. There is the flag of peace and Chinese death. There is mother’s milk and semen. There are my teeth. There are the whites of my eyes. There are white bass and white pines and white ants. There is the President’s house and white rot. There are white lies and white heat. Then, without hesitating, he moves on to black, beginning with black books, the black market, and thr Black Hand. There is night over New York, he says. There are the Chicago Black Sox. There are blackberries and crows, blackouts and black marks, Black Tuesday and Black Death. There is blackmail. There is my hair. There is the ink that comes out of a pen. There is the world a blind man sees. Then, finally growing tired of the game, he begins to drift, saying to himself that there is no end to it.
“Ghosts,” The New York Trilogy, Paul Auster
whenever i’m a little drunk or a little sad, thoughts come back to ya
Lana Del Rey covers Vogue Italia, June 2019, shot by Steven Klein.
You know, Memphis does look like Yokohama. Just more space. If you took away sixty percent of the buildings in Yokohama, it would look like this.
Mystery Train | 1989 | dir. Jim Jarmusch

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In the Thompson Grill, the counter radio was already playing songs about the heart, songs about women who let their men go as casually as a river through their fingers. The waitress with the tattoo gave him his coffee. The music this morning threw him across eras. He was eighteen again and he fell into a girl’s arms, drunk and full of awe during his first formal dance, painted moonlight on the ceiling, the floating lights through the scrims that bathed the couples translating them.
In the Skin of a Lion, Michael Ondaatje