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KAMA SUTRA: A TALE OF LOVE (1996) dir. Mira Nair

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Aaliyah as the fictional Queen Akasha of Kemet in the 2002 film Queen of the Damned.

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(iphigenia in aulis, tr. charles r walker)

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Interview with the Vampire 1.04

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American actress Tuesday Weld enjoys an ice cream sundae, circa 1965.

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There's bound to be one dunce in every family. I'm quite willing to be a dunce if I can be a pretty, popular, delightful one. I can't be clever. I have no talent at all, and you can't imagine how comfortable it is. Nobody expects me to do anything so I'm never pestered to do it. And I can't be a housewifely, cookly creature, either. I hate sewing and dusting, and when Susan couldn't teach me to make biscuits nobody could. Father says I toil not neither do I spin. Therefore, I must be a lily of the field," concluded Rilla, with another laugh.

An icon really

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Mermaid Pearls ~ Mother of Pearl buttons card ~ 1903 ~ Hawkeye Button Co., Iowa

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Night Tide 1961, dir. Curtis Harrington

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𝐓𝐇𝐄𝐎𝐍 𝐆𝐑𝐄𝐘𝐉𝐎𝐘 & 𝐒𝐀𝐍𝐒𝐀 𝐒𝐓𝐀𝐑𝐊 ➥𝖤𝖵𝖤𝖭 𝖨𝖥 𝖲𝖧𝖤 𝖭𝖤𝖵𝖤𝖱 𝖫𝖮𝖮𝖪𝖲 𝖡𝖠𝖢𝖪 ❛ ━━ ･ ❪ a study in devotional attachment, the torment of longing, and perceived unrequited love ❫ ･ ━━ ❜

- all gifs & image/text/typography edits are made by me - screenplay-style 'poetry' written by me - quote & painting attributions under the cut

A Dance With Dragons by George R.R Martin │ Edmund Blair Leighton, Tristan and Isolde. (1902). │ "Maybe In Another Universe, I Deserve You" by Gaby Dunn │ John Henry Frederick Bacon, Romeo and Juliet. │ Lighthousekeeping by Jeanette Winterson │ The Dead Man by Georges Bataille │ Sir Edward John Poynter, Orpheus and Eurydice. (1862). │ Game of Thrones ep. 6x01 │ "Theon & Sansa screenplay poetry" by chippedcupwrites │ The Blood Pact by Beau Taplin │ Jean-Baptiste-Camille Corot, Orpheus Leading Eurydice. (1861). & Game of Thrones ep. 6x01 │ "Theon & Sansa screenplay poetry" by chippedcupwrites │ Game of Thrones ep. 5x10 & When Nietzsche Wept by Irvin D. Yalom │ "The Wolves" by Isra Al Thibeh │ "Guilty as Sin" by Taylor Swift │ "Epithalamium" by Louise Glück │ Game of Thrones ep. 5x10 │ Arthur Hughes, The Long Engagement. (1859). │ Romeo and Juliet by William Shakespeare │ "Work Song" by Hozier │ Game of Thrones ep. 8x02 │ “Little Matchstick Girl” by Trista Mateer │ Possession by A.S. Byatt │ "Climbing" by Lucille Clifton │ The Princess Bride, (1987). │ "Sonnet 57" by William Shakespeare │ Game of Thrones ep. 8x02 │ Mirages: The Unexpurgated Diary of Anais Nin by Anaïs Nin │ Eugène Decisy & Paul Albert Laurens, La Morte amoureuse. (1904). │ Game of Thrones ep. 5x07 │ "august" by Taylor Swift │ Edvard Munch, Jealousy. (1895) │ "Nature Poem" by Chen Chen │ Game of Thrones ep. 8x02 │ Soft in the Middle by Shelby Eileen │ "Guilty as Sin" by Taylor Swift │ Delta of Venus by Anaïs Nin │ Dante Gabriel Rossetti, Carlisle Wall (The Lovers). (1853). │ prettyboykatsuki │ Game of Thrones ep. 8x02 & Edvard Munch, The Kiss. (1897). │ "Theon & Sansa screenplay poetry" by chippedcupwrites │ Love letter from John Keats to Fanny Brawne, (October 13th, 1819) │ Game of Thrones ep. 6x02 │ War of the Foxes by Richard Siken │ Little Weirds by Jenny Slate │ Gaetano Previati, Paolo e Francesca (1887). │ Game of Thrones ep. 8x04 │ Girls Against God by Jenny Hval │ Ruin and Rising by Leigh Bardugo │ Game of Thrones ep. 5x07 & photo source unknown │ The Angel Experiment by James Patterson │ Hilma AF Klint, The Swan, No 3, Group IX. (1915). │ "Anecdote of the Pig" by Tory Adkisson │ Her Garden Yearns More For Visitors Than Water by Fatima Aamer Bilal │ Game of Thrones ep. 8x04 │ Game of Thrones ep. 8x04 │

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A poem’s discoveries can be made in countless ways. Sometimes they’re dug for and hard-won. Sometimes they feel gifts of the muse, sometimes they are gifts stumbled into by accident or error. However arrived at, that poem’s offer of transformed thought and feeling is precise, unique to its own words, unsummonable by paraphrase, and feels in its own moment needed, first by its writer, then by its reader… Before the first word arrives, a poet needs to become a magnet of discovery’s attention. The first step is moving a poem from silence to something.

Jane Hirshfield

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Song Jia photographed by Leslie Zhang for T Magazine China June 2019.

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A woman’s head appears in a basket of flowers. New ideas in magic. 1902. 

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Irving Penn (June 16, 1917 – October 7, 2009), Running Children, Morocco, 1951.

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“Though Medea defines her self-debate in Act 5 as between “mother” and “wife”, the infanticide wipes out both aspects of her relationship to Jason; indeed, it wipes out the entire relationship, so that she feels momentarily as if she were the young Colchian princess once again (982-3). But she is actually the mature Medea. What she achieves, what she has been working towards throughout the play, is an autonomous selfhood, untrammelled, able to impose itself on others. She realises herself fully, achieves a personal power far beyond that of any other figure in the play, and magnified by her association with the power of moon and earth, fire and sea. “Now I am Medea; my genius has grown through evils” (910). At one level, this line plays on her name: “I am the woman who thinks, who has cunning intelligence”, in allusion to the roots mēd- and mēt-. At another level it has a metadramatic quality: “I am that Medea famed for doing these deeds, that Medea whose story will be read millennia later”. But its primary suggestion is, “I have reached the fullness of my selfhood, the potential that was always within me”.”

— John G. Fitch, Introduction to Seneca��s Medea

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An Idea To Prevent A Nuclear War

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Sean Young