It’s that I do.:

It’s not that I don’t love you. It’s the sound I heard when I was 9 and my father slammed the front door so hard behind him I swear to god it shook the whole house. For the next 3 years I watched my mother break her teeth on vodka bottles. I think she stopped breathing when he left. I think part of her died. I think he took her heart with him when he walked out. Her chest is empty, just a shattered mess or cracked ribs and depression pills.

It’s not that I don’t love you. It’s all the blood in the sink. It’s the night that I spent 12 hours in the emergency room waiting to see if my sister was going to be okay, after the boy she loved, told her he didn’t love her anymore. It’s the crying, and the fluorescent lights, and white sneakers and pale faces and shaky breaths and blood. So much blood.

It’s not that I don’t love you. It’s the time that I had to stay up for two days straight with my best friend while she cried and shrieked and threw up on my bedroom floor because her boyfriend fucked his ex. I swear to god she still has tear streaks stained onto her cheeks. I think when you love someone, it never really goes away.

It’s not that I don’t love you. It’s the six weeks we had a substitute in English because our teacher was getting divorced and couldn’t handle getting out of bed. When she came back she was smiling. But her hands shook so hard when she held her coffee, you could see that something was broken inside. And sometimes when things break, you can’t fix them. Nothing ever goes back to how it was. I got an A in English that year. I think her head was always spinning too hard to read any essays.

It’s not that I don’t love you. It’s that I do.

Notes
fuckyeahthelastframe:

Banshun - Late Spring, 1949 (Yasujirô Ozu)

fuckyeahthelastframe:

Banshun - Late Spring, 1949 (Yasujirô Ozu)

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Go to the Limits of Your Longing

zoezinnia:

God speaks to each of us as he makes us,
then walks with us silently out of the night.

These are the words we dimly hear:

You, sent out beyond your recall,
go to the limits of your longing.
Embody me.

Flare up like a flame
and make big shadows I can move in.

Let everything happen to you: beauty and terror.
Just keep going. No feeling is final.
Don’t let yourself lose me.

Nearby is the country they call life.
You will know it by its seriousness.

Give me your hand.

— R.M. Rilke, translated by Joanna Macy + Anita Barrows

Notes
orphanwork:

Steffen Junghans

orphanwork:

Steffen Junghans

Notes
The Gospel of Thomas, (when the biblical “becomes” Deleuzian):
When you make the two one, and when you make the inside like the outside and the outside like the inside, and the above like the below, and when you make the male and the female one and the same, so that the male not be male nor the female female; and when you fashion eyes in the place of an eye, and a hand in place of a hand, and a foot in place of a foot, and a likeness in place of a likeness; then will you enter the kingdom.
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Ingmar Bergman, Persona, 1966

Ingmar Bergman, Persona, 1966

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Developed a few rolls. Finally.

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Walt Whitman — from “I Sing the Body Electric”:
This is the female form.
A divine nimbus exhales from it from head to foot,
It attracts with fierce undeniable attraction,
I am drawn by its breath as if I were no more than a helpless vapor, all falls aside by myself and it,
Books, art, religion, time, the visible and solid earth, and what was expected of heaven or fear’d of hell, are now consumed,
Mad filaments, ungovernable shoots play out of it, the response likewise ungovernable,
Hair, hips, bend of legs, negligent falling hands all diffused, mine too diffused,
Ebb stung by the flow and flow stung by the ebb, love-flesh swelling and deliciously aching,
Limitless jets of love hot and enormous, quivering jelly of love, white-blow and delirious juice,
Bridegroom night of love working surely and softly into the prostrate dawn,
Undulating into the willing and yielding day,
Lost in the cleave of the clasping and sweet-flesh’d day.
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S