twofacedlover:

I don’t want to be part of history, I just want to be loved … and to love.

—  Dune Messiah, Frank Herbert

lifeinpoetry:

Exile is a word I do not like very much, I’ve often said. You are not in exile because you are out of your home. You can be in exile at home, where you may live as a recluse, on the margins of everything. I’m not sure I’ve left my country. Wherever I am, it is among the baggage that I carry with me. That has always been the case. And we can see that even when I write about something else …

— Tanella Boni, from a 2019 interview, as quoted by Todd Fredson in the Translator’s Note in Boni’s There Where It’s So Bright in Me

wrvvth:

I am genuinely so excited to see how they explore the power dynamic between Armand and Louis in the second season.

Armand controls everything about Louis. His coming and goings, his memories, the story and pace of the interview, all under the guise of “protecting Louis from himself.” But Daniel wasn’t having any of it. His aggressive questioning of Louis’s story has just slightly cracked through the carefully built narrative that Armand has been feeding Louis all these years. And like a windshield, one crack is all it takes for it to shatter entirely.

iskarieot:

here I am here I remain

–  DUNE (2021) dir. denis villeneuve

lifeinpoetry:

we have saved / each other’s lives so many times / she says to the bois / we have become lighthouses / sweeping the dark gossiping seas / the crowded head bobbing under / all our girls / adrift on the dance floor / we have pulled each other / out of the wreckage of our own bodies / sat beside each other / straight backed / making islands of each other’s bruises / promising that one day / we would live there

— Joelle Taylor, from “Jack Catch — to the lighthouse,” C+nto

knifing:

1.01 "GET SOME"

lifeinpoetry:

My tongue is my enemy. My tongue is my body. My tongue is my refuge, my tongue is my home. My tongue is a safe space until I get faded; then I’m dangerous, then I’m lung capacity thick, gone like fire burning down Gaudí’s cathedrals until they’re pyramidal rubble.

— Angel Dominguez, from “[Dear Diego],” Desgraciado

orvillepeckdaily:

aldenbonecutter: Rhinestone Cowboy
(link to photographer’s instagram!)

lifeinpoetry:

I’m trying to be here with the busboys of reality, scrubbing the earth like dishes. Trimming the hegemony with guillotines if necessary. Necessity of knowing how to operate a weapon like language. You need to know words mean things. Language is a weapon as much as it is a portal for healing. Sometimes, healing is not what we need.

— Angel Dominguez, from “[Dear Diego],” Desgraciado

rhidley:

The devil you know is better than the devil you don’t.
Warrior, 2011, dir. Gavin O'Connor

lifeinpoetry:

I’m so sick of all this pain. My body is a constant struggle. My body is a stolen artifact. My body is a gulf of dreaming. My body is the result of “globalism,” my body fated to suffer diaspora displacement dissociative depression disorders. My tongue is a refuge. My tongue is a foreign vessel. My tongue is a weapon. My tongue is an organ. My tongue is my song.

— Angel Dominguez, from “[Dear Diego],” Desgraciado

femaledaily:

MICHAELA COEL by Ekua King for PAPER mag

lifeinpoetry:

You know I think you’re a coward? I don’t even mean that insultingly, you know: I get it. I’m a coward too sometimes. I don’t write or call or text when I should and that anxiety eats me alive for days and days and weeks and weeks and months and years. It builds ulcers in my stomach or stones in the soil of the orchard.

— Angel Dominguez, from “[Dear Diego],” Desgraciado

tylerposey:

DAVID CASTAÑEDA
Schön! Magazine — ph. Rob Harper (2020)