Daphne du Maurier, Rebecca
One Nice Bug Per Day
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Alisa U Zemlji Chuda

Love Begins
"I'm Dorothy Gale from Kansas"

Discoholic 🪩

roma★
Xuebing Du

❣ Chile in a Photography ❣
i don't do bad sauce passes
I'd rather be in outer space 🛸
we're not kids anymore.

祝日 / Permanent Vacation

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art blog(derogatory)
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Daphne du Maurier, Rebecca

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Where Seed Falls
Stalking
The neighborhood is dangerous
but we go there
We walk the long way.
OUr jangling keys
mute the sound of our stalking.
To be under the sky, above
or below a man.
This is our heat.
Radiant in the night.
Our hands blister with semen.
A field of flowers blossoms
where we gather
in empty warehouses.
Our seed falls
without the sound or
grace of stars.
We lurk in shadows.
We are the hunger of shadows.
In the dark
we don’t have to say
I love you.
The dark swallows it
and sighs like we sigh.
when we rise
from our knees.
Getahun Assefa Balcha (Ethiopian, 1967), Women Fishing, 2019. Acrylic on canvas, 199 x 100 cm.
Marina Abramovic - Cleaning the Mirror
‘And now she also knew the desolation of small things, the power to give infinite pain that lies hidden in the little inanimate objects that persist, in a book, in a well-worn garment, in a half-finished letter, in a favourite armchair. She thought: ‘They go on – they mean nothing at all, and yet they go on,’ and the handling of them was anguish, and yet she must always touch them. ‘How queer, this old armchair has outlived him, an old chair – ‘ And feeling the creases in its leather, the dent in its back where her father’s head had lain, she would hate the inanimate thing for surviving, or perhaps she would love it and find herself weeping.'
Radclyffe Hall

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On Names and Love
Tennessee Williams, ‘The Vine’ from Selected Stories // Jodi Picoult, Handle with Care // Dale Carnegie, How to Win Friends and Influence People // Stephen Sondheim, ‘Maria’ from West Side Story // Naomi Shihab Nye // Ursula K. Le Guin, A Wizard of Earthsea // Shilpa Goel // Aidan Chambers, Nik: Now I Know
Coffin Texts, spell 714
Strauss’ Salome, dir. Hans Neuenfels for Staatsoper Berlin (2019)
One must imagine Sisypus happy not because he enjoys the struggle but because the struggle is all he has. Journey on the hill is who he is, without it he would lose all sense of identity. In an absurd world we define the struggle as our identity, identity is all we have and we are eager to maintain it even if it brings us misery.
Dezider Tóth (Slovak, born 1947)
Sheet music LXIV. Weeping (Lamentácia), 1976–1978
Paint on paper, 45 x 62.5 cm

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Lawrence Weiner, Preparatory Drawing For Gyroscopically Speaking, (from a set of 4 drawings), 2010 [Marian Goodman Gallery, New York, NY, and Paris. © Lawrence Weiner]
Ryan Carl
Layers of meaning
Postcolonial Love Poem, ‘Wolf OR-7′ by Natalie Diaz
[ID: I confuse instinct for desire - isn’t bite also touch?]
Giuseppe Chiari, Weiße Rose, 1974
Madonna at the Don’t Bungle the Rain Forest benefit, 1989

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Grace Kelly as Lisa Carol Fremont in Rear Window (1954)
Roberta Mameli and Giuseppina Bridelli in La clemenza di Tito. Teatro del Maggio Musicale Fiorentino, 2019. (Photo: Michele Monasta)