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Good night, Lisa. Sleep with the angels." Her eyes stung from quick tears. It had been her mother's nightly benediction: Sleep with the angels. But then he added words her mother never had: "Then come back to earth and sleep with your devil, who would burn in hell for one night in your arms. ↗
And this is Nymphadora-" "Don't call me Nymphadora, Remus," said the young witch with a shudder. "It's Tonks." "-Nymphadora Tonks, who prefers to be known by her surname only," finished Lupin. "So would you if your fool of a mother had called you 'Nymphadora,' " muttered Tonks. ↗
Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair. ↗
We are all like fireworks. We climb, shine and always go our separate ways and become further apart. But even if that time comes, let's not disappear like a firework, and continue to shine... forever. -Tōshirō Hitsugaya (Bleach) ↗
En el Tibet creemos que el único enemigo es el hombre a quien no conocemos; basta trabajar junto a un hombre, hablar con él y tratarlo para que deje de ser un enemigo. ↗
Nowadays, you can do anything that you want—anal, oral, fisting—but you need to be wearing gloves, condoms, protection. ↗
The liberal idea of tolerance is more and more a kind of intolerance. What it means is 'Leave me alone; don't harass me; I'm intolerant towards your over-proximity. ↗
#intolerance #liberalism #sexual-harassment #tolerance #liberalism
Jesus can you show me Just how far the east is from the west, Cause I can't bear to see the man I've been Rising up in me again. In the arms of your mercy I find rest Cause you know just how far the east is from the west--- From one scarred hand to the other. ↗
