Stibnium - Splendor Noctis

THE JUDGEMENT OF PARIS

this part in ovid's heroides intrigues me ngl

Ovid, Heroides 16 (trans. Harold Isbell)

the. the inescapability of it. oof.

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Napoléon: I should have you beheaded!!!

Fouché:

◽️ strongly agree

◽️ agree

☑️ disagree

◽️ strongly disagree

You with your precious eyes —

The gods differ from mortals here not because they are above the law but because they possess the insight to avoid breaking it. This marks the difference between gods and mortals perhaps more deeply than death itself: the gods never find themselves in the position of Oedipus, suddenly and unimaginably guilty. They are able to avoid actions whose consequences they cannot control; mortals risk such consequences in their every action. And perhaps it is even a kindness that transgression and death go hand in hand, that those who cannot die need not sin: for one who has broken the law which even the gods fear, the best thing is to die quickly.

-incest, cannibalism, and the rise of the house of atreus, michael kinnucan

So the ubiquitous counsel of the chorus concerning the hero—look what fortune has done here, she used to be on top of the world, don’t count on happiness, don’t believe anyone happy until he is dead—says more than it seems to. In the last analysis, what can one say of mere mortals? A human is just too partial, too speckled and subject and already-half-gone, for anything to be really true or false of him. Is he happy, is she sad? Maybe, a bit, for a time, but really—who can say, who can even care? That’s how it is for humans, unless and until they are tragic. The tragic hero is complete. You can call him unhappy (miserable, utterly broken) even before he is dead. For an instant he is something like divine. And then he dies, because there’s nothing left to do. The center of every tragedy is the image of a human being who has already died but keeps talking, someone whose face is a mask. Antigone says this explicitly—she is already dead; Oedipus acts it out in gouging out his eyes.

-the gods show up, michael kinnucan

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Santiago Licata (Argentine, b. 1986)

Untitled, 2019

Graphite grease on paper

Natalie Díaz, from “exhibits from The American Water Museum”, Postcolonial Love Poem

theology of the universe

This is a personal project that pays tribute to Robert Louis Stevenson’s Treasure Island. I created 33 illustrations of events chosen by me in chronological order and a hypothetical cover. I had to stop because I would have made 100 more. It was really fun to make, I hope you like it.          

Agnes Giberne - The Story of the Sun, Moon, and Stars.

It’s not you I’ve lost, but the world.

a kind of loss (Ingeborg Bachmann), variations on the word love (Margaret Atwood), i am the brother of xx (Fleur Jaeggy), don’t go far off, not even for a day (Pablo Neruda), recreation (Audre Lorde), wuthering heights (Emily Brontë), i carry your heart with me (e. e. cummings)

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