@ninotbh
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This incessant pounding, like on my heart you are raining, and it's a rainbow in the sky every time you come calling.
e.v.e.
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Alice Te Punga Somerville, Always Italicise: How to Write While Colonised - Kupu rere kē
[ID: A poem titled: Kupu rere kē. [in italics] My friend was advised to italicise all the foreign words in her poems. This advice came from a well-meaning woman with NZ poetry on her business card and an English accent in her mouth. I have been thinking about this advice. The convention of italicising words from other languages clarifies that some words are imported: it ensures readers can tell the difference between a foreign language and the language of home. I have been thinking about this advice. Marking the foreign words is also a kindness: every potential reader is reassured that although you're expected to understand the rest of the text, it's fine to consult a dictionary or native speaker for help with the italics. I have been thinking about this advice. Because I am a contrary person, at first I was outraged — but after a while I could see she had a point: when the foreign words are camouflaged in plain type you can forget how they came to be there, out of place, in the first place. I have been thinking about this advice and I have decided to follow it. Now all of my readers will be able to remember which words truly belong in -[end italics]- Aotearoa -[italics]- and which do not.
Next image is the futurama meme: to shreds you say...]
(Image ID by @bisexualshakespeare)
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Be a gentleman,know when to hold her hand
Be a man know when to pull her hair...
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Russian Doll (2019 -)
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— rainy days are perfect for coffee and writing
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Dorothée Blanck evoking Velázquez’s The Rokeby Venus in a scene from L’Opéra-Mouffe (Agnès Varda, 1958)
"Her body is never entirely still, but she wriggles, moves it naturally, stretching, unselfconscious with her back to the camera, so her body is seen in its lived dimensions even as she is framed in the pictorial setting. The moving of flesh and skin is part of the reclining nude imagined here. She never settles into a fixed ideal so that she is seen as living, as lovelier because she moves and feels. Varda opens the painting to this different apprehension of female nakedness. She references Velázquez and salutes the visual beauty and melancholy of his image, yet also tenderly unfreezes the pose. This mobility is part of the relation to tradition Varda establishes, which is reverent and irreverent all at once. Her work is enriched by the precursor images to which she refers but Varda claims freedom of association and repurposing, a liberty expressed in the very literal movement in and shaking up of the timeless still pose." — Emma Wilson, The Reclining Nude
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@ninotbh
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Passion will make you crazy.
But is there any other way to live...?
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