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Previous blog was too famous, controversial, and emphemeral. This relaunch is an attempt at value over one, ten, one thousand years.
Interested in more? Checkout the sitemap
Previous blog was too famous, controversial, and emphemeral. This relaunch is an attempt at value over one, ten, one thousand years.
Interested in more? Checkout the sitemap
The Lepidopterist’s Dream - Charlotte Sorapure, 2024
The Kiss - Malcolm T. Liepke, 2016
Drinking Tea - Lei Xue, 2009
Double Suicide in Karuizawa - Nobuyoshi Araki, 1996
Blue Bath - Karen Lamassonne, 1979
Lines Not Long, Not Heavy, Not Touching - Sol Lewitt, 1970
The Blank Signature - René Magritte, 1965
Trees - Tomioka Sōichirō, 1961
Black on Maroon - Mark Rothko, 1959
Mahoning - Franz Kline, 1956
The City - Saul Steinberg, 1954
SHE FALLS IN LOVE and wants to be well, is well and forgets to measure. She is noticed or not in the market by the man she met at last night’s party. Though the day is bright — thander — and mist sprinklers come on above the lettuce. Bitterly, the word comes, Silly. She is chilled and losing. The list is numbered. Each shape and color announces at once it is at her service. To keep from reeling, she could use her telephone. Her hand is lax on the cool lemon.
Nine Female Figures - Sylvia Plath, 1949
Self-Portrait - Saul Steinberg, 1949
Sultry Afternoon - Charles Burchfield, 1944
Shells and Fishermen - Milton Avery, 1941
Tied Up - Tadeusz Styka, 1940
Return from School after the Storm - Chaim Soutine, 1939
Study for a Painting - Ad Reinhardt, 1938
Tragic Landscape - Georges Rouault, 1930
The Girl on the Couch - Pang Xunqin, 1930
The Lovers - René Magritte, 1928
Pomade Nude - Joan Miró, 1926
Girlhood - Theresa Bernstein, 1921
The Soul of the Soulless City - C. R. W. Nevinson, 1920
Edith on Her Deathbed - Egon Schiele, 1918
Still Life before an Open Window, Place Ravignan - Juan Gris, 1915
The lad in the bear’s skin and the King of Arabia’s daughter - Kay Nielsen, 1914
Bath-house - Zinaida Serebriakova, 1913
Nochaloir (Repose) - John Singer Sargent, 1911
Kneeling Female - Egon Schiele, 1910
Early Spring - Pierre Bonnard, 1908
White Ships - John Singer Sargent, 1908
Death of Ellenai - Jacek Malczewski, 1907
A Golden Hour - Florence Fuller, 1905
Diana of the Uplands - Charles Wellington Furse, 1903
Flesh that one would want to subjugate in its fullness, as something offered, but probably not to the point of devouring it, of killing her, a splendor, but one that distances itself, no doubt due to this cruel resistance apparent in her traits, this cache of madness within her: she attracts and repels, disgusts, even. She invites, but does not offer herself, never provides anything, one merely beholds her, this exhaustion, this sinking into desire, the exhaustion Marguerite Duras spoke of regarding Hélène Lagonelle: “The most beautiful of all the things given by God is this body of Hélène Lagonelle’s,” then speaking of her breasts: “Nothing could be more extraordinary than the outer roundness of these breasts proffered to the hands,” her skin, her body under her dress, offered without consciousness of being so entirely given, she speaks of the suffering of looking at this body, a suffering that inspires the wish to kill: “she conjures up the marvellous dream of putting her to death with your own hands,” a subline body, says Duras, within reach and without awareness of itself. To die for.
To defend himself against it, and since there is no better defense than an attack, a man admiring a very beautiful woman on the terrace of a café remarked to her: “You’re so beautiful I could kill you.” A simple truth, to which she responded, with a refinement worthy of her beauty: “Okay.”
Samson and Delilah - Max Liebermann, 1902
Under the Roof of Blue Ionian Weather - Sir Lawrence Alma-Tadema, 1901
The Three Skulls - Paul Cézanne, 1900
Epidemic - Alfred Kubin - 1900
Ponte della Paglia - Maurice Prendergast, 1898
The Sphinx - Fernand Khnopff, 1896
Pardon in Brittany - Gaston La Touche, 1896
Flaming June - Frederic Leighton, 1895
Boy with Skull - Magnus Enckell - 1893
Obsession - Odilon Redon, 1893
Vision - Alphonse Osbert, 1892
Three Black Cats - Carl Kahler, 1891
Sensuality - Franz von Stuck, 1891
Femme à sa toilette - Louis Anquetin, 1889
The Night - Ferdinand Hodler, 1889
Hide and Seek - William Merritt Chase, 1888
Ahasuerus at the End of the World - Adolf Hirémy-Hirschl, 1888
Child with Cat - Peirre-Auguste Renoir, 1887
Hope - George Frederic Watts, 1886
Good Neighbours - John William Waterhouse, 1885
The Unequal Marriage - Vasili Pukirev, 1863
Roses - Julian Alden Weir, 1883
Isle of the Dead - Arnold Böcklin, 1881
Waiting - Mary K. Trotter, 1881
Findelkind - Gabriel von Max, 1880
Little Girl in a Blue Armchair - Mary Cassatt, 1878
Anguish - August Friedrich Schenck, 1878
Figure bearing a winged head - Odilon Redon, 1876
The Stroll - Claude Monet, 1875
Jealousy and Flirtation - Haynes King, 1874
Impression, Sunrise - Claude Monet, 1872
Prince Albert Victor of Wales - James Sant, 1871
Princess Beatrice - James Sant, 1869
Melancholy - Hilaire-Germain-Edgar Degas, 1868
The Love Letter - Luigi Crosio, 1867
The Reluctant Bride - Auguste Toulmouche, 1866
The Veiled Nun - Giuseppe Croff, 1863
Stańczyk - Jan Matejko, 1863
The Veiled Lady - Raffaelle Monti, 1860
It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me.
Spanish Woman - Gustave Courbet, 1855
The Novice, James Sant, 1856
The Great Day of His Wrath - John Martin, 1853
Destitute Dead Mother holding her sleeping Child in Winter - Octave Tassaert, 1850
Nathaniel Olds - Jeptha Homer Wade, 1837
Boy Staring at an Apparition - Francisco Goya, 1825
Frog - Matsumoto Hoji, 1814
Portrait of Lady Elibank - Sir Henry Raeburn, 1805
Portrait of Emma Hart as Miranda - George Romney, 1786
I KISSED A GIRL WEARING A CROSS AROUND HER NECK HER LIPS DIDN’T TASTE LIKE CHURCH BUT HER HIPS FELT LIKE GOD I WONDER WHAT HER PASTOR WOULD HAVE THOUGHT I WONDER IF THAT CROSS AROUND HER NECK MEANT MORE TO ME THAN IT DOES TO HER
when a man’s hand touches the hand of a woman they both touch the heart of eternity
Thomas Greene (probably) - George Romney, 1762
Portrait of Maria Adelaide of France in Turkish-style clothes - Jean-Étienne Liotard, 1753
The prayer house yard was shaded by great big sapodilla trees. It was spacious and the dirt was swept flat and even. As they ran, taking turns dribbling the ball, their feet started to turn red—the ball’s surface wasn’t smooth, there were raised lines that curved around it, making pentagons and hexagons, and there was a seam around its middle with sharp bits of plastic sticking out. Small welts appeared on their skin where they’d been smacked and nicked, but they didn’t care. They whooped, they yelled, they laughed out loud. Sweating, panting, covered in dirt.
Even then I’d started to think, in the simplest way, that as a child my life was no better than a soccer ball’s. It went rolling along because someone kicked it, and if it was kicked hard it would advance quickly, whizzing through the air, twisting and turning a bit as the breeze teased it along. If someone picked the ball up and held it, though, it couldn’t budge.
It’s possible the life of a ball, even a cheap plastic one, is interesting. People are cheered by its presence, after all, and in a wide open field, it can become the center of attention—but it’s still just a ball. And that’s what I felt like as a child. They dragged me. They pushed me. They talked at me, and forced me to listen to what they said. You must go to school. Must go to the mosque. Must recite verses, must memorize prayers. Must finish your rice. Mustn’t forget to brush your teeth.
The world I lived in was like a never-ending nag. To those who say childhood is a happy time, I can only snort. They can’t know anything about it—it’s as if they’d arrived on Earth with a head full of gray hair and a beard like some kind of billy goat.
The Buffet - Jean-Baptiste-Siméon Chardin, 1728
The Little Street - Johannes Vermeer, 1657
Ecce Homo - Rubens, 1612
Saint Jerome - Caravaggio, 1605
Water - Giuseppe Arcimboldo, 1566
Portrait of Sophia van Amerongen - Maarten van Heemskerck, 1550
Stephon kissed me in the spring, Robin in the fall, But Colin only looked at me And never kissed at all.
Strephon’s kiss was lost in jest, Robin’s lost in play, But the kiss in Colin’s eyes Haunts me night and day.
to love another is something like prayer and it can’t be planned, you just fall into its arms because your belief undoes your disbelief
everyone wants someone to understand their personality their childhood and what each of those things has done to the other one
The voice of my beloved! behold, he cometh leaping upon the mountains, skipping upon the hills. My beloved is like a roe or a young hart: behold, he standeth behind our wall, he looketh forth at the windows, showing himself through the lattice My beloved is mine, and I am his: he feedeth among the lilies.
The Crucifixion of Saint Julia - Hieronymus Bosch, 1497
Six Studies of Pillows - Albrecht Dürer, 1493
Saint Lucy - Francesco del Cossa, 1474
Virgin and Child Surrounded by Angels - Jean Fouquet, 1452
The Arnolfini Portrait - Jan van Eyck, 1434
“There’ll soon be a charming widow” —that’s the talk among the doctors
In Kyoto, hearing the cuckoo, I long for Kyoto.
When the night falls the day starts to break on the brothels
Codex Manesse - Minnesänger, 1333
Everything makes sense When you’re wearing that dress
The domain of the erotic is violence and violation. In those moments you destroy your self-containments; stripping naked is the decisive action, and obscenity is our name for the uneasiness we feel as our self-possession breaks down. You gasped when I entered you. Real people don’t smell like strawberry lavender lime vapor clouds when they fuck, but there was something intoxicating in your pheromones, your sweat, your aura, sickening and satisfying, whorish and moreish. Sexual arousal suppresses disgust reactions, especially if you’re a woman — you know this I’m sure — but I still managed to find an inner heart of disgust in our dalliance.
As you looked over your shoulder at me and screamed out the expletives you’d learned men like. I caught a glimpse of your eyes and saw behind them, into your soul, and I saw that you were pretending, this was just an act, this was fake, this sex was even less real than what you find on the internet. After making so much of authenticity and unmediated presence, we still never dropped the performance. Even sex becomes a form of masturbation; we see each other but we don’t: the arm, the breast, the hip, all become fetishized and transport us to another world. There is no ‘it’ of sex, no brute, naked, definable moment when it happens, there is only a plateau that is both dilated and deferred. So all of these memories are simultaneous to me; the strangely decorated room, the torturous curve of your body, the awareness that your entire presence had been a performance, and still was, and finally, the vertiginous subsumption of the mind into the body.
it feels so good to be understood, even when it’s only as a caricature
The Sight of Stars Make me Dream - Frances Featherstone, 2023
I come to earth, to a field with a flaming truck. With untreated meningitis. I come to in a field of meaning, torn into, sworn upon, pornographic. The truck’s a Ford Ranger, if that matters. Creaks and streams, streaks of cream, darting through the foothills’ sloped shoulders. Severed head in the Denny’s bathroom. I think of cake and of dead ecopoets, of a zoetrope flinging light and shapes against the walls. Thinking, that liquid bone, running through my skull like a lance. There is a new unburdened, unmediated, language, and it’s being used to write a history of hunger. It’s ruining everything, just like that truck. Who replaced the moon with a finger pointing at the moon? Cuneiforms, in uniform, in ordered rows of shapes. Language, the original microplastic, has been found even in our dreams.
Untitled - Stefan Burnett, 2016
They used to cut MDMA with sassafras, he says like this is some holy preliminary fact. Sweeter roll, softer comedown. In pieces, half-thought and half-damage, says there was a night when he couldn’t tell whose blood it was and that he didn’t care. That its absence felt like a kind of education. The world got simpler. He misses that softness, a wound warm with its own light
I imagine him decades ago, younger and sharper and meaner, in love with the wrong kind of cruelty and the right kind of attention. Lit from the inside yet serene in a way that feels wrong in the lungs
Anger is a quiet religion. Efficient and smaller than regret. Sometimes I see the relics, wooden spoons cracked at the neck, belts stretched past the logic of a waist. He tells his stories the way other people pray, each word an apology to something nameless
I used to think the bad things made me interesting. Then I thought they made me real. Tonight I just think they make me loud inside
He taps his chest twice Thud thud He doesn’t sound pleased. He does that usually. Talk in the negatives, what he didn’t do, what he never meant, when he held back. It always lands heavy in the air, a reminder that restraint is another kind of violence pressed in slow motion.
I wasn’t always like that, he said once. I believe him, I believe it doesn’t matter
Winding River - Wayne Thiebaud, 2002
Cats - Mary Fedden, 1989
When you touch me with your hands, it makes me want to be your man. When you take me with your words, it makes me want to be your girl.
I was always hungry for love. Just once, I wanted to know what it was like to get my fill of it — to be fed so much love I couldn’t take any more. Just once.
Grandmother Moorhead’s Aromatic Kitchen - Leonora Carrington, 1975
Six Water Glasses - Janet Fish, 1973
The Chamber of Love - Luis Caballero, 1968
Still Life Reviving - Remedios Varo, 1963
No. 14 - Mark Rothko, 1960
Creation of the Birds - Remedios Varo, 1957
Two Figures in the Grass - Francis Bacon, 1954
Two Dancers - Salvador Dali, 1949
Christina’s World - Andrew Wyeth, 1948
I Saw Three Cities - Kay Sage, 1944
My words rained over you, stroking you. A long time I have loved the sunned mother-of-pearl of your body. Until I even believe that you own the universe. I will bring you happy flowers from the mountains, bluebells, dark hazels, and rustic baskets of kisses. I want to do with you what spring does with the cherry trees.
I confess I have grown tired of long dreams that take me back to the point where they begin and I end, without us ever meeting in the morning.
Sometimes hidden from me in daily custom and in trust, so that I live by you unaware as by the beating of my heart, suddenly you flare in my sight, a wild rose blooming at the edge of thicket, grace and light where yesterday was only shade, and once more I am blessed, choosing again what I chose before
Since I’ve become ensnared in the tangles of your sweet-smelling hair, Arrows of grief keep sinking into my heart hundreds by hundreds.
Even the physician relinquished his cures and gave up on me: He knows I am being ruined by a destructive drug.
If you desire a soul, decree so and I will surrender mine: You are a sultan and I am a servant in bondage.
Flowers in blossom bring me no joy, roses don’t cheer up my stricken heart: I only yearn for your flushed cheeks and smiling lips.
O fortune! Why keep mangling my bosom and foiling all I try time after time? Extend me your hospitality once, am I not a guest to your realm?
The fervor of my lamentations set my body on fire: I am like a candle in a house of mourning.
Five Ceremonial Dancers - Peter Miller, 1940
New York Movie - Edward Hopper, 1939
The Horses of Lord Candlestick - Leonora Carrington, 1938
村里的老人都说 Village elders say 我跟我爷爷年轻时很像 I resemble my grandfather in his youth 刚开始我不以为然 I didn’t recognize it 后来经他们一再提起 But listening to them time and again 我就深信不疑了 Won me over 我跟我爷爷 My grandfather and I share 不仅外貌越看越像 Facial expressions 就连脾性和爱好 Temperaments, hobbies 也像同一个娘胎里出来的 Almost as if we came from the same womb 比如我爷爷外号竹竿 They nicknamed him “bamboo pole” 我外号衣架 And me, “clothes hanger” 我爷爷经常忍气吞声 He often swallowed his feelings 我经常唯唯诺诺 I’m often obsequious 我爷爷喜欢猜谜 He liked guessing riddles 我喜欢预言 I like premonitions 1943年秋,鬼子进 In the autumn of 1943, the Japanese devils invaded 我爷爷被活活烧死 and burned my grandfather alive 享年23岁 at the age of 23. 我今年23岁 This year I turn 23.
until next time, leave me alone
Phosphorescent Sea - M.C. Escher, 1933
Palace of Tenderness - Bolesław Biegas, 1928
Sultana - Henry Clive, 1925
… to tell the truth, Veronique had just aborted his baby, she had never thought of consulting him, he had learned the news the day after the operation, a bad sign in itself, and in fact she would leave him a few weeks later, it was she who had uttered the fateful phrase, something along the lines of: ‘I think it’s better if we stop’, or maybe: ‘I think it would be better if we took the time to think’, he couldn’t remember, at any rate it came down to the same thing, as soon as you start thinking it’s always in the same direction, not only in emotional terms, in fact, reflection and life and are simply incompatible.
The thought of drinking with my mom when she is the age I am now makes me want to cry
Horse, Pipe and Red Flower - Joan Miró, 1920
Nature Morte (Still Live) - Suzanne Valadon, 1920
Four trees - Egon Schiele, 1917
Kneeling Girl, Resting on Both Elbows - Egon Schiele, 1917
have you ever been gang banged by everyone you ever loved?
I try to understand myself, to make myself think of things based on the most basic principles—for example, walking means walking with my feet on the pavement, speaking means saying what I say with my mouth. I try to simplify and make everything basic, fundamental. I reminded myself that facing and coping with daily life is something I must do. But sometimes this is too difficult for me, if walking isn’t really walking, walking is 1, talking is 2, eating is 3, sleeping is 4—wouldn’t that be better, skipping all the details? Life is filled only with numbers, making life feel like numbered musical notation. But walking is still walking; if you want to walk you have to learn to walk first, build a road first, put on shoes, wear socks, wear pants, wear clothes, sometimes even wear a hat, sometimes face the wind, braving the rain, sometimes even “excuse me, excuse me.” These things keep me thinking until nightfall. I can’t sleep, and once I do, I can’t wake up. I curl up under the covers, never wanting to go out again. I was anxious and insecure, anxious, and agitated. I thought I was too ugly. I was still young, but in a few years I would be old. I was afraid of infectious diseases, and also afraid of non-contagious diseases. I thought my pinky finger might swell soon, so I started applying ointment. I felt like a thread of meat was stuffed between my teeth, so I kept licking it with my tongue, teasing it, brushing my teeth, rinsing my mouth, until finally I used a toothpick to prick my gums until it was bloody and mangled. I felt like I couldn’t touch my back. This time it was definitely not an illusion. I tried again and again. I really can’t touch it; it’s like a parched desert, and I actually carry a wasteland every day. One day, I was sprinting wildly in the middle of the road. I saw all the vehicles and crowds gradually shrinking, then dispersing in all directions. All the sounds rose, while the sky fell like an inverted sea surface. Planes flew in the water, birds flew in the water, and the flies and mosquitoes closest to me were also flying in the water. Their flying postures were like seahorses, heads raised, hands hanging over knees, calves bent back, feet straight, like “飞” the character for fly. When I raise my head I can see the bottom of their feet, and even with just the soles I could still recognize them. Finally, I calmed down and sat by the roadside waiting for the imminent tsunami, or a bucket of cold water to be poured on my forehead. I felt my body becoming numb, tingling in waves. I told myself, this is the darkest moment, there will never be a darker moment than now. After this moment, everything else is bright. You don’t have to suffer this much ever again. This did have some effect, although I know deep inside that it is only a temporary self-comfort.
Life is indeed a precious gift, but I often feel as if it was given to the wrong person.
vampire so depressed they’re waking up at 5AM
The Courtyard of the Old Residency in Munich - Adolf Hitler, 1914
The Cyclops - Odilon Redon, 1914
Dynamism of a Dog on a Leash - Giacomo Balla, 1912
When I was a kid, there was an aquarium thirty minutes by bicycle from where I lived. A chill aquarium-like silence always pervaded the place, with only an occasional splash to be heard. I could almost feel the Creature from the Black Lagoon breathing in some dim corner.
Schools of tuna circled ’round and ’round the enormous pool. Sturgeon plied their own narrow watercourse, piranha set their razor-sharp teeth into chunks of meat, and electric eels sputtered and sparked like shorted-out lightbulbs.
The aquarium was filled with countless other fish as well, all with different names and scales and fins. I couldn’t figure out why on earth there had to be so many kinds of fish.
There were, of course, no whales in the aquarium. One whale would have been too big, even if you knocked out all the walls and made the entire aquarium into one tank. Instead, the aquarium kept a whale penis on display. As a token, if you will.
So it was that my most impressionable years of boyhood were spent gazing at not a whale but a whale’s penis. Whenever I tired of strolling through the chill aisles of the aquarium, I’d steal off to my place on the bench in the hushed, high-ceilinged stillness of the exhibition room and spend hours on end there contemplating this whale’s penis.
At times it would remind me of a tiny shriveled palm tree; at other times, a giant ear of corn. In fact, if not for the plaque—WHALE GENITAL: MALE—no one would have taken it to be a whale’s penis. More likely an artifact unearthed from the Central Asian desert than a product of the Antarctic Ocean. It bore no resemblance to my penis, nor to any penis I’d ever seen. What was worse, the severed penis exuded a singular, somehow unspeakable aura of sadness.
It came back to me, that giant whale’s penis, after having intercourse with a girl for the very first time. What twists of fate, what tortuous circumnavigations, had brought it to that cavernous exhibition room? My heart ached, thinking about it. I felt as if I didn’t have a hope in the world. But I was only seventeen and clearly too young to give up on everything. It was then and there I came to the realization I have borne in mind ever since.
Which is, that I am not a whale.
Marcella - Ernst Ludwig Kirchner, 1910
At the Dressing-Table - Zinaida Serebriakova, 1909
Self-portrait in Front of Mirror - Léon Spilliaert, 1908
The Convalescent - Lilian Westcott Hale, 1906
Bacchanal - Franz von Stuck, 1905
Two Nudes and a Cat - Pablo Picasso, 1903
Seated Woman In Blue - Paul Cézanne, 1902
Young Mother Sewing - Mary Cassat, 1900
Sadder than a single star that sets at twilight in a land of reeds - Sydney Long, 1899
The Garden of Death - Hugo Simberg, 1896
After the Ball - Ramon Casas i Carbó, 1895
The Death of the Gravedigger - Carlos Schwabe, 1895
The Disappointed Souls - Ferdinand Hodler, 1892
Young Girl with Basket - Berthe Morisot, 1892
After first Communion - Carl Frithjof Smith, 1892
Circe Invidiosa - John William Waterhouse, 1892
To love is to reveal the pale underbelly of the arm or to fashion from the magnifying lens a prism it is to dilate oh god dilate or to turn your splintered rib death side down against the gauze or to come if baby says come and should baby say I need you to try and come closer than that you surrender your callus your swan cracks with song oh to love is to open your mouth very wide—
The Demon Seated - Mikhail Vrubel, 1890
The Shore of Oblivion - Eugen Bracht, 1889
The Road Menders - Vincent van Gogh, 1889
Vase - Ernest Carrière, 1888
Resting - Antonio Mancini, 1887
Compulsory Education - Briton Rivière, 1887
Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous— Almost, at times, the Fool.
I grow old … I grow old … I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
When all the others were away at Mass
I was all hers as we peeled potatoes.
They broke the silence, let fall one by one
Like solder weeping off the soldering iron:
Cold comforts set between us, things to share
Gleaming in a bucket of clean water.
And again let fall. Little pleasant splashes
From each other’s work would bring us to our senses.
So while the parish priest at her bedside
Went hammer and tongs at the prayers for the dying
And some were responding and some crying
I remembered her head bent towards my head,
Her breath in mine, our fluent dipping knives-
Never closer the whole rest of our lives.
Ivan the Terrible and His Son Ivan on 16 November 1581 - Ilya Repin, 1885
The Song of the Lark - Jules Breton, 1884
A woman reading - Georges Seurat, 1883
The Sacred Grove - Arnold Böcklin, 1882
The Crying Spider - Odilon Redon, 1881
Ophelia - Sarah Bernhardt, 1880
Smoke of Ambergris - John Singer Sargent, 1880
Witches Going to Their Sabbath - Luis Ricardo Falero, 1878
The Floor Scrapers - Gustave Caillebotte, 1875
Nocturne in Black and Gold - James McNeill Whistler, 1875
Love or Duty - Gabriele Castagnola, 1873
Am I ever going to stop doing as I wish? If you gave me thirty lucky breaks, I could succeed! Write me a good line or I’ll zip up my dress. That’s the way I feel about it. Maybe I leave a lot of chances on the table.
Listen, junior, and learn. You want to know what poetry is? A flea circus. That’s a point that’ll take a lot of arguing. But don’t let’s get sticky about it. Kill the people, darling.
In taking on this accent I take on every fracture in the male ego and every past present and future condemnation of the female one. I am a disgraceful woman and a perfect girl and an evil whore and a lazy bitch and a poor victim and and and. This experience of self is impermeable. Because of that I get to walk the fine lines. I get to be a righteous whore. I don’t work. I get to have clandestine dreams at night and have enough time to speak them in the morning over an expensive piece of fruit.
The Love Letter - Petrus van Schendel, 1870
Dancers At The Barre - Hilaire-Germain-Edgar Degas, 1868
The Thorn - Charles West Cope, 1866
The Origin of the World - Gustave Courbet, 1866
Symphony in White, No. 2: The Little White Girl - James McNeill Whistler, 1864
Filippo Lippi and the Nun Lucrezia Buti - Gabriele Castagnola, 1860
The Kiss - Francesco Hayez, 1859
Girl with Flowers - József Borsos, 1856
Manual of Surgical Bandages, Devices and Dressing - Joseph Marie Achille Goffres, 1854
The Fallen Angel - Alexandre Cabanel, 1847
Asapia used to argue with Xenophon’s wife, and with Xenophon himself. “Tell me, I beg of you, O you wife of Xenophon, if your neighbor has better gold than you have, whether you prefer her gold or your own?” “Hers,” says she. “Supposed she has dresses and other ornaments suited to women, of more value than those which you have, should you prefer your own or hers?” “Hers, to be sure,” answered she. “Come, then,” says Aspasia, “suppose she has a better husband than you have, should you then prefer your own husband or hers?” On this the woman blushed.
To The Street - Honoré Daumier, 1840
Beauty Revealed - Sarah Goodridge, 1828
The Dog - Francisco Goya, 1819
Bathing in Cold Water - Kitagawa Utamaro, 1799
The Nightmare - Henry Fuseli, 1781
Alegoría de la Madre Patria - Unknown, 1762
Susannah Maria Cibber - Thomas Hudson, 1749
I shut my eyes and all the world drops dead; I lift my lids and all is born again. (I think I made you up inside my head.)
The stars go waltzing out in blue and red, And arbitrary blackness gallops in: I shut my eyes and all the world drops dead.
I dreamed that you bewitched me into bed And sung me moon-struck, kissed me quite insane. (I think I made you up inside my head.)
God topples from the sky, hell’s fires fade: Exit seraphim and Satan’s men: I shut my eyes and all the world drops dead.
I fancied you’d return the way you said, But I grow old and I forget your name. (I think I made you up inside my head.)
I should have loved a thunderbird instead; At least when spring comes they roar back again. I shut my eyes and all the world drops dead. (I think I made you up inside my head.)
We cannot know his legendary head with eyes like ripening fruit. And yet his torso is still suffused with brilliance from inside, like a lamp, in which his gaze, now turned to low,
gleams in all its power. Otherwise the curved breast could not dazzle you so, nor could a smile run through the placid hips and thighs to that dark center where procreation flared.
Otherwise this stone would seem defaced beneath the translucent cascade of the shoulders and would not glisten like a wild beast’s fur:
would not, from all the borders of itself, burst like a star: for here there is no place that does not see you. You must change your life.
Lucretia - Rembrandt, 1666
There was something strange in my sensations, something indescribably new and, from its very novelty, incredibly sweet. I felt younger, lighter, happier in body; within I was conscious of a heady recklessness, a current of disordered sensual images running like a millrace in my fancy, a solution of the bonds of obligation, an unknown but not an innocent freedom of the soul.
what’s up buttercup?
today I think I’ll go on the computer
the problem with other people is that one must leave before the other and one always gets there first.
Art thou pale for weariness Of climbing heaven and gazing on the earth, Wandering companionless Among the stars that have a different birth, And ever changing, like a joyless eye That finds no object worth its constancy?
Philosopher in Meditation - Rembrandt, 1632
The Opening of the Fifth Seal - El Greco, 1608
Too sick to hustle for housesits like I used to, I decide to move into my parent’s two-bedroom ranch house in North Carolina, where I file for disability and set up a whole new stable of doctors to administer obscure tests. I consume radioactive eggs from a paper cup for a gastric emptying study so they can shoot gamma rays at my intestines to track the movement of the egg down my chute. I buy a George H. W. Bush baseball card that depicts him at age ninety-one throwing out the first pitch at an Astros game. I tell my mom and dad that he’s my spirit animal. My mom says her friend’s daughter said white people can’t have spirit animals. My dad, who voted for Bush twice, asks where my wife is.
And the days are not full enough And the nights are not full enough And life slips by like a field mouse Not shaking the grass.
I shall lie down at home and pretend to be dying. Then the neighbors will all come in to gape at me, and, perhaps, she will come with them. When she comes, I won’t need a doctor, she knows why I am ill.
The Hunters in the Snow - Pieter Bruegel the Elder, 1565
The Tower of Babel - Pieter Bruegel the Elder, 1563
The Ambassadors - Hans Holbein the Younger, 1533
Architectural Veduta - Francesco di Giorgio Martini, 1499
Haboku-Sansui - Sesshū Tōyō, 1495
I am proud to say that even though my place of origin is mean and soiled, I am totally able to identify a beauty when I see one. I saw a blond-wood armchair and immediately sensed her importance. when I flipped her over, I saw the special mark of her manufacturer — there his famous brand was proudly stationed. Her seat has these curves, bent to accommodate the ass of a high-knowing person. This kind of bend means a lot to many people, so I purchased her, and I will situate her prominently at the entrance to my house. My house is full of such fine furnishings and I enjoy inviting acquaintances to dinner, so that my little collection can receive some admiration. One evening, my guests – as adults at dinner parties eventually do — recounted the abuse they suffered at the hands of their parents. Jenny’s mother led her into the backyard to select an exquisitely long and slender reed and proceeded to cut her daughter’s backside with it. Helen’s mother chased her around the house with a sjambok, a malevolently thick whip used to corral large and obtuse livestock. Speaking of livestock: Kevin’s father beat him, and then beat him again for crying like a cow! At this confession, the table laughed — they couldn’t help themselves. Kevin smiled wide and laughed too. His mouth made a sound like moo moo moo!
Winter Landscape - Sesshū Tōyō, 1470
The Visitation - Rogier van de Weyden, 1445
Coronation of the Virgin - Fra Angelico, 1432
Annunciation - Master of the Cini Madonna, 1330
Saint Matthew writing a Gospel - Ebbo Gospels, 816
Bowl with Human Feet - Predynastic Egypt, 3450 B.C
stop pretending you don’t enjoy the weight
Tomorrow when the farm boys find this freak of nature, they will wrap his body in newspaper and carry him to the museum.
But tonight he is alive and in the north field with his mother. It is a perfect summer evening: the moon rising over the orchard, the wind in the grass. And as he stares into the sky, there are twice as many stars as usual.
i want the royal flush i can wait forever if i get what i want
this too will be a memory. but not right now.
Lamb, 2021
Painting of Painting 013 - Teppei Takeda, 2017
Lunar Fruit - J.P. Ormiston, 2014
Skateboard - Ron Francis, 2009
Sex Couture - Thierry Mugler, 1999
Fenêtre murée - Pierre Gilou, 1982
Chess Game - Will Barnet, 1973
Breeze Rustling Through Fall Flowers - Alma Thomas, 1968
Her Room - Andrew Wyeth, 1963
I’d never amounted to anything, which was fine by me as a straight-up lover of anonymity, drawn to the city by its promise of defeat, hermetic inferiority complex, and my personal, depreciating favorite: obscurity. Why can’t people have the goddam courage to be an absolute nobody?
…
I wanted my ethics to be impeccable and keep my face out of the public, but at the same time I wanted to be wildly, irreversibly successful, and very rich. Nouveau rich enough to install a floor-to-ceiling fish tank of exotic Australian bluebottle fed prosecco grapes, order smoked potato salad dining at The Met, and lead a sapphire life in general. Collectors and patrons visiting my crib would instantly know I was loaded. I was a resource-sharing Marxist, but potentially not by choice. Contradiction is one of the most beautiful things there is.
…
Could I be famous and have no one notice me?
I’d have to ask a woman over thirty-five.
Woman Leaving the Psychoanalyst - Remedios Varo, 1960
Le Passage - Kay Sage, 1956
Empire of Light - René Magritte, 1953
Wind from the Sea - Andrew Wyeth, 1947
Nighthawks - Edward Hopper, 1942
Girl Writing - Milton Avery, 1941
Wood Lot, Maine Woods - Marsden Hartley, 1939
Vsevolod Meyerhold - Pyotr Konchalovsky, 1938
Jazz Age Mannequins - Peter Weller, 1930
Pepita - Francisco Soria Aedo, 1929
Portrait of Madame Paul Guillaume - Marie Laurencin, 1927
Grey Sea - John Marin, 1924
Woman Resting - Lilian Westcott Hale, 1920
Oh God - Marc Chagall, 1919
The Coral Necklace - Wilhelm Gallhof, 1917
Mrs. George Owen Sandys - Philip de László, 1915
Fugato - Otto Friedrich, 1913
Goldfish - Henri Matisse, 1912
The Embrace - Gustav Klimt - 1909
Sarah Holding A Cat - Mary Cassat, 1908
The Large Figure Paintings, No. 5 - Hilma af Klint, 1906
Parents’ Happiness - Jean-Eugène Buland, 1903
Interior with Woman in Red - Félix Vallotton, 1903
The Apache’s Supper - Louis Legrand, 1901
The Swamp - Gustav Klimt, 1900
The artist’s studio - Charles Napier Kennedy, 1898
The Tabby Toboggan Club - Louis Wain, 1898
Sorry but dressing up as the UPS man and trying to deliver you a parcel, only for you to say that isn’t the package you ordered, then going into the next room where you call me and I pretend to be the UPS complaints department, and then you put on a blindfold and I come in and set about you with the magic wand while still walking you through the process for tracking a missing parcel, until you climax at the point where I say that I’m very sorry but because you lack the requisite information to prove your identity there’s nothing more we can do at this stage, but you’re welcome to call back when you have that info on hand - that isn’t sexy for me. When you described it I rather thought it would just be a bit of preamble about whether I had a ‘big package’ for you. And look I love you, and I’ll try my best if you insist, but you’ve got to understand that this whole rigmarole is as erotic for me as running late for a job interview.
ha ha guys no don’t put me against your wall…do not grab me by the shirt collar in a dark room…ha ha don’t omg stoppppp
this is the first summer of my life. in many ways.
yawn
Pleasant Burden - William-Adolphe Bouguereau, 1895
Frenzy of Exultations - Władysław Podkowiński, 1893
In Bed, The Kiss - Henri de Toulouse-Lautrec 1892
Le Lit - Musée d’Orsay, 1892
Head of Medusa - Franz von Stuck, 1892
Miss Amelia Van Buren - Thomas Eakins, 1891
I Lock My Door Upon Myself - Fernand Khnopff, 1891
The Staircase, Whittington Court, Gloucestershire - Helen Allingham, 1890
Great Peacock Moth - Vincent Van Gogh, 1889
Almond Blososoms - Vincent van Gogh, 1888
An Evening at Home - Sir Edward John Poynter, 1888
Carnation, Lily, Lily, Rose - John Singer Sargent, 1886
The Organ Rehearsal - Henry Lerolle, 1885
Except as I started walking down the sidewalk, I watched a truck veer from its lane, flatten a stop sign, desperately try to slow, momentarily direct itself, and then in spite of all the brakes on that monster, all the accompanying smoke and ear puncturing shrieks, it still barreled straight into me. Suddenly I understood what it mean to be weightless, flying through the air, no longer ruled by that happy dyad of gravity &
mass until I was, landing on the roof of a parked car, which turned out to be my car, a good fifteen feet away, hearing the thud but not actually feeling it. I even momentarily blacked out, but came to just in time to watch the truck, still burling towards me until it was actually slamming into me, causing me to think, and you’re not going to believe this—“I can’t believe this asshole just totaled my fucking car! Of all the cars on this street and he had to fucking trash mine!” even as all that steel was grinding into me, instantly pulverizing my legs, my pelvis, the metal from the grill wedging forward like kitchen knives, severing me from the waist down. People started screaming. Though not about me. Something to do with the truck. It was leaking all over the place. Gas. It had caught fire. I was going to burn. Except it wasn’t gas. It was milk. Only there was no milk. There was no gas. No leak either. There weren’t even any people. Certainly none who were screaming. And there sure as hell wasn’t any truck. I was alone. My street was empty. A tree fell on me. So heavy, it took a crane to lift it. Not even a crane could lift it. There are no trees on my lock. This has got to stop. I have to go. I did go.
Morning - Louis Collin, 1884
The Love Letter - August Toulmouche, 1883
Flowers in a Crystal Vase - Édouard Manet, 1882
I am seventy-three years old, people expect me to say wise things about old age. I don’t do that, men of eighty must do that. The Japanese draftsman Hokusai wrote:
Starting in my sixth year of life, I was obsessed by drawing the forms of things. Starting in my fiftieth, I produced a great deal, but nothing that I made before my seventieth year was really worth the trouble. Only in my seventy-third did I at last begin to see something of the essence of birds, animals, insects, fish, and the vital nature of grasses and trees. This is why it is only in my eightieth that I will have registered some progress, that when I am ninety I will have penetrated farther into the deeper meaning of things, that in my hundredth year I will be truly extraordinary, and that in my hundred and tenth every dot and ever line will possess life itself.
I have a neighbor, a boy seventeen years old, I see the passion with which he holds his girl. I think: What a lot you will know when you are a hundred and ten.
I am out with lanterns looking for myself
But pleasures are like poppies spread, you seize the flow’r, its bloom is shed; Or like the snow falls in the river, a moment white - then melts for ever; Or like the Borealis race, that flit ere you can point their place; Or like the Rainbow’s lovely form evanishing amid the storm.
Spin, Spin, My Daughter - Heinrich Lossow, 1880
Dolce Far Niente - John William Waterhouse, 1880
Sympathy - Briton Rivière, 1878
Fisherman’s Bay, South Farallon Island - Hermann Herzog, 1875
The Gross Clinic - Thomas Eakins, 1875
The Apparition - Gustave Moreau, 1874
Self-Portrait with Death Playing the Fiddle - Arnold Böcklin, 1872
The Magpie - Claude Monet, 1869
Interior - Edgar Degas, 1868
Automedon with the Horses of Achilles - Henri Regnault, 1868
Paul et Virginie - Émile Levy, 1866
O bow-browed beauty, I am a martyr of your arrows: I’ve found my inspiration in your glance, I am your victim.
The thread of my sanity is woven to your hair curls: Have mercy on me for heaven’s sake, my head is spinning.
What use is listening to the zealots and giving up wine? I have no need for the merriness of drinking, I am your devotee.
I watched you; thirty birds were watching me; Where we saw what you would have me be: Just such a piece of human that you are, Who, ever since I glimpsed you from afar, Has seemed to harry me like providence, Engulfing and reflecting all my sense Of selfhood, every feather’s daft pretense To call itself my own. But that’s alright, Because in truth the plumage suits you quite As well, that when you looked, no bird could glean Which of us was the seer and the seen, The seeker and the sought - I’d have it such. I’d have you have me make of me so much! Amid the flocking multitude - one touch.
The Kiss - Mihály von Zichy, 1864
Cotopaxi - Frederic Edwin Church, 1862
Diana the Huntress - Gaston Casimir Saint-Pierre, 1860
Girl in a Field - Ludwig Knaus, 1857
The Fringe of the Forest - Gustave Courbet, 1856
The Young Martyr - Paul Delaroche, 1855
‘It’s me or the dog,’ she laughed, though by ‘dog’ she meant ‘void’ and by ‘laughed’ I mean ‘sobbed’ and by ‘me’ she meant ‘us’ and by ‘she’ I mean ‘you’ and by ‘or’ she meant ‘and.’ ‘It’s us and the void’, you sobbed.
I think where I am not, therefore I am where I do not think. I am not whenever I am the plaything of my thought; I think of what I am where I do not think to think.
All was silent after that. No, I heard someone crying. Untying the rest of my bonds, I listened carefully, and I noticed that it was my own crying.
Environs of Gruyéres, Switzerland - Jean-Baptiste Corot, 1850
Pandemonium - John Martin, 1841
The Old Shepherd’s Chief Mourner - Edwin Landseer, 1837
The Burning of the Houses of Lords and Commons - J. M. W. Turner, 1834
Still Life with Watermelon - Sarah Miriam Peale, 1822
Their knees are a practical epoch apart. … O to be as stupid and bold as an alarm programmed to wail hold me, … Take me in. Want me how a sentence wants an end, how a memory wants to be spoken. With the urgency of breath when the bag is finally removed from the head.
Sad forebodings of what must come to pass - Francisco Goya, 1810
Portrait of a Black Man - Théodore Géricault, 1808
Equestrian Portrait of Viceroy Bernardo de Gálvez - Fray Pablo de Jesús y Jerónimo, 1796
The Love Letter - Jean-Honoré Fragonard, 1773
Teapot, 1760
Veiled Christ - Giuseppe Sanmartino, 1753
A Bowl Of Plums - Jean-Baptiste Simeon Chardin, 1728
Saints Justa and Rufina - Murillo, 1665
Lamb of God - Francisco de Zurbarán, 1635
The beheading of St. John the Baptist - Caravaggio, 1608
Salome with the head of St. John the Baptist - Caravaggio, 1607
Geometria et Perspectiva - Lorenz Stöer, 1567
The midwife approached the bed and positioned herself between the woman’s legs. This mother was a paragon of beauty, a young woman no older than seventeen. None of her features identified her heritage, but from the extremely soft feel of her skin, Zuhra judged that she was a jinni. Zuhra’s fingers sank into this woman’s thighs as if they were soft dough. She had heard from her grandmothers that jinn have no bones in their bodies. Zuhra noticed how lofty the ceiling was and how unusual the room’s furnishings were. In that moment she felt certain that she had entered the land of the jinn on her own two feet. She felt an instinctive fear roil her blood but gained control of herself and pretended to be calm as she attentively assisted the jinni whose labor had begun two days earlier. Now in her third day of labor, she was totally exhausted, and she and her fetus were near death. The young jinni father got everything Zuhra requested and then busied himself with making prostrations to an idol that looked like an ibex, two-and-a-half cubits tall. He kissed the ibex’s hooves, praying fervently that the idol would save his wife and the creature in her womb by butting the angel of death with his horns and sending him reeling back on his heels, filled with remorse. As dawn’s first rays appeared, the baby’s head emerged. Then Zuhra seized hold of him and gently pulled till he landed in her hands yowling with a sound somewhere between weeping and a blazing fire. She cut his umbilical cord and washed him with warm water. The baby was a boy, and his penis was as long as his foot. His mouth reached upward like a crescent moon, slanting slightly toward the right. His nose, there in the middle of his face, emitted a glow like a star. Zuhra wrapped this newborn in a green diaper and handed him to his father, who was over the moon and began to speak tenderly to him, calling him “Waraqa.” Zuhra rubbed relaxant hot mustard oil over the jinni mother’s belly and pressed down. After some effort, the placenta emerged, and the jinni mother’s suffering was finally over. She stopped moaning, and the flush of life returned to her cheeks. Zuhra collected the remains of the delivery in a clay pot, which she asked the jinni father to bury. Then she replaced the dirty sheet with a fresh one and, with an expert hand, cleaned the remaining blood from the jinni mother and instructed her to nurse Waraqa and quiet his bizarre screams. When the young husband was slow to relinquish the newborn and pass him into his mother’s embrace, Zuhra shouted at him to do as she said. The new father obeyed her and walked out. When the jinni mother shyly pulled her breast from an opening in her blouse, it descended all the way to the floor. Then she fed her newborn.
Zuhra’s astonishment was visible, and she wondered whether the other breast was as long.
Waraqa suckled on the gold-colored nipple till he was sated and fell asleep. His mother then set him down and asked Zuhra to help her change. From a green armoire as diaphanous as a huge emerald Zuhra plucked an orange blouse embroidered with beautiful designs. Once the she-jinni had removed all her clothing, Zuhra watched her place her long breasts over her shoulders, so that they hung down her back.
Fighting Figures - Luca Cambiaso, 1542
Saint Sebastian Destroying the Idols - Josee Lieferinxe, 1497
Death and the Miser - Hieronymus Bosch, 1490
The Mocking of Christ - Fra Angelico, 1441
Medallion with the Emperor Augustus’s Vision of the Virgin and Child - Limbourg Brothers, 1420
Adam - Pierre de Montreuil, 1260
Villa of the Mysteries - Pompeii, 0079