Latest Posts by waltztrvck - Page 4

Thierry Mugler Spring/Summer 1999

“I don’t know how to stay tender with this much blood in my mouth”

— Ophelia, Act IV, Scene V 

a prayer

Les Félins (René Clément), Days of Being Wild (Wong Kar Wai), Malcolm T. Liepke, Gustav Vigeland (Eros and Psyche), Stephan Sinding (Adoration), Soul Eom (kiss, hug and die)

musings on kisses

― Simone de Beauvoir (Letters to Sartre), Henri de Toulouse-Lautrec [Le Lit (The Bed), Au lit: le baiser (In Bed: The Kiss)], Indran Amirthanayagam (Kiss), Auguste Rodin, Gustav Klimt (The Kiss), Sara Teasdale (The Kiss)

˗ˏˋ☕ˎˊ˗      

musings on kitchens (as sanctuaries of love) [part 1]

Joy Harjo (Perhaps the World Ends Here), tumblr user @floatingstirnerhead, Alai Ganuza, Banana Yoshimoto (Kitchen), Jenny Slate (Little Weirds)

˗ˏˋ☕ˎˊ˗  

musings on stars

Oscar Wilde, Vincent van Gogh (2,3,5), Virginia Woolf, tumblr user @seizethehistory 

a prayer

Les Félins (René Clément), Days of Being Wild (Wong Kar Wai), Malcolm T. Liepke, Gustav Vigeland (Eros and Psyche), Stephan Sinding (Adoration), Soul Eom (kiss, hug and die)

Hamda Al Fahim “Disco Daydreams” spring 2022 couture

Opal and glass gold-mounted pendant by René Lalique, c. 1900.

David Hamilton - Nina Ricci “Farouche” Perfume Ad (Cosmopolitan 1976)

embraces (melt into me)

joseph lorusso, nicoletta tomas, malcolm liepke, joseph lorusso, ron hicks, peter wever, joseph lorusso, colley whisson

“Love is a sacrament that should be taken kneeling”

—Oscar Wilde

on the self

mary oliver a thousand mornings \\ marc chagall blue lovers (1914) \\ jean-paul sartre nausea

kofi

embrace (II), peter wever

When Donna Tartt said Forgive me, for all the things I did but mostly for the ones that I did not, and M. L. Rio said How tremendous the agony of unmade decisions.

“Aurélie Dupont, like I said, I love her, she is one of my favorite dancers in the world. I watched the video of her and when I see her dance, I see the expression of Ghislaine. Everything Ghislaine asked, Aurélie does. It’s interesting, because I could see Ghislaine’s expression in Aurélie’s Sylph. If you look at her Sylph, you see a real woman who talks to James, who is not just kind and good, but at times can be strict, angry, constantly changing attitude. This is very important as this is what makes it a very interesting role.”

- Evgenia Obraztsova on Aurélie Dupont’s La Sylphide (x)

IN MY ARMS: embraces in art

Eva Antonini / Peter Wever / Holly Warburton / Alisher Kushakov / Salman Toor / Briony Marshall / Alisher Kushakov / Edvard Munch / Jurga Martin

also, my fav colors

“I was afraid of love, of being taken away. Everyone afraid of love is afraid of death.”

— Louise Glück, “Timor Mortis” from Vita Nova

-Nicole Krauss, The History of Love

Anne Carson, Plainwater: Essays and Poetry

When Ocean Vuong wrote “Don’t we touch each other just to prove we are still here?“ and Alex Turner sang “And do you look into the mirror to remind yourself you’re there? / Or have somebody’s goodnight kisses got that covered?”

— clair de lune, tathève simonyan         

[text ID: i want a “waking up naked under dusty pink silky sheets” scene: / sunlights of hair cascading over the ivory of my back / untethered strands connecting beauty marks / my own constellation of starlight / and as the morning light sashays in / through the cracks / of this chain of blinds / and as this body of mine / welcomes in blues and yellows / there’s a sense of promise / dancing in the air / that’s not going anywhere. / i want a scene of / hands reaching for a door / not for a cover / for in this particular scene / there’s a body that wants to have me in it / and an i who wants to be in this body / i want this symbiotic bliss / this harmonious coexistence / of two opposing forces / reaching for the same door. / [i want debussy playing in the background] / hands reaching for a cup, hands boiling water, hands adding / a spoonful of coffee / hands never burning / hands running through hair / like wild horses / blindly unbounded / like leaves / succumbing to the breath of the wind / but in a good way / because succumbing oneself / doesn’t have to end with a death / not always / at least not when you can hear / clair de lune / softly whispering from the living room. / i want scenes with hands: / hands all over / all the time / hands that love / without a reason and with (one) / because it’s spring / because it’s no longer spring / because they are hands and that’s what they were made to do / because debussy is playing / and what else can one do / but love / unabashedly / with van gogh yellows / and picasso blues / and monet violets / and / i want a scene where / my name is no longer an unintended apology / but a silent promise / like the morning light / dancing in the air / painting its blue hues / yellow in its blues. / i want a scene where / my existence is a reason / and not an afterthought. / i want a scene of me not wanting any of these. / scenes of me naked under dusty pink silky sheets / waiting for the morning light / and knowing that it will come.]

"In my culture, we know death intimately. In Arabic, the highest expression of love is the phrase "ya'aburnee" Translated "you bury me" . It means "I love you so much, I'd sooner die than bury you". It was used by mothers in our lineage who were so used to losing their young in war. In my culture, we cannot talk about love without speaking death's name"

-George Abraham, "Untitled," Published In Black Napkin Press

“It had been the dream of his life to write with an originality so discreet, so well concealed, as to be unnoticeable in its disguise of current and customary forms; all his life he had struggled for a style so restrained, so unpretentious that the reader or the hearer would fully understand the meaning without realizing how he assimilated it. He had striven constantly for an unostentatious style.”

— Boris Pasternak, from Dr. Zhivago (Pantheon, 1957)

“Whatever it was I lost, whatever I wept for Was a wild, gentle thing, the small dark eyes Loving me in secret.”

— James Wright, “Milkweed,” from The Branch Will Not Break (Wesleyan University Press, 1972)

― Sylvia Plath, The Unabridged Journals of Sylvia Plath

[text ID: And when at last you find someone to whom you feel you can pour out your soul, you stop in shock at the words you utter— they are so rusty, so ugly, so meaningless and feeble from being kept in the small cramped dark inside you so long.]

Catherine Gildiner, Good Morning, Monster: Five Heroic Journeys to Emotional Recovery

Katherine Larson, from Radial Symmetry; “Gardens in Tunisia”

[Text ID: “There are days that walk through me / and I cannot hold them.”]