Raptures Could Be Little Or Large, Could Come One After The Other In A Torrent, Or Singly And Separated

Raptures could be little or large, could come one after the other in a torrent, or singly and separated by long dullness. For him life was a constant drama of seeing and blindness, but, when seeing, the world would suddenly seem to him laden.

Niall Williams, History of the Rain

More Posts from Moonmovement and Others

2 years ago

Much has been said and written about the ‘haiku moment’ - that it blurs the distinction between ‘subject’ and ‘object’, ‘self’ and ‘other’; that in it the perception of the essential and accidental, of the beautiful and the ugly, disappears; that it reflects things are they are in themselves.

- Yoel Hoffman, Japanese Death Poems


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5 years ago
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di
I) Robert Browning / Eurydice To Orpheus (1864) Ii) W.a. Mozart / “parto, Parto” (la Clemenza Di

i) robert browning / eurydice to orpheus (1864) ii) w.a. mozart / “parto, parto” (la clemenza di tito, 1791) iii) jessica waldoff / recognition in mozart’s operas (2006) iv) c.w. gluck / orfeo ed euridice (1762) v) catherine maxwell / the female sublime from milton to swinburne: bearing blindness (2001) vi) gerald griffin / the collegians (1829) film stills from portrait de la jeune fille en feu (sciamma, 2019)


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4 years ago

let yourself be a living part of death

Garous Abdolmalekian, Forest tr. Ahmed Nadalizadeh and Idra Novey


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4 years ago

they had guessed, as always happens between lovers, everything of any importance about each other in two seconds at the utmost.

- Virginia Woolf, Orlando


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4 years ago

Every moon will be a moon of surrender

Ada Limón, The Noisiness of Sleep


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2 years ago

I take the soil in

my clean fingers and to say

I weep is untrue, weep is too

musical a word. I heave

into the soil. You cannot die.

I just came to this life

again, alive in my silent way.

- Ada Limón, Invasive


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4 years ago

I fear that to write so much about crying will tempt a universal law of irony to invite tragedy into my life.

- Heather Christle, The Crying Book


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4 years ago

the beauty’s really in the movement, in watching your mouth try to swallow despair.

- Heather Christle, The Crying Book


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4 years ago

A bird pecks at the corroded corner of the sky

Garous Abdolmalekian, Long Poem of Loneliness tr. Ahmed Nadalizadeh and Idra Novey


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5 years ago

“I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me. The world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign & re-create myself…” 


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moon movement

denn das Schöne ist nichts als des Schrecklichen Anfang

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