Latest Posts by dreams-and-nightmares - Page 4

loneliness is a severed tongue (on adopted languages)

vladimir nabokov - american vagabond / yiyun lee - to speak is to blunder / the farewell (2019) dir. lulu wang /  cathy park hong - minor feelings / ocean vuong - on earth we’re briefly gorgeous/ parachute (2020) dir. katherine tolentino / yiyun lee - to speak is to blunder  

Susan Sontag, Reborn: Journals and Notebooks, 1947 - 1963

GROWING PAINS

david wojnarowicz / alexander harding / su xinyu / @pearpoem / lorde / open house (1998) / billy collins / mitski / as i was moving ahead occasionally i saw brief glimpses of beauty (2000) / alain de bottom / hollis brown thornton / kalyn roseanne

hi :) i love your blog so very much. i can’t sleep and im feeling horrifically anxious and i was wondering if you have any words that i can use to wrap myself around. anything that feels like being held ♡

Callista Buchen, “Taking Care”

Pat Schneider, “The Patience of Ordinary Things”

Kim Hye Rim

“Come, let’s stand by the window and look out / at the light on the field. / Let’s watch how / the clouds cover the the sun and almost nothing / stirs in the grass.”

Danusha Laméris, The Moons of August; “Thinking”

Heather Christle, “Then We Are in Agreement”

Holly Warburton

Ross Gay, from The Book of Delights 

Jenny Slate, Little Weirds

Bernadette Mayer, from The Way to Keep Going in Antarctica

Ben McLaughlin, The Train

Rainer Maria Rilke, Letters to a Young Poet

Joy Harjo, from “For Calling the Spirit Back from Wandering the Earth in Its Human Feet”

The pit 🥚

it astounds me even until now how i can come to this blog and go with a piece of my soul back in place. i was wondering if you had any poems on 'ghosts' and their 'haunting' people and places, romantic or otherwise. there is a ghost, you see, and she haunts me even though i know her to be alive and well. i am unsure of which terrifies me more: her being in and out of my reach or my hope that i too am her ghost.

so these are not all poems, but:

“I think ghosts are memory—memory haunts bodies, haunts places, haunts the narratives that hold our minor and miraculous lives together. Ghosts are that which return and return and return. The body has its own hauntings, too: phantom limb sensation, organ transfer memory, the traumatic self. And others.”

— Shastra Deo, interviewed by Sumudu Samarawickrama in Liminal Mag 

— Valeria Luiselli, from Faces in the Crowd (tr. Christina MacSweeney)

— Janet Fitch, from White Oleander

“But the fall—the falling / of it / even after it’s done—”

— Jorie Graham, from Overlord: Poems; “Omaha (Lowest Tide, Coefficient 105, Full Moon)”

— Jessie Lynn McMains, To Be Haunted

— Dorothy Allison, from Boston, Massachusetts (The Women Who Hate Me, 1983)

“it’s not enough to look back at the past as at a thing / to shy from, this is not / nostalgia, you must look at it,”

— Carl Phillips, from Wild is the Wind: Poems; “Gently, Though, Gentle”

— Nikki Giovanni, from “[Untitled]”

— Rebecca Solnit, A Field Guide to Getting Lost

— Adonis, from Selected Poems; “A Piece of Bahlul’s Sun” (tr. Khaled Mattawa)

—James Baldwin, from Jimmy’s Blues and Other Poems; “Conundrum (on my birthday) (for Rico)”

"Have you ever had that feeling—that you'd like to go to a whole different place and become a whole different self?"

"I’m still wandering through the streets, looking, sitting by the sea, enjoying the sunshine. I am entirely alone. I don’t know anyone, no one knows me, and for me that is a great pleasure."

hanya yanagihara, a little life / haruki murakami, the wind-up bird chronicle / stand by me (1986), dir. rob reiner / donna tartt, the secret history / phoebe bridgers, i know the end / daniel clowes, ghost world / j.d. salinger, the catcher in the rye / nikos kazantzakis, from a letter to galatea kazantzaki / lora mathis, how to disappear in the modern age / moonlight (2016) dir. barry jenkins / richard siken, the torn-up road / sylvia plath, the bell jar

so I will think about nothing 

“Well, of course I’ve tried lavender. And pulling my memory out, ribbonlike and dripping. And shrieking into my pillow. And writing the poems. And making more friends. And baking warm brown cookies. And therapy. And intimacy. And pictures of rainbows. And all of the movies about lovers and the terrible things they do to each other. And watching the ones in other languages. And leaving the subtitles off. And listening to the language. And forgetting my name. And feeling the dirt on my skin. And screaming in the shower. And changing my shampoo. And living alone. And cutting my hair. And buying a turtle. And petting the cat. And traveling. And writing more poems. And touching a different body. And digging a grave. And digging a grave. Of course, I’ve tried it. Of course I have.”

— september is a weary month, yasmin belkhyr

september, s.t.

intangible - madisen kuhn

dictionary

pictures that fill me with infinite tenderness

Olivia Laing, The Lonely City

May I interrupt your scrolling with a turtleduck

Czeslaw Milosz, New and Collected Poems: 1931-2001

“You say you live in pain. Let it be the pain of the death of the old false self, and the life-movement of the new real truthful self. We are all wrapped in silky layers of illusion which we instinctively feel to be necessary to our existence. Often these illusions are harmless, in the sense that we can still go on being reasonably good and reasonably happy. Sometimes, because of a catastrophe, a bereavement or some total loss of self-esteem, our falsehoods become pernicious, and we are forced to choose between some painful recognition of truth and an ever more frenzied manufacturing of lies. Live at peace with despair. Live quietly with your sense of guilt. Sit beside it, as it were, and regard the frightful wound to your self-esteem as the removal of deep illusions which existed before and which this chance has torn. If you keep checking any lie and resisting the anger which deforms the world, you will gradually realise that the poor old wounded self, with its furious whining and its hatred of itself and everything else, is not you at all. That self is dying, but another self is watching it die.”

— Iris Murdoch

clio m.w. hamilton, “still life as a dreamscape on pause”

yena sharma purmasir

i am holding hands with a girl at the pet store. i love how her voice changes when she speaks to different animals. round and bubbly for the angelfish, high and breathy for the calico kittens, sonorous and slithery for the python. she loves them all, even the great hairy tarantula that makes me cringe. 

i am holding hands with this girl whose halo of hair glows banana yellow under the heat lamps in the reptile section, who offers her index finger to teething kittens. she asks “can’t we have one?” in the voice she uses for only me. a voice i can’t describe without using her name, but i imagine joan of arc heard something similar the day she picked up a sword. she is still holding my hand, and i feel like i’d sink into cartoon quicksand if i let go. so i don’t.

“are you two… together?”

this is not unfamiliar, but the woman’s voice, the voice she has chosen, is angrily acidic. this woman has laced her tone with arsenic, without even a passive aggressive teaspoon of sugar to hide her poison. she inhales, puffing herself up like a frightened lizard before her final words. 

“there are children here, you know.” 

in the future, i think of a thousand things to say. we were children too. two girls holding hands after school. two girls holding hands at the movie theatre, two girls in a booth at tony’s pizza, two girls sharing awkward first kisses after two solo cups of wine in someone else’s backyard. two girls holding kittens at a pet store on a saturday afternoon. 

i know now that they see us through funhouse mirrors: distorted, disturbed, our monstrous bodies taking too much space, spoiling innocent spaces with our imposing sexualities. our innocence never ours to begin with.

even with this, there is nowhere i would rather be than holding hands with her in a pet store, with her voice like rain on a hot day, her peach lips blowing kisses for fish, her grip tightening as if to say “i dare you to take this away from me.”

maybe if you bundled yourself up and went for a walk out in the cold then came back inside with rosy cheeks and cool skin and warmed yourself up with a nice warm cup of herbal tea with honey maybe then you’d calm down

quotes that help me survive:

“You are not lost. You are here. Stop abandoning yourself. Stop repeating this myth about love and success that will land in your lap or evade you forever. Build a humble, flawed life from the rubble, and cherish that. There is nothing more glorious on the face of the earth than someone who refuses to give up, who refuses to give in to their most self-hating, discouraged, disillusioned self, and instead learns, slowly and painfully, how to relish the feeling of building a hut in middle of the suffocating dust.” — Heather Havrilesky, Ask Polly

this tumblr text post:

“To live in this world you must be able to do three things: to love what is mortal; to hold it against your bones knowing your own life depends on it; and, when the time comes to let it go, to let it go.” — Mary Oliver

From an interview with Kazu Makino:

Instructions On Not Giving Up, Ada Limon:

And this poster by Yumi Sakugawa

“You have to believe, in your heart, that even if you don’t work hard and exercise and think positive thoughts and make new friends and march triumphantly into the future, you are still enough. You will always have bad days. Being broken doesn’t make you a loser. You can crumble, and you will still be enough. Make that your religion moving forward. You are here to feel this moment. You are not here to become someone better. You are not here to impress or compete. You are not here to prove yourself. You are here to savor this life. Let down your guard. You are already enough. Believe it.” — Heather Havrilesky

“The first feminist gesture is to say: “Ok. They’re looking at me. But I’m looking at them.” The act of deciding to look, of deciding that the world is not defined by how people see me, but by how I see them.” -Agnès Varda

lyrics from the song Grow by The Oh Hellos:

“The world’s otherness is antidote to confusion, that standing within this otherness—the beauty and the mystery of the world, out in the fields or deep inside books—can re-dignify the worst-stung heart.” — Mary Oliver

“I hope you will go out and let stories, that is life, happen to you,and that you will work with these stories from your life--not someone else's life--water them with your blood and tears and your laughter till they bloom, till you yourself burst into bloom. That is the work. The only work.” — Clarissa Pinkola Estes

just thinking of how our meaning or purpose in life is merely to experience. eating an orange segment, hoping for snow, being in love, returning over and over to one painting, stepping outside for the full moon, submersion in water, having a favourite colour, knowing beauty, feeling alone, feeling connected, feeling longing… it is enough. 

My relationship with content creation and hobbies, in general, got a lot better when I started learning to reframe it as a simple act of human creation, and not a metric of my own self worth.

We’re taught competition, and perfectionism, and shame. If I say “I cook” I must add “(but not well)”. If I say “I run” I must say “(but I am not good at it).” I say “I code (but I mostly know frontend).” I create and express and my first impulse is to guard against embarrassment. Lest I fall so short of marketable competence. Lest I subject myself to the mockery of being caught creating poorly. I wound myself first so others may not.

Even the advice that fights against this says “your only goal should be to be better than yourself yesterday.” But why must I be in competition with her? What happens, after the initial rapid climb in skill, when I plateau? What of injury, and atrophy, and depression, that flake these skills away? Must I return feeling compelled to over-achieve? To wallow in embarrassment until I can surpass my own previous record? To hate my work until the reception, the notes, the engagement outperform an ever rising bar? I do not want to be paralyzed by the mountains I built behind me. Why should I look behind myself when there’s a wide swath of untilled Earth that stretches far out of sight ahead of me? I want to enjoy my work, and my mediocrity, moving forward with all its ebbs and flows.

At my worst, I was nothing. I was not a writer. Because I had forgone writing for all the fear and stress and damage to my self-worth that it wrought. I was not a coder. Because I was only useful for the niches of my job, and didn’t have the heart to create something badly, on my own, for fun, lest it confirm my suspicions of mediocrity. I was not even a runner - despite the extreme and exhaustive amount of time I sunk into it - because I fell short of my previous self, and I could not hold a candle to the actually-skilled runners, and I was forced to speak of this hobby in all those guarded terms - “but i am not good” - because of how much that ate at me. 

I was no cook, and no homemaker, and no creator, because when I did those things, (I did them poorly.) 

And when all these came together, I wallowed in emptinesses. (I still do, sometimes. It’s hard and complicated). Because emptiness is what was left when I stripped myself of the things and the pursuits whose lack of value could be used to hurt me.

The change for me - the change, I think - came at the time I started to recognize that I do not deserve self-punishment for my mediocrities, for the failings of my current state of being. It was not a revelation all at once. It was a slow and progressive flirting with the idea, found almost by accident on self-help youtube channels of a very particular ilk. It came with the recognition that I had trapped myself, wiling away my time and my energy, in a state of constant apology, and shame, and self-correction for the mediocrities I dare not unleash onto the world. I boxed myself up with the promise “once I am good enough, I will be allowed to come back out”, and that was a lie. I would never have come back out. I was chasing punishing metrics of self-improvement that I did not need, and would never actually catch and maintain, and which would never love me back.

It took a long time to internalize this. It took a long time to get angry on my own behalf. It took a long time to act on it, and write again because fuck you. To run on my own terms, at my own pace, for my own enjoyment because fuck you. To create with my hands again because fuck you. To lean into the happiness of creation that I had not “earned”, because fuck you.

I like creating because it fills an emptiness that used to be there. It’s so simple, and so lovely, that humans are like this. That we want to build with our hands. That we want to assemble and construct. That we derive joy from stacking pieces together, and stringing words together, and assembling colors on a page, and moving, and singing, and baking, and knitting. Humans love to build little worlds around them. 

So why must we so actively try to cut people off from it off from it? Why do we condition ourselves to fear its mediocrity? Why does this still our hands? Why do we suffocate it for ourselves, before others can? I don’t have an answer. I can only recognize the monster. 

I want to make bad art today. I want to make bad art tomorrow. If I am a worse writer tomorrow, I want that to be fine. If I am never more than a mediocre runner, I want to be at complete peace with that. Because if not, then I might box away my hobbies again, and my loves, and my pursuits. I might go back to empty. I might go back to nothing.

I hate that emptiness I lived through. I hate that nothing. I want to make bad art for the rest of my life. 

Ellen Bass, ‘The Thing Is’

this one really gets me bestie

(meditations in an emrgency, cameron awkward-rich)

“If you obsess over whether you are making the right decision, you are basically assuming that the universe will reward you for one thing and punish you for another. The universe has no fixed agenda. Once you make any decision, it works around that decision. There is no right or wrong, only a series of possibilities that shift with each thought, feeling, and action that you experience.”

— Deepak Chopra (via lazyyogi)

a dialogue between the unloved and the loving

neil hilborn // miranda july // @orpheuslament // aaron o’hanlon // georges bataille // georges bataille “my mother/madame edwarda/the dead man” // @khariyaha // natalie wee “least of all” // @fridayiminlovemp3 // maria petrovykh “love me. i am pitch black” // “the seven husbands of evelyn hugo” // sylvia plath “johnny panic & the bible of dreams” // mary oliver “wild geese” // sue zhao // virginia woolf from a letter to katherine mansfield // trista mateer

[ID: a collection of excerpts of text.

..saying goodbye. yes, there is a place where someone loves you both before and after they learn what you are.”

“finally, in a low whisper, he said, “i think i might be a terrible person.” for a split second i believed him - i thought he was about to confess a crime, maybe a murder. then i realized that we all think we might be terrible people. but we only reveal this before asking someone to love us. It is a kind of undressing.”

screaming take me as I am or kill me / screaming peel my skin off like a blindfold / screaming love me despite the horror / screaming please, God, love me because of it.

“show me your thorns and i’ll show you hands ready to bleed.”

“i don’t want your love unless you know i’m repulsive and love me as you know it”

People always think we look for love at our lowest to distract us. I am convinced we do it because we want someone to look us in the eye, to look our ugly in the eye and still choose us. I didn’t want a distraction, (highlighted) I wanted you to see a mess and still find me worthy of love, to tell me that you could still love me anyway. (end highlight)

“i kneel into a dream where i / am good & loved. i am good. / i am loved. my hands have made / some good mistakes. they can always / make better ones.

 capitalized letters that look like they’ve been cut and pasted on top of overhead pictures of fields. it reads: “tell me every terrible thing you ever did / and let me love you anyway.”

love me. i am pitch black, / sinful, blind, confused. / but if not you, then who else / is going to love me?

“if you are intolerable, let me be the one to tolerate you,” i said, and then i kissed her and tasted the lemon juice on her lips.

“you have seen the rotten streak in me and you have come back, no matter how bad it was. you have always come back. can’t you see? you have taken me always as I am, no matter what.”

“i wish you wouldn’t look at me like that.” “like what?” “i don’t know,” she hesitated. “like you could love me.”

“i love you, and i am conscious of you all the time.”

in this space right here that we have made for each other, you can say anything and i will not abandon you. unwrap the worst things you have done. watch me hold them up to the light and not even flinch. 

 end of ID]