Last night, I took off Emily Dickinson's clothes.

Aubade by Philip Larkin

I work all day, and get half-drunk at night.   
Waking at four to soundless dark, I stare.   
In time the curtain-edges will grow light.   
Till then I see what’s really always there:   
Unresting death, a whole day nearer now,   
Making all thought impossible but how   
And where and when I shall myself die.   
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse   
—The good not done, the love not given, time   
Torn off unused—nor wretchedly because   
An only life can take so long to climb
Clear of its wrong beginnings, and may never;   
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,   
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear—no sight, no sound,   
No touch or taste or smell, nothing to think with,   
Nothing to love or link with,
The anaesthetic from which none come round.
And so it stays just on the edge of vision,   
A small unfocused blur, a standing chill   
That slows each impulse down to indecision.   
Most things may never happen: this one will,   
And realisation of it rages out
In furnace-fear when we are caught without   
People or drink. Courage is no good:
It means not scaring others. Being brave   
Lets no one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.   
It stands plain as a wardrobe, what we know,   
Have always known, know that we can’t escape,   
Yet can’t accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring   
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.
1 note

1 note

subsidiantwelfth:

lightthebackgroundfirst:

Arvo Pärt has a banana in his ear.

From And Then Came the Evening and the Morning (1989)

Directed by Dorian Supin

……

(via necessaryworld)

83 notes

that chapstick showed me way, way more kindness than I deserve.

0 notes

"There were no stars to light his way."

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Do you know the difference between wind and the trees talking to each other?

Intricate, dermus-thin ripples between the troughs

of green

give off scent of rough, of marrow, that no nose

has ever known, that

no eyes have ever trimmed;

cataclysmically, every brainstem has categorized the crisis

of a nose without a flower,

a toe without a measure.

We pass in metal, cruelly,

we dance, austerely,

a trip-step in two rhythms, confounding, like a bass note you can’t quite

understand.

0 notes

myampgoesto11:

Modified X-Rays Ben Kruisdijk

(via artsyrup)

1,021 notes

0 notes

“A Most Disgusting Song” (1970)

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Here comes a candle to light you to bed,

here comes a chopper to chop off your head.

0 notes

Oh brave new world
that has such creatures in it.
-Miranda, The Tempest (Act 3, Sc. III)

Oh brave new world

that has such creatures in it.

-Miranda, The Tempest (Act 3, Sc. III)

2 notes

Myopia, sunsets in the birdsong.

His eyes fixed sharply

on a thin light far off, a splinter,

a shard of color; looks like

Heaven’s vanity mirror fell off the counter last night:

now either God or Gabriel has seven years of

bad luck to look

forward to. He looked too

quickly at the thin light far off

and like a papercut on the penitent finger of a cantor

his cornea was split open clean, raw eyes wide to

an arid wind.

Blood ran down

the side of a thin light 

far off and into the black cracks beneath his feet, ranging in size

from paper-thin to as wide as oceans,

each letting loose vagrant

howls, screams caught in the throat

of the Earth.

0 notes

The absolutely legendary, absolutely insane Warren Harding on the penultimate pitch of The Wall of Early Morning Light (5.11), Yosemite Valley National Park, 1958.

The absolutely legendary, absolutely insane Warren Harding on the penultimate pitch of The Wall of Early Morning Light (5.11), Yosemite Valley National Park, 1958.

ch-eap:

ryandonato:

Dennis Oppenheim, Two Stage Transfer Drawing

“As I run a marker along Eric’s s back he attempts to duplicate the movement on the wall. My activity stimulates a kinetic response from his sensory system. I am, therefore, Drawing Through Him.”


absolutely genius

ch-eap:

ryandonato:

Dennis Oppenheim, Two Stage Transfer Drawing

“As I run a marker along Eric’s s back he attempts to duplicate the movement on the wall. My activity stimulates a kinetic response from his sensory system. I am, therefore, Drawing Through Him.”

absolutely genius

(via naenna)

34,000 notes

Swaim (Seriously): Going a Distance

seriousswaim:

In Little Blair Valley, you can mark a far spot

With your eyes, like a prize, from a cragged mountaintop

And dingledo down, warm as rain runoff

(Cracks in the ground form a stormdrain for sundrops)

Never obstructing your view of the distance

Your leg muscles close, like lovers…

Not bad, for a robot.

22 notes