1. "It’s important to know how to think with emotions and to feel with intellect …"
    — Fernando Pessoa (via apoetreflects)

    (Source: this-lonely-crowd, via apoetreflects)


  2. "Everything seems to me to be such a cliché as soon as I say it."

  3. "

    The mobile and the immobile flickering
    In the area between is and was are leaves,
    Leaves burnished in autumnal burnished trees

    And leaves in whirlings in the gutters, whirlings
    Around and away, resembling the presence of thought,
    Resembling the presences of thoughts, as if,

    In the end, in the whole psychology, the self,
    The town, the weather, in a casual litter,
    Together, said words of the world are the life of the world.

    — Wallace Stevens, from section XII of “An Ordinary Evening in New Haven,” The Collected Poems of Wallace Stevens (Vintage, 1982)

    (Source: apoetreflects)

  4. poetrysociety:

    From a special edition of 15 copies of Frank O’Hara’s Meditations In An Emergency (1957), which included an original drawing/collage by Grace Hartigan.

    via Yale Library

    (via apoetreflects)


  5. heteroglossia:

    "Because ‘the I’ is the miracle of ‘the You’, because the self depends upon the stranger, who is always an other. For are we not strangers to ourselves, do we not, in the deepest reaches of our unconscious, harbor unrecognizable selves?"

    Richard Stamelman, “The Graven Silence of Writing,” From the Book to the Book: An Edmond Jabès Reader


  6. "[Art] means nothing if it simply decorates the dinner table of the power which holds it hostage."
    — Adrienne Rich
  7. earthrites:

    Etching by Attila Sassy (1880-1967) for his Opium Dreams, 1909

    (via sukiandme)

  8. cinevisioni-catalog:


    Robert Bresson

    Francia, Svezia 1966 | 91 minuti | bianco e nero | 1.66:1

    (via frenchcinema)

  9. americanexperiencepbs:

    To journalist Dorothy Thompson, who applauded Orson Welles in her widely-read column, the “War of the Worlds” broadcast cleverly proved the power of propaganda. Watch this video to hear what she wrote in her column.


  10. "Long books, when read, are usually overpraised, because the reader wants to convince others and himself that he has not wasted his time."
    —  E.M. Forster (via berfrois)

  11. vizard

    noun: A visor, mask, or disguise.

  12. ericpenington:

    Felix Nussbaum, Organ Grinder, 1942-1943.

    (via godot-et-merault-deactivated201)


  13. "

    [I]t is not that one cannot get outside of language in order to grasp materiality in and of itself; rather, every effort to refer to materiality takes place through a signifying process which, in its phenomenality, is always already material. In this sense, then, language and materiality are not opposed, for language both is and refers to that which is material, and what is material never fully escapes from the process by which it is signified … And yet what allows for a signifier to signify will never be its materiality alone; that materiality will be at once an instrumentality and deployment of a larger set of linguistic relations.

    The materiality of the signifier will signify only to the extent that it is impure, contaminated by the ideality of differentiating relations, the tacit structuring of a linguistic context that is illimitable in principle. Conversely, the signifier will work to the extent that it is also contaminated constitutively by the very materiality that the ideality of sense purports to overcome.

    — Judith Butler. Bodies that Matter (via heteroglossia)

    (Source: lointaine-3, via heteroglossia)


  14. metaphorformetaphor:

    There were many things I wanted to say to you
    before you left. Now I shall not say them.
    Though the light spills onto the balcony
    making the same shadows in the same places,
    only I can see it, only I can hear the wind
    and it is much too loud.

    The world seethes with words. Forgive me.
    I love you, but I must not think of you.
    That is the law. Not everyone obeys it.
    Though time moves past and the air is never the same
    I shall not change. That is the law, and it is right.
    I am the wrong direction, the dead nerve-end, the unfinished scream.
    One day my words may comfort you, as yours can never comfort me.

    —Paul Bowles, from “Next to Nothing” in Too Far From Home: The Selected Writings of Paul Bowles (Ecco, 1993)

    (via apoetreflects)