Eugene de Blaas, A Young Woman with Veil detail, ca. 1880-1910
8am wake up
10am tell someone you don’t love that you love them
12pm full English
2pm fuck someone who disgusts you
6pm start drinking
James Baldwin.
The discovery of the statue of Antinous in Delphi, Greece in 1894
Antoni Pujol Death at Nicolau Juncosa’s tomb, 1914 Montjuïc Cemetery, Barcelona
one way i've learned to deal with my constant, overthinking, inner monologue and to avoid spiralling is to treat the little voice as if it were socrates haunting me. like, yeah there may be some truths there, but also, this was just supposed to be a friendly gathering so shut up, you nude feet weirdo
Absolutely insane lines to just drop in the middle of an academic text btw. Feeling so normal about this.
[ A Critical History of English Literature, Vol. 1, Prof. David Daiches, first published in 1960 ]
Detail from Witches going to their Sabbath, 1878. — Luis Ricardo Falero (1851-1896)
I’m twenty, and I haven’t said I love you in years.
Sometimes, I doubt I would even recognise the words if they were to pass my lips, past the fences of my teeth and the trenches under my tongue.
I have written them, thought, and felt them. I have poured them in cups of coffee like an artist would their soul into their work. I have scribbled them in the margins of school notes when my friends weren’t looking, so I could shape them like lazy doodles, and so they could reciprocate with a fond glare. I have baked them on birthdays and burnt them on Sundays, lit them up for Christmas and roared them at karaoke.
I’ve smiled them into pictures to put on my nightstand: I love you when I read, I love you when I dream, I love you when I can’t sleep. I love you when I dust, and my gaze falls upon the frame like it’s the first time it’s seeing it. Cleaning always felt nostalgic to me – not for the throwing away as much as for the nurturing of what was and still is.
Here’s a receipt I got from our stop at a gas station in 2014. You’d gotten terrible coffee and I made fun of you for it, so you’d thrown the crumpled paper at me. I’ve never told you, but I kept it in my pocket like a heart and put it away in the drawer as if it were a bin. I’ll never make any use of it, and I won’t ever remember it – but I think that’s exactly why we clean: so we can look back at everything we don’t need, choose to keep the least useful things, and have it mean so much we don’t dare put it in speech.
Once, I put down the broom and sank to the floor with exhaustion. It was still dirty, and I’d barely done anything but sweep around the nightstand. Crumbs of sleeplessness still hid in the shadow on its left, in the rift between it and the bed, right where I always dropped my rest. As I sat there, my eyes slipped back to the pictures and the disbowelled chest, and I thought: what a grave temple, what a grave. My memories lie forgotten like the dead, my duster their flowers.
At the time, the idea felt grim to me, and I almost shamed it away, guilty. But I’m twenty, and I love so ardently, I might die for it. Too old to burn with anger, too young to have completely given up. Emotions twist under my skin like worms in too alive a soil: decaying wild, suffocating life. Nothing breathes under here, but rot has made the trees mad with verdancy. And just like this oxymoron of a forest, I pray my love to death and frame it above the casket of its rests, a poem in lieu of eulogy.
Some days, it feels like everything I do means I love you. Waking up to make breakfast, staying up late to wait, not killing myself. And sometimes, I want to cry with loneliness because it seems like no one ever says it back.
But I don’t either.
We’ve turned twenty, and no one has said I love you in years.
-- H.
Aeschylus, tr. by Mary Lefkowitz and Romm James, from Plays; “Helen,”
Day After Day (Jean-Daniel Pollet, 2006)
Sylvia Beach, March 14, 1887 – October 5, 1962.
With James Joyce (left) and Adrienne Monnier (right) at Shakespeare & Co. 1938 photo by Gisèle Freund.
ANTHONY VAN DYCK Cupid and Psyche
about to cry in my uni's library because of petrarch and boccaccio's letters
and if in the best life, after that passage which we call death, friends are loved, I believe that he loves me and will love me, certainly not because I deserved it, but because he used to keep with him whom he once regarded as his: and I was his for more than forty years
Boccaccio, epistula XXIV
Léon-Ernest Drivier (1878-1951)
Portrait of Karl Edvard Holmström “Ilja" - Gösta Adrian-Nilsson , 1911-12.
Swedish, 1884-1965
Canvas stretched on panel , 74 x 57 cm.
Alex Dimitrov, from “Living in Time” [ID in ALT]