St. Francis Of Assisi, Founder Of The Franciscans.

love the wide variety.

your hand touching mine. this is how galaxies collide. ― Sanober Khan

― Carolyn Forché / Katatsumori (Naomi Kawase, 1994) / John Berger / Katrien de Blauwer / Hélène Cixous / Bruno Munari / Eli Craven / Sharon Olds / Hart Crane / A Hidden Life (Terrence Malick, 2019) / Mary Ruefle / Robert Bly / Hans Bellmer / Richard Siken / Eli Craven / Cassandra Clare / Katrien de Blauwer / Louise Glück ―

I think the people who say “You don’t need to be critical of every piece of media you consume” fundamentally misunderstand what we mean by “critical”.

When we say “be critical of the media you consume” we don’t mean “be negative” as in, find every flaw and pick it apart CinemaSins style.

We mean “examine it”. Like, look at what you are consuming, and in many cases, enjoying, and ask yourself why you are enjoying it. Ask yourself who made it. Ask yourself if you are the target audience. Ask yourself if you are being represented by the characters you see. Ask yourself if the author has biases or political leanings they are trying to include in the story.

Just, ask yourself questions. The answers don’t have to be negative. That’s not what being critical means.

You with your precious eyes —

The gods differ from mortals here not because they are above the law but because they possess the insight to avoid breaking it. This marks the difference between gods and mortals perhaps more deeply than death itself: the gods never find themselves in the position of Oedipus, suddenly and unimaginably guilty. They are able to avoid actions whose consequences they cannot control; mortals risk such consequences in their every action. And perhaps it is even a kindness that transgression and death go hand in hand, that those who cannot die need not sin: for one who has broken the law which even the gods fear, the best thing is to die quickly.

-incest, cannibalism, and the rise of the house of atreus, michael kinnucan

So the ubiquitous counsel of the chorus concerning the hero—look what fortune has done here, she used to be on top of the world, don’t count on happiness, don’t believe anyone happy until he is dead—says more than it seems to. In the last analysis, what can one say of mere mortals? A human is just too partial, too speckled and subject and already-half-gone, for anything to be really true or false of him. Is he happy, is she sad? Maybe, a bit, for a time, but really—who can say, who can even care? That’s how it is for humans, unless and until they are tragic. The tragic hero is complete. You can call him unhappy (miserable, utterly broken) even before he is dead. For an instant he is something like divine. And then he dies, because there’s nothing left to do. The center of every tragedy is the image of a human being who has already died but keeps talking, someone whose face is a mask. Antigone says this explicitly—she is already dead; Oedipus acts it out in gouging out his eyes.

-the gods show up, michael kinnucan

society6 | twitter | ko-fi | deviantart

hii i'm in desperate research of songs that may suit brutus and cassius relationship as well as just songs that may remind brutus and/or cassius, do you have any suggestions/recs? ty ^-^

OH BOY DO I EVER

here's a playlist

this is more of my personal ideas/writing/drawing playlist, but I consider grandson's dirty to be THEE brutus/cassius/conspiracy/hand in bloody hand song

citizen georges couthon

— 34 excuses for why we failed at love, Warsan Shire

Franz Skarbina (1877) Der Alte Fritz als Rückenfigur

Jack Gilbert, from Collected Poems; “Between Aging and Old”