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Edith "Little Edie" Bouvier Beale, Grey Gardens (1975) dir. Albert & David Maysles
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@thatiswhytheywilldestroyus
"It's very difficult to keep the line between the past and the present. Do you know what I mean? It's awfully difficult."
Edith "Little Edie" Bouvier Beale, Grey Gardens (1975) dir. Albert & David Maysles

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God will see you at the lowest point of your life, and say "what the fuck I thought I killed that thing." But you skitter too fast and you are too creepy.
Maybe the most damming thing about Nolans odyssey is i haven’t seen a single gifset from it
[Image description: Ted Danson as Michael in The Good Place saying, "It's a Tumblr insult. It's devastating. You're devastated right now." End image description.]
Once when I was in undergrad, someone described something as “problematic” in class and our professor was like, “That’s cool, but ‘problematic’ doesn’t really mean anything. It means that the thing you’re describing has a problem, and in and of itself that’s not bad. Art, especially, should always have problems, or else it’s not interesting and not art, either. It sounds like you’re trying to say that this is bad, but you don’t want to say ‘bad.’ Is that right?”
So from then on whenever one of us called something problematic, he would make us talk it out until we could name the “bad” thing we were hinting at. In this particular class, 7/10 it was some type of oppression, and the remainder was like, “I’m uncomfortable because this is very new/confusing/pushing boundaries that made me feel safe.”
Once we stopped calling things “problematic” and stopping at that, class got way more interesting and... we all had to say, like, “that’s racist” or “that’s misogynistic” or “ew capitalism gross” out loud, which a lot of us had never done in a classroom before. Or we had to be like, “Uhhh... I’m not sure what’s so bad?” and confront our own beliefs and that was maybe even more useful.
Anyway. Whenever I see the word problematic, I can’t help but think of this professor being like, “Good starting point, now let’s get specific.” I think when we have to commit to saying “that’s ___” it requires a lot more careful thought about the truth and impact and complexities of whatever we’re claiming. Sometimes there really is some bullshit afoot, and also sometimes it’s art, and it should be full of problems, because that’s what art is.
In the Center of the Home There is a Tunnel by Laura Benson, 2025

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The emotional bond between a gay teen and the literature thier favorite English teacher taught them
Death must be so beautiful. To lie in the soft brown earth, with the grasses waving above one's head, and listen to silence. To have no yesterday, and no tomorrow. To forget time, to forgive life, to be at peace.
Sylvia Plath, The Bell Jar
I came across a beautiful quote the other day: "What we give doesn't always return, but what we give is always what we are." And I think that healed me somehow.

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another parallel between harrowhark, daughter of pelleamena, and achilles, son of peleus: according to emily wilson’s introduction to the iliad, the poem shows how “the ultimate form of love is to see no difference between the self and the beloved.” i will no longer accept being a stranger to you. patroclus becomes achilles on the battlefield. i gave you my whole life. achilles emulates the dead patroclus by acting like a dead man himself. you’ve made yourself her mausoleum. achilles anticipates “becoming indistinguishable from [patroclus] in death, when their bones are together in one jar”. one flesh. one end. that’s how lyctorhood works, isn’t it?
“The modern proletarian class doesn't carry out its struggle according to a plan set out in some book or theory; the modern workers' struggle is a part of history, a part of social progress, and in the middle of history, in the middle of progress, in the middle of the fight, we learn how we must fight...” ― Rosa Luxemburg, The Mass Strike
giovanni’s room, james baldwin
Laundry (2002) ‘ランドリー’ dir. Junichi Mori

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