Rainer Maria Rilke, "Entrance", The Book of Images, trans. Edward Snow
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Rainer Maria Rilke, "Entrance", The Book of Images, trans. Edward Snow

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Karel Thole - The general zapped an angel, 1970.
THE X-FILES ↠ 3.17 Pusher
A lithograph by Ellison Hoover titled “Manhattan Midnight” from around 1930.
dostoyevsky and kafka quotes out of context are shaping to be the new “not to me, not if it’s you” and “you’re in a car with a boy”

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please put in the tags the worst book you’ve read in its entirety!!
“sleepflower” by manic street preachers // “suicide in the trenches” by siegfried sassoon
no rizz. just insane music taste & a peculiar amount of knowledge about very niche topics and historic events
The Prisoner (1967) Revolutionary Girl Utena (1997)
part 2 of the wildest comparison ever drawn
ikuni metamorphosing into the bridge between patrick mcgoohan and shoujo anime
Kill me…lying down.
What sounds, and looks, at first glance like an absurd, surreal, and frankly suicidal offer made by the P to an increasingly frantic Number Two, on closer inspection reveals a far more complex set of intentions and motivations at work - anticipating the upcoming reversal in the roles of the interrogator and his victim. The P is beginning to recover his “wits,” and McKern knows it. Fears it. Their original relationship is in the process of re-establishing itself: two men locked in mortal combat; one of them is being held prisoner by the other. These are the basic parameters, and the P is a quick study: I know you. You are an enemy.
McKern, for his part, “recognizes the symptoms” (as Number 58 once did), yet he is powerless to stave off the inevitable. He also recognizes a familiar temptation that is tearing at his own resolve, and it is more than a faint echo of his own earlier technique during the grooming phase of their relationship. His superior knowledge no longer constitutes an advantage; he is losing the battle, literally, with every minute that is passing, while the P’s awareness is growing.
The process of “recovery” set in motion by the quiet - private - realization of I killed just before his incarceration for contempt of court is continuing throughout this sequence, and his offer marks a crucial shift not only in the power balance between the two men, but also in the P’s returning sense of self (awareness). Throughout this sequence, barring the odd rattling of his cage, largely for “effect,” the P is in control. It is he who is asking the questions and providing the answers. McKern, on the other hand, is exhausted. He is becoming jittery, frustrated, and he is seriously tempted by the P’s deceptively “quick” solution.
By offering his complete surrender, the P is in fact demonstrating his (almost) complete control of the situation: he is in control of his own thoughts and feelings, as well as McKern’s. No matter what he decides to do, McKern has already lost because he has admitted as much. I’ll kill you, he growls, knowing full well that he has made a serious mistake by revealing his weakness: he cannot, he must not kill his prisoner. McKern is rattled. It wasn’t he who provoked this crisis. It was the prisoner who created a crisis for his interrogator. The original dialogue, once again, contained more explicit references to McKern’s dilemma:
I’ll die.
You will.
But you can’t kill me.
I will.
You’ve failed.
I will kill you.
You’ve failed.
I will kill you.
You’re afraid.
By contrast, the P’s earlier admission remains an abstraction: far from referring to any individual transgression, I killed points to the abominations of an inhumane system which forces its “members” to surrender their individuality for that elusive goal of the “greater good.” Ironically, while young P thought he was enjoying special freedoms and privileges, he too was receiving and following orders like everybody else. It was this realization, presumably, which caused him to reject “the system” in the first place. When McKern therefore attempts to reassert his authority and reinstate the P’s conditioning by ordering him to Do as I tell you, he is pushing all the wrong buttons - even as he is preparing the scene for the next - and final - final regression fantasy:
But in the war, you killed.
I did as I was told…

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kings and desperate men (1977, dir. alexis kanner). interesting blue hued glimpses of 1970s montreal in a largely aesthetically-unappealing film.
The existing pool. Water can make an attractive transition between garden and countryside. Here the detailing of the pond is natural, with boulders used to make an informal surround.
The Garden Book, 1984
biology of a stapler
Fad Gadget / Frank Tovey, 1983
The Battle of the Frogs and Mice, from Up One Pair of Stairs of My Bookhouse by Willy Pogany (1920)

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Fine binding of Dorothy L. Sayers’s Gaudy Night by Erica L. Winbury, with the Oxford skyline on the outside covers, and the Red Queen and White King on the inside.