The Complete Poems of Emily Dickinson: ā378ā² c. 1862

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@quandar
The Complete Poems of Emily Dickinson: ā378ā² c. 1862

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Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā āā Ā YOUĀ DESTROYEDĀ Ā allĀ thatāsĀ heavenĀ toĀ me. Ā ā ā
*Ā Ā @prierdieuā Ā ,
Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā āā Ā IĀ SAIDĀ IĀ DONāTĀ MIND,Ā Ā butĀ iĀ lied.Ā Ā ā ā
*Ā Ā @goodfelowāā Ā ,
Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā āā Ā Ā WHOāSĀ GONNAĀ Ā checkĀ upĀ onĀ youĀ tonightĀ Ā ?Ā Ā ā ā
*Ā Ā @autumnnalāĀ ,

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Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā āā Ā DONāTĀ THINKĀ ABOUTĀ THEĀ PAST. Ā ā ā
*Ā Ā @gohldfinchāā Ā ,
Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā āā Ā MAYBEĀ ITāSĀ MOREĀ Ā thanĀ iĀ canĀ affordĀ toĀ lose.Ā ā ā
*Ā Ā @stohnefoxā Ā ,
Iām very interested in exploring milesā characterization in relation to gender roles [ from a modern perspective, though I have no doubts that James may have been intentional in subverting what is believed to be the societal norm ]. The governessā inappropriate infatuation with as well as her objectification of Miles cannot he denied; the way she describes him is often the way that male authors / protagonists discuss women, particularly those are made to be love interests. Ideally, they are the archetypal damsels in distress, intended to provide the protagonist with some kind of fufillment, and simply to be beautiful [ which the governess never seems to let us forget that miles is, in fact, beautiful ]. All of these tropes are projected onto Miles from the perspective of the governess, and when he defies this vision that she dreamt up, he is demonized similarly to the way society responds to women who do not fit a certain mold. She feels that she must save Miles from his āpossession,ā that she would die if it meant that he would be āsafe.ā All the while, she admires him for his softer, more demure demeanor than what she expects of boys his age. Traditionally, itās men that we see exhibiting these kinds of behaviors and itās girls who have these kinds of ideas projected upon them [ when we take into account just when this story was written, this is very revolutionary on the part of James ]. This notion is brought to the forefront of this tale as James subtly reminds us that it is simultaneous with the hyper - visible reality that women are consistently harmed, harassed, and victimized by the hands of men with the subplot of Jessel and Quint. As we know, Quint himself is a monster, and as the story progresses the governess herself begins to exhibit the very same vicious nature as she descends into madness; she is foreshadowed to become him.
like for something.
Ā ā HEāSĀ MUCHĀ TOOĀ STILL, Ā Ā Ā posture Ā indicative Ā of Ā that Ā of Ā a Ā sculpture.ā Ā cold Ā rushes Ā over Ā his Ā body, ā Ā rushing Ā up Ā the Ā length Ā of Ā his Ā fingertips, ā Ā extending Ā up Ā the Ā shaft Ā Ā of Ā his Ā arms, Ā lending Ā itself Ā to Ā his Ā pre - existing Ā malaise. Ā Ā Ā the Ā grounds Ā of Ā bly Ā manor Ā are Ā equally Ā as Ā quiet Ā as Ā balmy Ā springtide Ā winds Ā allude Ā to Ā summer. ā Ā the Ā rotting Ā remains Ā of Ā a Ā mother Ā sprawled Ā upon Ā the Ā foliage Ā are Ā what Ā draw Ā the Ā boy;ā Ā Ā the Ā perfume Ā of Ā her Ā decay Ā is Ā sharp,Ā Ā Ā though Ā it Ā seems Ā not Ā to Ā hinder Ā miles. ā Ā he Ā makes Ā an Ā uncertain Ā step Ā and Ā then Ā another. Ā he Ā kneels Ā in Ā the Ā grass, ā Ā observing Ā lamented Ā feline Ā with Ā a Ā displaced Ā allurement,Ā Ā Ā hand Ā outreached Ā to Ā stroke Ā its Ā coat; ā Ā to Ā deem Ā death Ā something Ā tangible. ā Ā a Ā small Ā cry Ā gives Ā him Ā pause, ā Ā light Ā and Ā marked by youth and yearning. ā Ā he Ā turns Ā to Ā surlyĀ Ā sydney, ā Ā having Ā forgotten Ā that Ā sheād Ā been Ā with Ā him, ā Ā inquiry Ā positioned Ā on Ā his Ā lips, Ā Ā Ā Ā āā Ā --- Ā Ā did Ā you Ā hear Ā that Ā Ā ? Ā ā ā
*Ā Ā @snovakāĀ Ā , Ā

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oh.
Lost, Lost, Lost (Jonas Mekas, 1976)

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* Ā ( Ā SHAPETORN.Ā )Ā
demon turned therapist, hired keep to psychoanalyze the raven haired boy seated across from you.Ā Ā Ā psychoanalyze is what you intended on doing though unbeknownst to the mere mortal occupants, the analysis was strictly for your enjoyment.Ā Ā to gain the knowledge that you so badly sought, to see if the soul you sought out seemed as seasoned as you believed.Ā Ā Ā ā i understood you just fine. while i do my best to make sense of them, it will only hinder you to not seek to make sense of them yourself. āĀ Ā Ā Ā Ā Ā Ā a challenge, shifting weight, leaning void body against the right side of chair.Ā Ā a near ache to act as if you cared about the therapeutic growth of this child though you played the act well, thousands of years of practice.Ā Ā Ā ā talk to me about theĀ ānoā component of this accident. it is easier for us to understand ourselves by first confronting our actions and intentions. āĀ Ā Ā Ā Ā Ā Ā Ā Ā and what were your intentions if not driven by the need to devour?Ā
INĀ Ā SPITEĀ Ā OFĀ Ā QUALMS,Ā Ā Ā Ā theĀ Ā boyĀ Ā sinksĀ Ā inĀ Ā hisĀ Ā seat,Ā Ā baskingĀ Ā inĀ Ā theĀ Ā teenageĀ Ā riteĀ Ā ofĀ Ā passageĀ Ā thatĀ Ā isĀ Ā disrespect.Ā Ā Ā Ā Ā Ā ā Ā Ā i Ā donāt Ā think Ā i Ā want Ā to. Ā Ā Ā ā ā Ā Ā Ā seedĀ Ā ofĀ Ā doubtĀ hadĀ Ā beenĀ Ā planted,Ā Ā Ā thoughĀ Ā germinationĀ Ā hadĀ Ā yetĀ Ā toĀ Ā takeĀ Ā placeĀ asĀ Ā heĀ Ā recallsĀ Ā aĀ Ā prettyĀ Ā changelingāsĀ Ā reassuranceĀ thatĀ Ā lyingĀ Ā wouldĀ Ā unfetterĀ Ā him.Ā Ā Ā Ā āneathĀ Ā hippicĀ Ā lashesĀ Ā doĀ eyesĀ Ā burnĀ Ā brightĀ Ā withĀ Ā revelation.Ā Ā Ā Ā Ā Ā āĀ Ā Ā Ā Ā youĀ Ā workĀ Ā forĀ Ā me,Ā Ā donātĀ Ā youĀ Ā Ā Ā ?Ā Ā Ā Ā myĀ Ā uncleĀ Ā isĀ Ā payingĀ Ā you,Ā Ā isnātĀ Ā heĀ Ā Ā Ā ?Ā Ā Ā whatĀ Ā areĀ Ā Ā yourĀ Ā intentions,Ā Ā Ā doctorĀ Ā ---Ā Ā Ā ?Ā Ā ā ā Ā Ā Ā Ā Ā Ā heĀ Ā doesnātĀ Ā waitĀ Ā forĀ Ā aĀ Ā name.Ā Ā Ā Ā Ā Ā āĀ Ā Ā Ā iĀ Ā canĀ Ā pickĀ Ā andĀ Ā chooseĀ Ā whatĀ Ā iĀ Ā wantĀ talkĀ Ā about,Ā Ā Ā andĀ Ā iĀ Ā donātĀ Ā wantĀ Ā youĀ Ā askingĀ Ā meĀ Ā aboutĀ Ā thatĀ Ā anymore.Ā Ā Ā chooseĀ Ā somethingĀ Ā else.Ā Ā Ā Ā ā āĀ Ā
Ā * Ā ( Ā SHAPETORN. )Ā
Ā Ā Ā Ā ā correct, you have not murdered anyone. āĀ stone shoulders rise and fall with a passive ease.Ā eyes remained dark and void, just like the vacant presence that loomed in the confines of this hollowed shell of a body.Ā Ā lips pursed, head tilting.Ā Ā Ā ā weāll get to what i want momentarily. iām afraid we havenāt fully indulged my initial question, no?Ā at least, i did not find the answers i sought. āĀ strand of blond hair pushed behind ear.Ā Ā Ā ā so then tell me, miles fairchild, was it an accident? you can be honest with yourself. āĀ
Ā Ā āĀ Ā Ā Ā IĀ Ā ALREADYĀ Ā GAVEĀ Ā MYĀ ANSWER:Ā Ā Ā Ā yesĀ Ā andĀ Ā no.Ā Ā Ā i Ā understoodĀ what Ā i Ā meant Ā just Ā fine.Ā Ā whyĀ Ā donātĀ Ā youĀ Ā ?Ā Ā Ā ā ā Ā Ā Ā Ā Ā notĀ Ā quiteĀ Ā asĀ Ā acuteĀ Ā asĀ Ā heĀ Ā hadĀ Ā anticipated,Ā Ā thoughĀ Ā theĀ Ā narrativeĀ Ā seemedĀ Ā toĀ Ā beĀ Ā unfoldingĀ Ā beforeĀ Ā himĀ Ā ratherĀ Ā rapidly;Ā Ā everyoneĀ Ā wantsĀ Ā something,Ā Ā thoughĀ Ā heĀ Ā neverĀ Ā knewĀ Ā what.Ā Ā Ā Ā (Ā Ā theĀ Ā boyĀ Ā isĀ Ā astoundinglyĀ Ā heedlessĀ Ā ofĀ Ā theĀ Ā bright,Ā Ā gossameryĀ Ā stateĀ Ā ofĀ Ā hisĀ Ā soul,Ā Ā thatĀ Ā whichĀ Ā glimmeredĀ theĀ Ā surfaceĀ Ā inĀ Ā theĀ Ā formĀ Ā ofĀ high - gradeĀ Ā charm.Ā Ā Ā )Ā Ā Ā Ā Ā Ā āĀ Ā Ā Ā ifĀ Ā youāreĀ Ā dissatisfied,Ā Ā thatāsĀ moreĀ Ā yourĀ Ā problemĀ Ā thanĀ Ā mine,Ā Ā isnātĀ itĀ Ā ?Ā Ā Ā Ā IĀ MEAN,Ā Ā THATāSĀ YOURĀ Ā JOB:Ā Ā Ā Ā iĀ tellĀ Ā youĀ Ā thingsĀ Ā andĀ Ā youĀ Ā makeĀ Ā senseĀ Ā ofĀ Ā them.Ā Ā Ā ā ā Ā