fucked that you can’t fix other people especially when you really care about them. Oh so im just supposed to be there for you while you suffer. like a useless cunt gargoyle

blake kathryn

Janaina Medeiros

Origami Around
Peter Solarz
Lint Roller? I Barely Know Her

if i look back, i am lost

❣ Chile in a Photography ❣
let's talk about Bridgerton tea, my ask is open
One Nice Bug Per Day
AnasAbdin
$LAYYYTER
Three Goblin Art
todays bird
almost home

titsay

izzy's playlists!
Mike Driver

Andulka

tannertan36
seen from Albania

seen from Brazil
seen from United States
seen from United States
seen from United Kingdom

seen from Canada
seen from United States
seen from United States
seen from Malaysia

seen from Italy
seen from Poland

seen from United States

seen from United Kingdom
seen from Lithuania
seen from United States

seen from Malaysia
seen from Australia
seen from Netherlands

seen from Germany
seen from United States
@runawaysheebs
fucked that you can’t fix other people especially when you really care about them. Oh so im just supposed to be there for you while you suffer. like a useless cunt gargoyle

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
“bits to use in everyday conversations”
*me, literally sick with want* whatever
People still tend to lump JK Rowling in with the category of ~problematic artists~ and I need everyone to understand that is not the problem with her. She is not comparable to anyone who wrote a piece of fiction you hate, or someone who made rude comments in 2015 and has since learned better.
She is far more like Elon Musk. She is a radicalized person with an extreme amount of social and financial power, and for YEARS she has been using that power to try to influence her government into hurting vulnerable people, on purpose. And she has succeeded. THAT is the problem with her, and THAT is why spending money on her books is so dangerous, not because her books aged badly.
Critiquing her work is fine, of course (I personally was never a fan so I really don’t care) but you NEED to understand that fiction is not the main issue here. And I truly think acting like she’s the same as the rest of any giant list of ~problematic creators of the week~ waters down how dangerous she is.
i have to reblog this again because i go insane when people act like the problem with her is "its cringe for adults to like kids media" or like "the books sucked anyways" like those are completely irrelevant and try to shift the blame and focus from the active harm. even the fact the books also have bioessentialism and antisemitism is a whole different conversation
the english language is truly a wonder
all hail william the werewolf, proto-enby
Diversity win! The werewolf in your village goes by þei

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Ocean Vuong, The Emperor of Gladness
yuri shipping
for everyone else who wants to see better pics of the most beautiful ship in the world
Me when the obviously doomed character doesn't get a happy ending
As a creative I must master all three and unlock the secret middle one
Don’t worry, Aristotle’s got you covered:

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
u tell someone yr nonbiny and they go oh trans masc or trans fem and its like. neither i said theres non of the biny that means zero biney
Sources: Gut, My. Something is Terribly Wrong, vol 136, 2025.
gender is a game and im losing. gender is a sport and im sitting in the grass picking flowers
the best part of the princess bride is how it says that love is the number one motivation in life but! a close number two is spite.
“why are you, as someone in their 30s, still on tumblr” oh so you think you’re gonna be normal when you’re my age? you think you’re gonna be CURED?? you think the witches’ curse will have been lifted by then?? cmon now

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
[“In the essay, Crimp recalls that following the un- expected death of his father, with whom he'd had a difficult relationship, he expressed no sorrow and soon resumed his regular routines. Weeks later, however, he developed a large abscess in his left tear duct which eventually burst, spilling ‘poison tears' down his face, a symptom he interpreted as a physical manifestation of his repressed grief: ‘I have never since doubted the force of the unconscious. Nor can I doubt that mourning is a psychic process that must be honored.' This personal anecdote attesting to the psychic tenacity of unprocessed loss is recounted in the opening pages of his essay, in which Crimp confronts the seemingly oxymoronic relationship between his two eponymous concepts.
Writing in the context of the AIDS crisis in the US, and addressing his community of fellow AIDS activists (he was involved with ACT UP New York), Crimp describes how mourning processes and rituals like candlelit vigils were frequently decried as anathema to militant political struggle— ‘indulgent, sentimental, defeatist'— by those involved in the movement. As people lost lovers and friends to the ravages of AIDS-related illnesses, the call was to fight for the living rather than to weep for the dead. But Crimp insists on the necessity of mourning within radical political communities and, more importantly, he cautions against the dangers of not mourning: ‘It is because our impatience with mourning is burdensome for the movement that I am seeking to understand it.'
Crimp acknowledges that mourning, as defined by Freud in Mourning and Melancholia, does indeed seem incompatible with political activism. For Freud, though a finite process, mourning is all consuming; it' leaves nothing over for other purposes or other interests'. Crimp frames his argument in relation to Freud's outline of the concept of mourning, but he nonetheless acknowledges that ‘normal' mourning in Freud's sense is impossible within the context he is describing.
According to Crimp, Freud's theory says very little about communal grieving rituals, nor does it address the possibility that such rituals could be socially obstructed. Central to Freud's discussion of mourning is ‘reality-testing', through which the subject comes to acknowledge and eventually accept the loss of the loved object, consequently withdrawing or detaching their libido from it. ‘Reality', however, was not a neutral empirical backdrop in the context of the AIDS crisis because of the homophobic US state's ‘ruthless interference with bereavement' and because loss was not a fact of the past to come to terms with and move on from but part of an uncertain future: ‘Whether we share this fate is so unsure.' In the face of ‘social and political barbarism' and the enforced silencing of grief within a hostile and homophobic society, Crimp declares that ‘mourning becomes militancy.’
Except his argument doesn't end there. Though sympathetic to the transformation of sorrow into rage, he claims that because this process only takes place on a conscious level it leaves unconscious antagonisms unresolved. Militancy cannot function as a substitute for mourning but instead results from the socially enforced disavowal of grief; poison tears remain unwept. In this sense, militancy represses mourning.
Crimp complicates and reconceptualises Freud's definition of mourning by calling into question the notion that mourning can be accomplished by deferring to or accepting reality. Instead, he insists that the subject must attempt to survive within the structures of the violent external world without accepting them, while also being attentive to the damaging qualities of internal unconscious processes. In this (re) definition, mourning no longer entails a ‘respect for reality' as Freud outlined, and certainly not for the ‘riches' of ‘Western civilization'; it instead involves reconfiguring both external and internal realities. Crimp also implicitly challenges Freud's statement that in mourning ‘there is nothing about the loss that is unconscious', but though he identifies a certain melancholic self-doubting disposition in the AIDS activist community, he refuses to follow Freud in defining melancholia as pathological, nor does he claim that this emotional state results from a melancholic (and hence fully unconscious) relationship to the lost object. Crimp's understanding of militant mourning is thus distinct both from (normal) mourning and (pathological) melancholia as defined by Freud.
Sarah Schulman's Gentrification of the Mind (2012) seeks to redress the absence of a public conversation about the consequences of AIDS in the US, with the intention of overcoming the pervasive social amnesia that persists about the scale and impact of mass death. Schulman writes that ‘every gay person walking around who lived in New York or San Francisco in the 1980s and early 1990s is a survivor of devastation and carries with them the faces, fading names, and corpses of the otherwise forgotten dead.' She contrasts the ‘barely mentioned' 81,542 people known to have died of AIDS in New York City as of August 2008 with the 2,742 people killed on 9/11 whose deaths have been officially memorialised through national mourning rituals and commemorative sites. Her fury is not only directed at the forgetting of the dead but, moreover, at the forgetting of the politicians who have never been held accountable for their actions which enabled the crisis to reach such a devastating scale: ‘The names of our friends whom Ronald Reagan murdered are not engraved in a tower of black marble.'
Crimp similarly discusses the' gross political negligence' that exacerbated the AIDS epidemic, and he addresses the psychic damage inflicted by a homophobic society which delegitimised experiences of bereavement and' blamed, belittled, excluded, derided' people who died of AIDS-related illnesses and those who mourned them rather than offering empathy, support or adequate health care (here a parallel with the aftermath of the Grenfell Tower fire is apparent) .
Yet despite identifying brutal governmental pol- icies and negligent social practices, Crimp nonetheless warns against carving too neat a dichotomy between the external and the internal, the social and the psychological. Yes, he says, the world is violent and unjust and this must be combated. However, violence is not only located outside the subject in a hostile society; it also operates on an internal, unconscious level. No single line can be plotted that moves inexorably from external violence (cause) to internal misery (effect). Instead, suffering might better be understood as resulting from ongoing conflicts between and within the social and the psychological, conflicts which are always mutually constituted and whose origins are never located in a single time or place: ‘Violence is also self- inflicted.' For Crimp, focusing solely on transforming the external world through militant action does nothing to resolve the corrosive effects of unconscious processes.”]
hannah proctor, from burn out: the emotional experience of political defeat, 2024
“Don’t live in the past” okay well the people i loved are there.