separateskins

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“Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one. To be able to recognize a freak, you have to have some conception of the whole man, and in the South the general conception of man is still, in the main, theological. That is a large statement, and it is dangerous to make it, for almost anything you say about Southern belief can be denied in the next breath with equal propriety. But approaching the subject from the standpoint of the writer, I think it is safe to say that while the South is hardly Christ-centered, it is most certainly Christ-haunted. The Southerner, who isn't convinced of it, is very much afraid that he may have been formed in the image and likeness of God. Ghosts can be very fierce and instructive. They cast strange shadows, particularly in our literature. In any case, it is when the freak can be sensed as a figure for our essential displacement that he attains some depth in literature.”

~ Flannery O'Connor, Mystery and Manners: Occasional Prose

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“We no longer have political movement. While thousands of us may come together for a rally or march, we are bound together on such occasions by a single shared interest. Any effort to convert such interests into collective goals is usually undermined by the fragmented individualism of our concerns. Laudable goals - fighting climate change, opposing war, advocating public healthcare or penalizing bankers - are united by nothing more than the expression of emotion. In our political as in our economic lives, we have become consumers: choosing from a broad gamut of competing objectives, we find it hard to imagine ways or reasons to combine these into a coherent whole. We must do better than this.” ― Tony Judt, Ill Fares the Land

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Ballet, like opera, is wonderful because it is monstrous, the hyper-development of skills nobody needs, a twisting of human bodies and souls into impossible positions, the purchase of light with blood.

Irina Dumitrescu, "Swan, Late: The unexpected joys of adult beginner ballet."

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gràcies per tot, xavi 💙❤️

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your father is always mad and the music is always loud

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lauraryder // of age - the frights // damaged goods - the narcissist cookbook // fat funny friend - maddie zahm // black box warning - leanna firestone // cough it out - the front bottoms // mellowmash33 // the ramblings of a lunatic - bears in trees // prologue - chase petra // fiona apple // critical role - sam riegel // conversations with friends - sally rooney // on lonliness - dante émile

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you're allowed to be held.

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fatima aamer bilal, excerpt from moony moonless sky’s ‘i am an observer, but not by choice’.

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on identity

ojibwe / noah kahan / richard siken / unknown / elliott smith / oamisoa / cameron awkward-rich

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Natalie Wee NEVER BEEN KISSED / pinterest / 밤의 해변에서 혼자 On the Beach at Night Alone (2017) dir. 홍상수 Hong Sang-soo / Evelyn Waugh Brideshead Revisited / Mary Oliver North Country / Cheryl Strayed Tiny Beautiful Things / Aftersun (2022) dir. Charlotte Wells / Franz Wright East Boston, 1996; God's Silence

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Here's THE masterpost of free and full adaptations, by which I mean that it's a post made by the master.

Anthony and Cleopatra: here's the BBC version, here's a 2017 version.

As you like it: you'll find here an outdoor stage adaptation and here the BBC version. Here's Kenneth Brannagh's 2006 one.

Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston. Here's the Ralph Fiennes 2011 one.

Cymbelline: Here's the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant's here. And have the 2018 Almeida version here. On a sidenote, here's A Midwinter's Tale, about a man trying to make Hamlet. Andrew Scott's Hamlet is here.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010's here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here's the 1948 one, there the 1955 Joe McBeth. Here's the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here's the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here's Scotland, PA, the 2001 modern retelling. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here's the commentary for the Tennant version. 1997 one here.

Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here's the 1988 BBC version. Here's a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one is the Shakespeare Retold modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010's too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here. The BBC version is here.

The Winter's Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

(also look up the original post from time to time for more plays)

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No no no, not a modern au, a modernist au. Your favourite characters are hanging around Tammany Hall, getting coked up in Weimar Berlin, and dying as martyrs for socialism on the front lines of the Spanish Civil War. They write stream of consciousness novels, direct avant garde cinema, and debate the merits of social criticism as a mode of revolutionary thought. Progress is celebrated, industry is glorified, and art is politicized. History becomes the titanic struggle between nations, races, or classes. Everywhere they go, everyone knows that a war of apocalyptic magnitude is coming but no one is willing to admit it. Worse still, the most prescient among them know that the conflagration on the horizon isn’t truly going to be the end. War will come and war will go, but the ideas and behaviours that make it inevitable will remain etched in the hearts of men who’ve killed the divine and constructed themselves as its replacement. They warn and no one will listen. The band will strike a jaunty tune and your faves will dance and drink and die. The coffee shops and florists and offices will become symbols of an ideology that strains under its own imperial ambitions until it breaks against the shore of history. In the modernist au, framing alone damns your blorbos to either be Kassandra or Agamemnon. Whether knowing or ignorant, the spectre of death looms over them regardless. You cannot write a happy ending to the modernist au because everyone already knows where modernism ends.

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Richard Goldstein & James Baldwin | The Last Interview

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"Absolutely no one comes to save us but us."

Ismatu Gwendolyn, "you've been traumatized into hating reading (and it makes you easier to oppress)", from Threadings, on Substack [ID'd]

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Nathan Gombert - Ballet National de Marseille - photo by Aytekin Yalçın

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Mothers are kind to their sons in a way they never will be to their daughters and it’s kind of insane how long this has been going on for

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Rare pity, mercy and compassion of the giants called humanity