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carnageacorn · 8 hours
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TOP BOYS by @QUEERGARDEN
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carnageacorn · 15 hours
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ELLA PURNELL as LUCY MACLEAN Fallout | 1.01: The End
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carnageacorn · 15 hours
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Nothing like a trip to the uncanny valley to boost your mood
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carnageacorn · 18 hours
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misha collins after he came out as bisexual
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carnageacorn · 18 hours
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* songs picked from this list.
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carnageacorn · 18 hours
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because im curious and similar polls got me thinking…
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carnageacorn · 19 hours
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bro shut up i’m trying to recall the details of my prophetic dream
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carnageacorn · 21 hours
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carnageacorn · 22 hours
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carnageacorn · 22 hours
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😂😂😂
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carnageacorn · 23 hours
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Follow for more ❤️
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carnageacorn · 23 hours
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An extraordinary Acheulean handaxe knapped around a fossil shell circa 500,000-300,000 years ago.
The maker appears to have deliberately flaked around the shell to preserve and place it in a central position. As a result this handaxe has been described as an early example of artistic thought.
From West Tofts, Norfolk.
Museum of Archaeology and Anthropology, University of Cambridge, Courtesy Alison Fisk
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carnageacorn · 23 hours
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Stephen Dunn, from “Mon Semblable”, Between Angels
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carnageacorn · 23 hours
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oh youre bisexial? name two of every thing
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carnageacorn · 23 hours
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“What makes a poem a poem, finally, is that it is unparaphrasable. There is no other way to say exactly this; it exists only in its own body of language, only in these words. I may try to explain it or represent it in other terms, but then some element of its life will always be missing. It’s the same with painting. All I can say of still life must finally fall short; I may inventory, weigh, suggest, but I cannot circumscribe; some element of mystery will always be left out. What is missing is, precisely, its poetry.”
— Mark Doty, from Still Life With Oysters and Lemon
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carnageacorn · 23 hours
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😭😭😭😭
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carnageacorn · 1 day
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“I, too, feel the need to reread the books I have already read,“ a third reader says, “but at every rereading I seem to be reading a new book, for the first time. Is it I who keep changing and seeing new things of which I was not previously aware? Or is reading a construction that assumes form, assembling a great number of variables, and therefore something that cannot be repeated twice according to the same pattern? Every time I seek to relive the emotion of a previous reading, I experience different and unexpected impressions, and do not find again those of before. At certain moments it seems to me that between one reading and the next there is a progression: in the sense, for example, of penetrating further into the spirit of the text, or of increasing my critical detachment. At other moments, on the contrary, I seem to retain the memory of the readings of a single book one next to another, enthusiastic or cold or hostile, scattered in time without a perspective, without a thread that ties them together. The conclusion I have reached is that reading is an operation without object; or that its true object is itself. The book is an accessory aid, or even a pretext.”
— Italo Calvino, If on a Winter’s Night a Traveler
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