Medea (1969) dir. Pier Paolo Pasolini

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Medea (1969) dir. Pier Paolo Pasolini

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Mahmoud Darwish, If I Were to Start All Over Again (tr. Abdullah al-Udhari)
Mahmoud Darwish, Give Birth to Me Again That I May Know (tr. Abdullah al-Udhari)
Mahmoud Darwish, She Does Not Love You in Almond Blossoms and Beyond (tr. Mohammad Shaheen)
The Blessed Damozel study, 1876, Dante Gabriel Rossetti

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Pleasant Burden, 1895, William-Adolphe Bouguereau
Medium: oil,canvas
Gail Honeyman, Eleanor Oliphant Is Completely Fine / Susan Sontag, As Consciousness Is Harnessed to Flesh / Olivia Laing, The Lonely City: Adventures in the Art of Being Alone / Tahereh Mafi, Shatter Me / Kitty Stryker, âRadical Self-Relianceâ Is Killing People.  / Yiyun Li, Dear Friend, From my Life I Write to You in Your Life
If I stay too late then I wonât be able to sleep, and then my life will be over. Of course Iâm that fragile. What happens to the moment, if youâre not in the moment?
â Mattilda Bernstein Sycamore, from The Freezer Door
FEMALE BODY AS HAUNTED HOUSE
Angela Carter, The Lady of the House of Love
Sarah Smeltzer, Women, Trauma, and Haunted Houses
Emily Dickinson, One Need Not be a Chamber to be Haunted
Parul Sehgal, âIn the Dream Houseâ Recounts an Abusive Relationship Using Dozens of Genres
Jacui Germain
Rachel Eve Moulton, On the Haunted Lives of Girls and Women
'Being a Woman is Inherently Uncannyâ: An Interview With Carmen Maria Machado

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Re-imagining Masculinity, Ocean Vuong
âSometimes, you just want / something so hard you have to lie about it, / so you can hold it in your mouth for a minute, / how real hunger has a real taste.â
â Ada LimĂłn, Bright Dead Things; âLies About Sea Creaturesâ
The people who love us scratch us, (âŚ) And what is love, anyway? Itâs claw marks, scratches, scars, traces someone leaves inside of you.
â Margarita Karapanou, Rien ne va Plus (tr. by Karen Emmerich).
The things we do for love like this are ugly, mad, full of sweat and regret. This love burns you and maims you and twists you inside out.
â Crimson Peak, written by Guillermo del Toro & Matthew Robbins.
âI had some peculiar ideas about love. Iâll tell you what I thought on the subject back then: itâs about as much use as a barrel with no bottom. When I fed the pigs and two of them got to scrapping over an old soft onion, I thought: thatâs love. Love is eating. Love is a snarling pig snout and long tusks. Love is a dress like the sun. Love is the color of blood. Love is what grown folks do to each other because the law frowns on killing.â
ââ Catherynne M. Valente, Six-Gun Snow White
âHumans in love are terrible. You see them come hungering at one another like prehistoric wolves, you see something struggling for life in between them like a root or a soul and it flares for a moment, then they smash it.â
ââ Anne Carson, Plainwater
In the center of every petal is a letter, and you imagine if you could only remember and string them all together they would spell the answer.
Sometimes Iâm afraid I am afraid
of me, my trans sympathetic nervous
system, my trans fatigue
cracks, my trans 1st Corinthians 3:16 training
the god right out of my trans temple,
all trans dove, no savior; a trans baptism, holy
to be a fire (trans) trembling in the tear of the trans (daughter, trans) tongue.
â TC Tolbert, from âMy Melissa,â published in Poetry

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âGrief and rage - you need to contain that, to put a frame around it, where it can play itself out without you or your kin having to die. There is a theory that watching unbearable stories about other people lost in grief and rage is good for you - may cleanse you of your darkness.â
Anne Carson, Grief Lessons: Four Plays by Euripides
âGive me blood and rage and / a heart for horror; teach me to be /Â tough enough to face this world /Â still standing. Make a Fury of me.â
Elizabeth Hewer, from âFinding Ariadneâ in Wishing for Birds
âWhy does tragedy exist? Because you are full of rage. Why are you full of rage? Because you are full of grief.â
Anne Carson, Grief Lessons: Four Plays by Euripides
Mumford & Sons, âLoverâs Eyesâ
âA wild longing for strong emotions and sensations seethes in me, a rage against this toneless, flat, normal and sterile life. I have a mad impulse to smash something, a warehouse, perhaps, or a cathedral, or myself,â
Herman Hesse, Steppenwolf
ââŚis it better to throw yourself head first and laughing into the holy rage calling your name?â
Donna Tartt, The Goldfinch
âThere is love in me the likes of which youâve never seen. There is rage in me the likes of which should never escape.â
Mary Shelley, Frankenstein
âWe, hurt by ourselves, keen /Â to be hurters and keen /Â to be hurt back deep inside. /Â We, like weapons laid /Â beside anger asleep.â
Rainer Maria Rilke, The Poetry of Rilke; âAntistrophesâ (tr. Edward Snow)
ââŚshe did not allow herself tears. When she did cry, she would explain her tears in this way: âI am not weeping, I am bursting with rage.ââ
Gabriella Fiori, from Simone Weil: An Intellectual Biography
âIsnât all that rage so ugly? /Â And isnât it mine, still? /Â Good god, isnât it mine?â
Ashe Vernon, from âBuried,â Not a Girl
Ada LimĂłn, from âThe Good Fightâ
âWhat are we made of but hunger and rage?â
Anne Carson, excerpt of To Compostela
In this house, we donât say âsorryâ. We say, âhave you eaten yet?â We say, âhere, I brought you an orange; a mango; a bowl of lycheesâ.
Instead of, âI forgive you, I know you meant well,â we accept the fruit with soft eyes; compliment its sweetness, exclaim - âyou always pick the best watermelon â how do you just know?â As though there really existed a secret knock you could rat against a rind; to hear its hollowness; to determine the composition of a perfect cantaloupe.
But, when the fruit is gone, or the treason too irresolvable, we apologise for each other: âyou know he didnât mean it.â Then, it is the flitting of remorseful eyes at the dinner table, from the guilty party, which provides non-verbal confirmation of the fact.
The walls of our pride are built so stubbornly high, sometimes I think it would take a homicide to climb them.
In this house, love is subtle. That does not mean it is ever absent. From a young age, I learn to read between the lines. On balance, I think that is a good thing.
Now I know that not everybody communicates in the same way.
I know that sometimes, love sounds like âI am proud of youâ; like âI trust you to know what is rightâ; that it feels like a space to grow; a sandbox to practice falling over in. Other times, it sounds like chemistry lessons at the dining table; like giving up cigarettes; like a drive to the airport at 3am; or working, some nights, until dawn - to pay for your education, then getting up the following morning to make a packed lunch.
Sometimes love does not sound like âsorryâ or âI love youâ, when those things are too difficult to say.
Sometimes love is just silence and soft eyes.Â
Sometimes love is a bowl of fruit.
 Sue Zhao // Bowl of Fruit