“The work [of literature] always means: not knowing that art exists already, not knowing that there is already a world.”
— Blanchot, The Space of Literature

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@elizabethanism
“The work [of literature] always means: not knowing that art exists already, not knowing that there is already a world.”
— Blanchot, The Space of Literature

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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“now when it’s evening
and fatigue rises like a straitjacket
if I refuse to think, if I sleep—
oh what emptiness
a collapsed mass
of blue and red veins
lungs breathing
clots and knots, blooming—
dangerous delusions
at death’s soft edge”
Judith Mészáros, Angeliad
“And I too wanted to make our bed everywhere with lost edges where the land can be the sea and close its sheets of waters on us.”
Tomb(e), Hélène Cixous; tr. Laurent Milesi
Duras, Six Films (Le Navire Night)
“I am no longer present, I am a thousand pencils, I don’t want to know what they write, I want to disappear amid their motion, which I no longer understand.”
—The Book Against Death, Elias Canetti; tr. Peter Filkins

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“You can write only if you know how to reflect endlessly, mathematically, asking yourself, What’s the name of this thing I am seeing and that I have never before seen? It takes time.” —Hélène Cixous
http://buff.ly/zshigS4
« Mais c’est dans la ténèbre, et comme ténèbre lui-même, que le corps a été conçu »
“the body was conceived in darkness, and as darkness itself,” writes Jean-Luc Nancy
“For one must speak of love in the same way as one must love—in the first person. […] l will therefore say I at my own risk and peril. But, dear reader, know this: l will say I in your name.”
“The Silence of Love,” Jean-Luc Marion’s introduction to The Erotic Phenomenon. In the translation of Stephen E. Lewis.
“I need to turn to the other and address myself to her, and thus address her with speech and await her response. […] Precisely by virtue of that of which l cannot speak, l must speak to the other. Thus the erotic reduction redefines the rules of language.”
This is quite something: “wherever a person is found, there is no hell”
“Orpheus’s complex: Eurydice is found everywhere, except in Hell (wherever a person is found, there is no hell, not even Hell)”
On elsewhereness and the time of expectation:
“[The] past will remain definitively over if elsewhere can no longer be expected, if it can no longer happen; by contrast, it will remain eventually provisional for as long as a new expectation can hope for the return of an absence still to come.”
“The lover makes appear the one whom she loves […] as an Orpheus of phenomenality […] makes him emerge from the depths of the unseen”
“Wintry Mix” by Harry Bliss
New Yorker

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“Anonymity is as gentle as a dream. I need that dream.”
Lispector, Too Much of Life
Ernst Hugo Lorenz-Morovana, Moonlight Over the Old Berlin Cathedral, 1910
'Cat Fancy' , from The New Yorker Magazine, illustrated by Edward Gorey.
“We comfort ourselves by reliving memories… by recalling these memories [of home], we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost.”
—Bachelard; tr. Maria Jolas
As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000) - Jonas Mekas

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Дерево і кішка (1983) dir. Evgeniy Sivokon
Watch "The Tree and the Cat" (Дерево и кошка, 1983) with English and Estonian subtitles. Animation directed by Yevgeniy Sivokon. Made at Kie
In the early hours, Derrida: “Tell me, who will ever have photographed a sentence? And its silence of things stifled on the surface? Who will ever have photographed anything other than this silence?”
Athens, Still Remains; tr. Pascale-Anne Brault and Michael Naas