abzilp

[abzilp]

[abzilp]

Peace & Plenty & Domestic happiness is the Source of Sublime Art, and prove to the Abstract Philosophers that Enjoyment & not Abstinence is the food of Intellect.

#william blake #communism

[abzilp]

any city, however small, is in fact divided into two, one the city of the poor, the other of the rich; these are at war with one another… 

#plato #the republic #benjamin jowett #communism

[abzilp]

I don't know why the good nature of horses

and the beauty of pigeons have won repute,

why no vulture is kept as a pet.

Clover yields nothing to the poppy's scarlet.

We need to rinse our eyes and view

everything in a different light.

We should cleanse our words

to be both wind and rain.

#sohrab sepehri #poem #abbas kiarostami

[abzilp]

Poem for Robinson Crusoe

#angela carter #poem for robinson crusoe #poem

[abzilp]

Unicorn

#angela carter #unicorn #poem

[abzilp]

zola's opening of the belly of paris

#emile zola #the belly of paris #communism

[abzilp]

g b shaw importance of going out at night mrs warrens profession

#george bernard shaw #mrs warren's profession #preface #communism

[abzilp]

for Georgia Hale

who never got what she deserved

(communism)

and ended up a Christian Scientist.

#poem #communism

[abzilp]

Zvenigora

megans insta book

universal credit

dovshenko

angela carter + une semaine de bonte

100 pound left

kiss bobby

yellow moon top right

bus chugachugging over byker bridge

like a train

its a viaduct

with sheep underneath

and cows and hens and pigs

in the dead ironworks

draw, Antonio

yellow handrails swaying like ashtrees

(gold)

tell jock my Telegram

join the C.W.O.

#poem #communism

[abzilp]

She says holly is a very soothing colour

Death is going to feel like January in Heaton Park

a lonely furlough

ploughing and laughing

#poem #communism

[abzilp]

"bold rossies" and "brazen lumps"

were 2 of my mam's synonyms for "sluts"

always identified collectively

she voted No

#poem #communism

[abzilp]

To Do:

make note cards of the communism for kids material

go through saved pics and downloaded pdfs and bookmarked tweets and the bjougelschong blog for books i want to put on my amazon wishlist

buy another lemon Herons bag and pack away unneeded library in overhead cupboard

write descriptions for all Instagram pics a la jesse darling

save bank details

clear up bookmarked tweets and muted accs

clean up the back garden

marie kondo Bobby n Rosa s clothes

get more clean supermarket bags and pack away most books (especially on dresser)

wash duvet + dress it in cover

research becoming a plumber / nhs apprenticeships porter etc

#poem #communism

[abzilp]

ziggurats

Foul Water

under coal wearing wool

hours of light

#poem #communism

[abzilp]

Look

this cant go on

get in the shower

we're going out

#poem #communism

[abzilp]

There are cinéphiles and cinéphages. Truffaut is a cinéphile. A cinéphage - a film nerd - sits in the front row and writes down the credits. But if you ask him whether it's good, he'll say something sharp. But that's not the point of movies: to love cinema is to love life, to really look at this window on the universe. It's incompatible with note-taking!

#henri langlois

[abzilp]

Well, a story can start with anything. It can start with a fragment of dialogue, it can start with a sudden idea for a character, it can start with a purely intellectual musing upon some subject or other – the thing that unites all of these things is the endless frozen tundra of an empty page. This is the theme whether you’re talking about writing a performance piece, a comic, a novel, whatever. . . . Now, what you have to do is limit yourself. You cannot work in a complete conceptual void. Which is what the white page is. You have to start putting restrictions upon yourself. Now, if you’re working commercially then you’re lucky, in a way, because some of those restrictions will be pre-imposed. If you’re asked to write a half-page story for a comic anthology – 2000AD – then you know certain things about the story, there are certain parameters. You know it’s gonna be something in the kind of science fiction/ fantasy area, so the genre is already imposed. You know it’s gonna be, say, five pages long, which means that’s probably 30 panels, tops, maybe a few more, a few less, but that’s roundabout what you’re looking at. These are all kinds of structural considerations which give you somewhere to start. They kind of mess up the white page, interestingly. Now you can then, I find, often achieve interesting results by… once you’ve got your initial start conditions, once you’ve got your basic shape – you know it’s a five-page comic strip about science fiction – or a five- panel comic strip about a cat – a one-hour performance piece about William Blake – you’ve got your purely external parameters imposed – then, what is productive very often is to immediately come up with a bunch more shackles with which to bind yourself. Start imposing ridiculous little rules, just perhaps on a whim, or because you think they might help. . . . You impose these preconditions upon the work. Then, when you’ve got a bit of an idea of what you’re going to do, attend to its internal structure. You know what the limits of the perimeter fence are. You know that it’s an hour of performance, or five pages of comics, or whatever. Then break it down. It’s a novel, break it down into chapters, if it’s a comic script, break it down into pages, if it’s a performance piece like one of the Blake pieces, break it down into movements. Try and understand how the different pieces you’ve broken it down into fit together, what their purposes are, their functions. An easy textbook way of doing this is the kind of standard Hollywood three-act drama, your beginning, your middle and your end where you’ve got plot points placed a third of the way through, two-thirds of the way through and then, the big climax, right at the end. . . . So what you’re doing is, you start out with this white tundra, and then you erect fine and finer, more and more detailed levels of structure. And there’s a certain amount of intuition in that, which is something which is not really quantifiable, but which comes with practice. You’ll start to develop a personal aesthetic as to the kind of shape of the stories that you wanna do. 

#alan moore