Maggie Nelson on 10:04

durgapolashi:

By the time I finished 10:04, I felt I knew some: not being ashamed of the desire to make a living doing what we love, while also daring to imagine “art before or after capital”; paying as intense attention to our collectivity as to our individuality; demanding a politics based on more than reproductive futurism, without belittling the daily miracle of conception, nor the labor and mysterious promise of child bearing and rearing; attempting to listen seriously to others, especially those who differ profoundly from ourselves, no matter how pre-contaminated the attempts; spending time reading and writing poetry; and more. Far from despair, I felt flooded with the sense that everything mattered, from meticulous descriptions of individual works of art to kissing the forehead of a passed-out intern to analyzing our political language to documenting the sensual details of our daily lives to bagging dried mangoes to the creation of the book I was holding in my hand to my deciding to spend some time writing a review of it. “The earth is beautiful beyond all change,” Lerner repeats in 10:04, quoting the poet William Bronk. The inspired and inspiring accomplishment of his novel makes me want to say that, sometimes, art is too. And maybe — if incredibly — so might we be, ourselves.”

Maggie Nelson on Ben Lerner

For queers to make things work can be pressure as well as a project. You know that if there is a break up it can fulfill an expectation that such relationships are less lasting, less secure; fragile. There is a kind of queer fatalism at stake here: that to be on a queer path is to hurtle toward a miserable fate; queer as self-shattering. And then if things do shatter (as they do tend to do) you have fulfilled an expectation that “this” is where being queer led you to.

We can note from these examples of queer or mixed intimacies how some relationships are assumed to be inherently broken, as if their fate is to break. And this is difficult: the assumption of fragility can make something fragile; just think of how you can become clumsier when you are trying to be careful not to break what easily breaks. Or think of how if you are already known as the clumsy one, you might become even more afraid of breakage, because you know that if there is a breakage, you will be judged as the one who is behind it. The harder you try the more you seem to slip up. Or think of how leaving the accepted social paths can be to leave behind support systems, those institutional ways of holding, protecting, nurturing. To leave a support system can mean to become more fragile, less protected from the bumps of ordinary life. And though fragility might be a consequence it can be recruited as cause: as if you willfully caused your own damage by leaving the safety of a brightly lit path. No wonder so much queer and feminist invention comes from creating our own support systems.

Sara Ahmed, “Fragility” (via lehaaz)

(via mangoestho)

CHELSEA BRAVO SPRING/SUMMER 2015 LOOKBOOK

(Source: seotaijiandboys, via hopunk)

uzowuru:

from me to you

(via uzowuru)

wintergrey:

James Baldwin on “looting” (via x).

wintergrey:

James Baldwin on “looting” (via x).

(via queen-of-evrything)

altcomics:

Kristina Tzekova

(Source: kristinatzekova)

nikeswooshes:

yohji yamamoto spring 2009

nikeswooshes:

yohji yamamoto spring 2009

(Source: nikespookers, via fleeten)

reitschul:

Consider the occurrence of one’s feelings as the opposite of how coloring books work: you’re first given an intensity of color, which you then try and fit into a shape, a form. 

(Source: reitsc, via dolorimeter)

(Source: fuckyeahstvincent)

jassieuo:

corner store trips with @sheliathedesigner 

(Source: jassieuo.net)

zonkout:

Dorothy Gillespie, Color Clouds and Ribboned Currents, 1990.

zonkout:

Dorothy Gillespie, Color Clouds and Ribboned Currents, 1990.

fuckyeahnickiminaj:

Complex Magazine released “The 25 Best Rap Verses of the Last 5 Years,” naming Nicki Minaj’s verse in Monster  #1.

“It was clear, she did her thing alongside the best in the game—she stole the show, in fact, outshined them all.”

(via controlledeuphoria)

trioxic:

Henri Matisse: Nu sur méridienne , 1929–1929

trioxic:

Henri Matisse: Nu sur méridienne , 1929–1929

(via controlledeuphoria)