And when I tell you my dreams, understand: to me it is like slowly undressing and waiting for you to kiss me.
Alexis M. Smith

devidsketchbook:

SALTARE IN BANCO

Photographer Pierre Manning - “Saltare In Banco” is a street entertainer (performing arts). He does all sorts of tricks and plays to amuse the populace astonishment at fairs. The troupes were occurring from town to town the Ancien Regime. The performances were diverse, from a bear roaming the playwrights who would give French literature its letters of nobility (give the life of Molière)

(via swiczeniuk)

coyotesaint:

Selfportrait, Irina Ionesco (b. 1935)

coyotesaint:

Selfportrait, Irina Ionesco (b. 1935)

(via swiczeniuk)

fyeaheasterneurope:

Built in the late 15th century, the Church of St Martin and Nicolaus is the oldest building in Bydgoszcz, Poland. The paint job, however, is considerably newer - it dates from the 1920s and is credited to the artist Stanisław Wyspiański.

fyeaheasterneurope:

Built in the late 15th century, the Church of St Martin and Nicolaus is the oldest building in Bydgoszcz, Poland. The paint job, however, is considerably newer - it dates from the 1920s and is credited to the artist Stanisław Wyspiański.

(Source: inyourpocket.com, via swiczeniuk)

Night happens in the black
part of a fire—the little spot that has offered up

all its light but not its heat, and morning
is the cold, rigid face of a coin, shining
in spite of all those dirty thumbs.
John A. Nieves, from “Daily” (via proustitute)
abandonedography:

Fort Raigad, Maharashtra, India

abandonedography:

Fort Raigad, Maharashtra, India

All great works of literature either dissolve a genre or invent one.
Walter Benjamin
largeheartedboy:

The Smiths’ The Queen Is Dead album as books print.

largeheartedboy:

The Smiths’ The Queen Is Dead album as books print.

Writing, at its best, is a bridge across that existential abyss. The works I love wrestle explicitly with that question. They foreground the question of how the writer solves being alive. Samuel Johnson: “A book should either allow the reader to escape life or teach him to endure it.” Well, which one strikes you as more essential?


But let’s be honest. Ninety-five percent of novels published do that relatively traditional novelistic thing. I’m just trying to argue that genre is a minimum security prison. The moment you are wrapped comfortably within genre, whether a romantic comedy, a sitcom, or a novel, or a sonnet, I find it’s rare that you are doing work that is congruent with how people are actually living now and how they are actually thinking. Alice Fulton has a great essay on this: we have moved from formal verse, to free verse, to fractal verse—Newton, to Einstein, to quantum physics.

David Shields, The Rumpus Interview with David Shields

Epitaph

When I die
Give what’s left of me away
To children
And old men that wait to die.
And if you need to cry,
Cry for your brother
Walking the street beside you.
And when you need me,
Put your arms
Around anyone
And give them
What you need to give to me.

I want to leave you something,
Something better
Than words
Or sounds.

Look for me
In the people I’ve known
Or loved,
And if you cannot give me away,
At least let me live on your eyes
And not on your mind.

You can love me most
By letting
Hands touch hands,
By letting
Bodies touch bodies,
And by letting go
Of children
That need to be free.

Love doesn’t die,
People do.
So, when all that’s left of me
Is love,
Give me away.

- Merritt Malloy

(via nprfreshair and elysemarshall)

(via fishingboatproceeds)

In the morning, you tear up the pages of your fever, but every word naturally leads you back to its color, its night.
Edmond Jabès, The Book of Questions II, trans. Rosmarie Waldrop (via proustitute)
People say to me, ‘How do I know if a word is real?’ You know, anybody who’s read a children’s book knows that love makes things real. If you love a word, use it—that makes it real. Being in the dictionary is an arbitrary distinction; it doesn’t make a word any more real than any other way. If you love a word, it becomes real.
Erin McKean
There is something maddeningly attractive about the untranslatable, about a word that goes silent in transit.
Anne Carson, from “Variations on the Right to Remain Silent” (via proustitute)
I am interested in language because it wounds or seduces me.
Roland Barthes, The Pleasure of the Text