TAN & OCHRE.

Leila Chatti, When I Tell My Father I Might Begin to Pray Again

(i) Thomas Harris, Red Dragon (ii) T.S. Eliot, ‘The Love Song of Saint Sebastian’

— Valerie Mejer, from “from the wave, the way,” Rain of the Future (Action Books, 2013)

Anne Sexton, ‘Sweeney’

Roland Barthes, from “Talking,” in A Lover’s Discourse: Fragments

Interno di un convento/  Walerian Borowczyk/ 1978

— Susan Sontag, As Consciousness Is Harnessed to Flesh (via theliteraryjournals)

Source—Aufweinend vielleicht auch  wenn man bedenkt wie’s einen liebte und fortwollte beides immer ganz in Einem.  

When we have gone from this life, I will always have this place...The Norman Chapel in Palermo; severe, beautiful, and timeless...where you can always find me.

— Donika Kelly, from “Catalogue,” in Bestiary: Poems

Hannibal 1.08 Fromage / The Jealousy of Harlequin, Nina Petrova (2018)

Charles Wright, ‘Clear Night’ 

Amal El-Mohtar and Max Gladstone, This Is How You Lose the Time War

The Silence (1963) dir. Ingmar Bergman The Talented Mr. Ripley (1999) dir.  Anthony Minghella Thirst (1949) dir. Ingmar Bergman Portrait of a Lady on Fire (2019) dir. Céline Sciamma Persona (1966) dir. Ingmar Bergman Mulholland Drive (2001) dir. David Lynch La Pointe-Courte (1955) dir. Agnès Varda

natalie diaz, from postcolonial love poem; “my brother, my wound” / (x) / anne carson from the beauty of the husband; “i dedicate this book to keats”

- Cat's Eye, Margaret Atwood