the wind/door by Jane Barnes

if i look back, i am lost
Lint Roller? I Barely Know Her
One Nice Bug Per Day
wallacepolsom
Peter Solarz

pixel skylines

Kiana Khansmith

â

çĽćĽ / Permanent Vacation
Not today Justin


blake kathryn
he wasn't even looking at me and he found me
Xuebing Du
occasionally subtle

â
trying on a metaphor
Cosimo Galluzzi

seen from Singapore
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seen from United States
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@literiagan
the wind/door by Jane Barnes

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amir khusrow (1253â1325 CE)
This is back on my dash! And listen, I love to see Amir Khusrau getting appreciation, but this translation ignores a lot. The original rhymes! And scans! And does playful things with register! And conveys a tone of affectionate banter between the two speakers, not least because it has them both addressing each other as sakhi (translated above as âgirlâ) in the last two lines. I think taking some liberties with line order is worth it to preserve more of the restâand I think thereâs a better translation of sakhi. And so:
He only visits once a year, I splurge big on him when heâs here, His kisses make my tastebuds tango. Who, bitch, your man? Nah, bitch, a mango.
Finished stitching my Oversight series.
12 small embroidered poem-objects in wool, linen, cotton, silk, stitched on canvaswork mesh and edged in glass beads.
Jenny Slate, Stage Fright (2019)
Ugly, Bitter, and True by Suzanne Rivecca
John Mulaney on The Late Show with Stephen Colbert (2020)
âRobin Williams and Why Funny People Kill Themselvesâ by David Wong
letters from Medea, salma deera
âI love the way the playerâs body moves in Bloodborne: You can fly in any direction like that, like a nervous little bird. If you want to be close, you are instantly close, and if you want to be away, you are instantly away. What a gift. Of course everything is violent and wants to touch you, but if you are perfect, you will not be touched. There is a little secret here which perhaps you can notice: When the ugly monsterâs limbs reach out to touch the small humanâs body, there is about a tenth of a secondâmaybe lessâ where her body is invincible. It doesnât even matter if sheâs geometrically in harmâs way or not. She is safe because she timed it right, was perfect. See, even in this very hard game, there is something wonderful and fair: The game doesnât care about the way bodies actually intersect. If your timing was correct, it agrees: âYou were not touched.â Many games hide that tiny moment of invincibility within quick movement, and it feels so kind just knowing, no mater how bad you are, that if you could fit every moment of pain in that one tenth of a second you could be invincible for the rest of your life. Sometimes I wish I had this power in real life. If I had it would mean never having to say ânoâ in so many words, nor the confrontation that sometimes comes with saying no. But that perfect, flawless dodge is not sustainableâyou have to be devastated so many times to get the timing so flawless. And hereâs my bad secret: when I killed this one monster, I didnât do it by dodging flawlessly, but by mashing some awful weapon in her side while her limbs were flailing and she could not hit me back. Unfair and problematic of me, I know. So often, gamesâ expressive qualities are limited to the violent motion of virtual bodies, yet they can be extremely articulate within that vocabulary. As much as I want to be an untouchable angel of forgiveness and grace with a bottomless well of compassion for all living things, I keep messing up that dodge and I think itâs making me a bitch.â
â Aevee Bee, âI love my untouchable virtual bodyâ (via goodbyemisery)

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Affirmation to youth living in prison after Assata Shakur
by Eve L. Ewing
Korina Wray
drew over something i wrote for a class and liked :] sorry the cars are lowkey ugly, its because I fucking hate cars and cant be bothered to learn what they look like beyond ominous hunks of metal
edit: transcript of the poem by itself under the cut
In other words, Iâm a âkitsune miko that lives in a mountain shrineâ, and my existence is determined wholly by people believing in this form that I take. I donât have any individuality or part which is really âmyselfâ. Like a myth or a legend, my story and things that happen in my life are all shaped and dreamt up by other people, none of which I actually live through of my own accord. Almost like Iâm just a higher level imaginary friend of sorts, existing only in the minds of people who believe⌠the consciousness that I have right now is not of myself. No, the âawarenessâ I have is almost like that of a third person observer, living out the figments of imagination of what people believe that âa kitsune miko would do in a given situationâ, of countless, untold numbers of people⌠You could say that everything that I even think about, everything that I feel, âeverything that I could possibly feel was a thought of someone else, and if no one ever thought of it, I could never think of itâ, an existence void of self-agency⌠and even that void of self-agency is something thought up by some âauthorâ, somewhere⌠Please donât misunderstand, Iâm not actually venting my frustrations or in despair about it all. After all, even this feeling Iâm feeling right now is what people believe that I would feel given this situation I find myself in. thatâs âfaithâ. Thatâs what gods (particularly those of Japan) are made of. For example, imagine that there was a doujin, or an anime or manga in which a wholly commercial depiction of a âkitsune girlâ existed. Imagine that people, in their own individual imaginations, thought of possible situations that this character would or could experience, continuing where the original media left off or left out. Iâm that imaginary existence given flesh. The truly scary thing about this all is that when someone forgets or stops caring about my existence, my being loses what they had of me. And when everyone forgets, that will be a true and final death⌠I donât want to die. Itâs scary. Being forgotten is terrifying. But given my existence to begin with, could you even say that I have âlivedâ at all? Iâm but flesh given of the wavering, transient delusions or fantasies of a âkitsune girlâ, and I donât exactly exist âin timeâ, per se. I do not have an existence set in stone, thereâs nothing concrete about who I am. Iâve said this before, but Iâm simply an illusion, and what I am changes. My character, my appearance, and even the way I am cognizant, the way I think. Theyâve always been changing, disappearing, appearing as time passes. What is now vanishes, and what comes also vanishes, and vanishes⌠and it keeps happening. Is that truly 'livingâ? Is it really even 'existingâ? the me of yesterday is not the me of today, and the me of tomorrow will be different yet again. In order to conceptualize who I even am, because everyone thinks of me in a different way, I do not even have a fixed, baseline 'formâ. Itâs insane, isnât it? I think I was always insane to begin with⌠No; itâs just that I never looked insane to begin with. Because everyone believes that Iâm not, believes that I am what I am, and I simply perform my part, like an actor acting⌠no, being made to act, a puppet. But inside, itâs all broken, thereâs nothing but madness underneath. Iâm unable to deny this fact. Did I not say before, that even my own existence as observer of myself in the third person is not of my own volition? But you, there, youâre imagining it right now, arenât you? That it is? How could I possibly stay sane, with an existence like this-

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Whitey On The Moon by Gil Scott-Heron
Gil Scott-Heron, a singer, poet, and author, created numerous spoken-word works addressing social, political, and economic issues in the United States. In his 1970 poem âWhitey on the Moon,â he highlights racial and economic inequalities by contrasting the 1969 moon landing with the harsh realities faced by African Americans in cities such as New York, Detroit, and Los Angeles.
The hurting kind by Ada LimĂłn
carta monir
"you can honor your elders without freezing them in resin. you can fuck right now."
PLEASURE by Rick Barot

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Someone had to go first
The first ship that arrived was pretty matter of fact about its fate. The pilot introduced himself as Eric, then told us he was part of the first sublight resupply attempt in modern history. He then gave me and the ground control team his bad news.
âSo,â he said. âWithout real time telemetry, we werenât even sure which half of your orbit youâd be in. Thatâs half a solar systemâs worth of wiggle room. Decelerating enough to survive contact with your low orbit would take me two weeks, which, you know, it looks like we donât have. That means that in order to get the second ship in before you lose orbital control to the Kresh, Iâm gonna have to make a sacrificial flyby. Ten to the negative four torr is good enough for a lot of things, but at point-seven c itâs gonna be like sandblasting a soup cracker. Good news is that all the expensive toys are in the next ship, so this really ainât costing you more than a ship and a pilot.â
Daylight Savings by Grace Q. Song