DISCO DRACULA (1982). From German horror series, John Sinclair.
Everything else aside, you have to admit that this would be the sickest party youâve ever seen.
let's talk about Bridgerton tea, my ask is open

Love Begins
PUT YOUR BEARD IN MY MOUTH

⣠Chile in a Photography âŁ
Monterey Bay Aquarium
he wasn't even looking at me and he found me

Origami Around

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JVL

Kiana Khansmith

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almost home

JBB: An Artblog!

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DISCO DRACULA (1982). From German horror series, John Sinclair.
Everything else aside, you have to admit that this would be the sickest party youâve ever seen.

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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If youâve been thinking, âBuy your new book? In THIS economy?â well, I have some excellent and exciting news!
My upcoming book, The Art of the Unknown, is available for a 25% pre-order discount at Barnes and Noble if youâre a Rewards Member! Sign up to become a Rewards Member (itâs free!) and pre-order my book online between June 23 and June 26 with the promo code PREORDER25 to get the discount. Premium Members get an additional 10% off!
Thank you, friends, for supporting my book by pre-ordering it through B&N before it publishes on September 1!
How To Wear The Summer Solstice: A Collection â Unquiet Things
Strange Eons In The Charnel House: The Surreal Paperback Visions of Richard Powers â Unquiet Things
Strange Eons In The Charnel House: The Surreal Paperback Visions of Richard Powers â Unquiet Things)

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The world we navigate daily is only the palest precipice at the edge of, wellâŚeverything.
Beneath, beyond, between it all lie chasms upon corridors upon catacombs of spatial marginalia we have failed to notice or chosen not to see: the vast, unmeasured wilderness beneath our feet, the vaporous spirit world peering from beyond, the humming, thrumming space between dreams, the distance between newborn and dying stars.
I assembled a companion playlist to my new book, The Art of the Unknown, and it sounds like this: a shimmering sidereal lullaby, jazz noir bleeding into a pulsating wound of ominous dread, the Stendhal syndrome scored for strings, the ritualistic choir of the body in extremis, the echoing reverb of palindromic mirror worlds, the incantatory clocklessness of Afrofuturist jazz. It contains a ballroom that survives the dissolving shipwreck of memory, electronic music built from pure sine waves for a universe in its first three minutes, before matter and light separated, the moment before anything became anything, and twenty-one minutes of slow electronic drift that pools like November fog in an abandoned stairwell. A trombone played in an underground cistern by seeping stone seraphim. A coastal field recording that captures moonlight shadows creeping slow.
A sonic curation for entire worlds â worlds beneath the skin on our bones and the lightless bottom of the ocean, beyond the final named star and the glittering edge of heaven, between the infinite and the unbearably intimate shadow and the soul.
Listen here: Art credit: Linda Westin
Last year, I was featured on eaulalabygenevieve's Shelfie Sunday, and I was delighted to share a bit about my collection. This June, I was invited back to reflect upon what may have changed over the past year! There's a version of collecting that's really about proving something â to yourself, to whoever looks at your shelf, to the concept of yourself as a person with interesting taste. I've done that version. I know what it feels like. The question I'm sitting with now is different: not what do I want to add, but what is this practice actually for. What I keep coming back to is the finding, the thing inside a scent that is specifically, irreducibly mine to locate, the connection nobody else would make, a door nobody else would think to open, a room nobody else would know to look for, the poem nobody else could write. There's always something in there that belongs to me specifically, something only I can find. My collection is not only the occasion for the finding of this thing, but the devoted celebration of it!
UPDATED! Bargain Bin Romance â Unquiet Things
UPDATED! Bargain Bin Romance â Unquiet Things
UPDATED! Bargain Bin Romance â Unquiet Things

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UPDATED! Bargain Bin Romance â Unquiet Things
I recently wrote about building my own personal curriculum to better understand 1) the ideas and concepts around the term âhauntology,â and 2) wrap my head around Julia Kristevaâs writings. But it occurred to me that Iâd be terribly remiss if I didnât mention my own books in terms of creating some courses for self-learning!
I put together a (hopefully very shareable) slideshow of graphics about how each book might assist in studies of the arcane & esoteric, the darker side of life, and the fantastical, and how you shouldnât skip the visual component when youâre deepening your understanding of this, that, or the other thing. (Coming from a rather lazy student, I mean obviously more pictures and less words is the way to go hehehe.)
If youâve been online lately, youâve probably seen people talking about âpersonal curriculums,â essentially, self-directed courses of study built around whatever youâre genuinely curious about. Instead of following someone elseâs syllabus, youâre creating your own path through a subject, pulling together books, films, essays, art, music, whatever feeds your particular obsession.
Itâs a beautiful way to learn, and itâs having a moment because people are hungry for depth, for expertise that comes from genuine interest rather than algorithmic recommendation. You get to be both student and curator of your own education.
I love this concept because itâs exactly how Iâve always learned: following threads of interest across mediums and disciplines, building connections between visual art and literature and history and folklore. Itâs also, not coincidentally, how I approach curating my books. (Itâs also a good reason to buy new notebooks!)
Which brings me to this: if youâre building a personal curriculum, hereâs where my Art in the Margins series fits.
Studying the occult, symbolism, or esoteric art history?
The Art of the Occult belongs in your visual studies. From theosophy and kabbalah to the zodiac and alchemy, from spiritualism and ceremonial magic to the elements and sacred geometryâthis book brings together artists who have been drawn to these unknown spheres and created curious artworks that transcend time and place. Whether youâre learning tarot, diving into the history of magical practice, or exploring Hermetic traditions, you need the visual language that goes with it. These works stem from a soul-deep desire for truth and awareness, revealing the hidden rules of nature and our world through imagery that has haunted and inspired across centuries.
Exploring Gothic aesthetics, melancholy, or the beauty of darkness?
The Art of Darkness is your visual companion. This book celebrates artists who have been obsessed with darkness throughout historyâcreating works that haunt and horrify, mesmerize and delight, and play on our innermost fears. From dreams and nightmares to matters of mortality, from depravity and destruction to gods and monsters, these artworks indulge our greatest fears while asking: what comfort can be found in facing our demons? Why are we tempted by fear and the grotesque? If youâre studying Victorian mourning culture, exploring Gothic traditions, or simply trying to understand why certain aesthetics speak to something deep within you, this is your sourcebook. Denial of our darkness leads us to fear itâŚ.better to create a connection with our shadows and revel in all the inspiration and wonder we may find there!
Deep-diving into fantasy worldbuilding, mythology, or the fantastic?
The Art of Fantasy gives you the visual language. Artists have explored imaginary worlds and fantastical creatures for centuries, expressing the unreal and impossible, the mystical and mythical through paint and illustration. This book presents a compendium of artworks inspired by myth, fantasy, and the unrealâfrom beasts and beings to forgotten realms and wonderlands, from dreams and magic to faith and philosophy. If youâre studying folklore, reading epic fantasy, learning about mythological traditions across cultures, or working on your own creative worldbuilding, these visual flights of fancy and imagination show you how artists have conveyed the vast swathe of hopes and dreams in our collected hearts. Fantasy is not simply an escape from realityâŚit is the irresistible impulse that reveals hope and wonder in us all.
Whatever youâre studying, visual art deepens your understanding in ways that text alone cannot. It shows you how ideas manifest aesthetically, how concepts become tangible, how symbolism operates visually. The artists in these books are thinking deeply about their subjects, creating work thatâs in conversation with history, mythology, spirituality, and culture across centuries.
If youâre building your own curriculum for any of these subjects, please donât skip the visual component! These books are resources, and theyâre meant to be referenced, returned to, absorbed alongside whatever else youâre studying.
And if youâre building a curriculum around something else entirely? Tell me about it. I want to know what youâre learning, what threads youâre following, what obsessions are driving your self-directed education. Thatâs always been my favorite kind of conversation!
A smattering of artful tidbits from the chapters of my forthcoming book, The Art of the Unknown: A Visual Treasury of the Esoteric, Uncanny and Unexplained, due into this world on September 1 and available for preorder now.
In the gloaming of a haunted forest, Dante Gabriel Rossetti(1828â82) stages an encounter with existential terror: meeting your exact double while on a romantic stroll. (âSo⌠come here often?â suddenly becomes a deeply unsettling question.) Twomedieval lovers stumble upon their exact replicas, creating a mirrored quartet of supernatural dread. The woman on the right swoons dramatically, while her companion draws his sword against this impossible apparition. The doubled figures arenât reflections but solid presences, glowing with eerie phosphorescence against the darkening woods. Rossetti calledthis his âBogie drawingâ and paintedseveral versions over the years. Rossetti reportedly used himself and his wife, Elizabeth Siddal, as models for the imperiled couple, painting one version during their honeymoon, of all times. Folk beliefs hold thatencountering oneâs doppelgängerportends imminent death, lendingthis woodland date a macabre edge. What terror might we feel, meeting ourselves in the flesh, our secret selves made manifest?
A smattering of artful tidbits from the chapters of my forthcoming book, The Art of the Unknown: A Visual Treasury of the Esoteric, Uncanny and Unexplained, due into this world on September 1 and available for preorder now.
Leaf-like spirits spiral through the air while a lone figure sits among wildflowers, witnessing the hidden face of the breeze. Robert James Enraght Moony (1879â1946), influenced by Symbolists and Pre-Raphaelites, believed the natural world harbored invisible forces that revealed themselves only to patient observers. Magic doesnât require remote wilderness; sometimes itâs waiting for someone willing to sit still and really look. His 1938 oil painting is essentially about how the world is constantly doing amazing things right in front of us, but weâre all too busy scrolling on our phones to notice. (Well, they didnât have phones in 1938, but you get the idea.) Weâve all experienced this: youâre sitting in some random place when, suddenly, the air feels electric, like the world just reminded you that itâs a miracle, that youâre a miracle, that this ordinary day in 1938, or right now, is actually the most extraordinary thing thatâs ever happened.
 A smattering of artful tidbits from the chapters of my forthcoming book, The Art of the Unknown: A Visual Treasury of the Esoteric, Uncanny and Unexplained, due into this world on September 1 and available for preorder now.
A woman floats in dark waters, her reflection staring back with eerie ambivalence, both versions seemingly unbothered by their impossible arrangement. Leonor Fini(1908â96) paints a doubled existence where neither face claims to be the original â they simply coexist, calm as you please, while three skulls drift past and dried leaves cling to a barren branch. The Argentine-born artist gives us feminine power at the end of the world (or perhaps its beginning â the title suggests both), yet her subject appears utterly untroubled by the apocalyptic scenery. The cracked, aged texture makes the woman feel ancient, eternal, as if sheâs been taking this same leisurely soak since the lake first formed. In the distance, buildings shudder under a moody sky touched with orange and green â civilization reduced to a faint silhouette on the horizon. But why worry? The waterâs fine, the companyâs quiet, and thereâs something marvelously peaceful about having your own reflection as your only companion at the end of everything.

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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A smattering of artful tidbits from the chapters of my forthcoming book, The Art of the Unknown: A Visual Treasury of the Esoteric, Uncanny and Unexplained, due into this world on September 1 and available for preorder now.
What Wenzel Hablik (1881â1934) achieves in this magnificent artwork makes the word âattemptâ in his titles seem almost comically modest. In Starry Sky, Attempt (1909), this visionary Czech artist transforms the cosmos into a pulsing, living thing. Planets hang at eye level, stars cluster and swarm like bees, and the very fabric of space seems encrusted with crystalline light. This crystalline quality was no accident â a chance discovery of a crystal fragment in his childhood sparked Hablikâs lifelong obsession with geometric forms and luminous patterns. Against a backdrop of deepest midnight, his celestial bodies pulse and throb with impossible colors. Crimson planets hang like ripe fruit, violet nebulae swirl like smoke, and countless stars burn in constellations of gold, azure, and white. That Hablik called this a mereâattemptâ speaks volumes â as if this breathtaking cosmic vision were just a preliminary sketch rather than the universe reimagined in its full glory.
A smattering of artful tidbits from the chapters of my forthcoming book, The Art of the Unknown: A Visual Treasury of the Esoteric, Uncanny and Unexplained, due into this world on September 1 and available for preorder now. Francisco Goya (1746â1828)wrestled this nocturnal apparition onto canvas in under half an hour, working with such urgency that he skipped preliminary sketching entirely. Rediscovered in 2016 after vanishing for 90 years, this small painting emerged from Goyaâs post-illness period, when deafness had turned him towards darker visions. The horned specter, draped in darkness, face barely suggested, hovers menacingly before human witnesses rendered in nothing more than quick strokes against ochre darkness. Two centuriesbefore death metal or dungeonsynth existed, Goya had alreadypainted the perfect album cover. Art historian Arturo AnsĂłn Navarro declared it unlike anything else from its era, a raw transmission rather than a considered composition. Was this Goyaâs private demon made manifest? A hallucination born from illness? Or something he actually witnessed during sickness, when strange things become visible to those suffering?