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@ratkings69
Still not strong enough

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I think the most impressive thing an artist can do is be absolutely sincere in their belief that they are creating art. It's what I love about glam rock and airbrushed van metal, it's what I love about outsider art. I come from a long line of people who smirk and make snarky comments, for whom sincerity is vaguely embarrassing; you're supposed to do all things perfectly, the first time, without visible effort. So the existence of people who don't care, or are brave enough to make things that aren't audience-tested and polished from the start, in full view of other people, takes me aback and awes me a little.
Barry Butler
Barry Butler
Tessa Hulls' Feeding Ghosts is the first thing I've read that really digs into articulating how different pressures (both political and personal) have shaped successive generations of her family---grandmother, mother, daughter---and how each woman picked up the tools that would save her, even if the price was curdling some other part of herself, or disconnecting from the family entirely.
It's also a graphic novel, which means that I had to lay in bed and weep disconsolately over pictures; not my favorite experience.

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constance's saccharine personality lends to her (false) image of domesticity; it's significant that merricat specifically poisons the sugar, and that supposedly sweet constance never takes any with her food. this sweetness laced with something sinister is true both of the sugar and of constance herself, who reveals a crueler side to herself by the end of the book. the rest of the paper talks about how the blackwood sisters use food as a form of agency and as a "destructive force", which importantly is facilitated by their class. food as agency in shirley jackson's we have always lived in the castle
MY CHILDHOOD HOME IS EMPTY.
You Can't Go Home Again by Thomas Wolfe / Giovanni’s Room by James Baldwin (1) / Landscape by Louise Glück / Summer's End by Eli McMullen ( Acrylic and gouache on panel) / There is still love here (Ceramic house) by griefmother / How's It Gonna End - Tom Waits / Dear God. Dear Bones. Dear Yellow by Noor Hindi / Origin of the Marble Forest by Gregory Orr / A Shropshire Lad by A.E.Housman / Little Summer by Raymond Bonilla (Oil on panel) / Untitled, digital by Tito Merello Vilar / Ivy - Frank Ocean / Disco Elysium (1) / The Graveyard Book by Neil Gaiman / That’s Okay - The Hush Sound / Checkers by John Marsden / 1986 by Hollis Brown Thornton (pigment transfer on paper) / tumblr post by @ryebreadgf / Outhouse by Rachel McKibbens / 6 ways to draw a circle by tumblr user @filmnoirsbian / From the Scars series by India Lawton / House Fire by Becca Stadtlander / Back to the Old House - The Smiths / How’d Your Parents Die Again by Fatimah Asghar / Giovanni’s Room by James Baldwin (2) / Disco Elysium (2) / The Four Generations of Chang E by Zen Cho
obsessed with stories where you can never go home
you can never go home because you fell asleep for a thousand years and when you woke up and returned there, your society had changed, your house had fallen and all of your friends were dead. you can never go home because you made a choice and were shattered into pieces and your home was destroyed in your wake. you can never go home because someone took you and changed you against your will and although your home is the same, the person who belonged there is dead. you can never go home because you committed a crime and your family expelled you and even as they extend a hand of reconciliation, you will never forgive them. you can never go home because your home was a person and someone murdered her and now you drift and grieve to the point of insanity. you can never go home because you never knew your sister but she gave you every opportunity you have and now she's dead and your parents see nothing but her in your eyes.
they tell you a girl is a haunted house but what they really mean is a girl is a haunted house that’s desperately trying to repurpose itself into a beautiful overgrown garden where sunlight shyly seeps in through soot-stained windows
holy shit
[ID: Even if what’s taken place in the home is tragic rather than evil, hauntings are a way of preserving those memories spatially. Haunted houses allow for restless bodies to be laid to rest, for evildoers to be exposed, and for the history of a house or family to come to light. The stone tape theory, proposed in the 1970s, is a good example. This theory held that inanimate objects, like building materials, could essentially record murders and other tragic events. The idea that memory can be embedded into a house may be heartening when the human justice system fails End ID]

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Fauna, Richard Siken
Chris Bucklow.

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Wu Guanzhong (Chinese, 1919–2010)
"A Fishing Harbour (III)," 1997.
Ink and Color on Rice Paper.
Shanghai Art Museum.
The Radiant Meteor Storm of 9 October 1933 from the Larousse Encyclopedia of Astronomy