HM THEMES

violentwavesofemotion:

 Ravishing Léa Seydoux “Petit Tailleur” directed by Louis Garrel in 2010.

For Ren

This is how to close your heart
up tight like a fist. Desire is a hot
spike through the chest and 

you’ve only just learned what it
is to want someone so badly that
you need a new name for what

you feel. I promise that it is not
always like this. Not everyone you
meet is unattainable, but we’re 

young, and the number of times
that someone tells you no is going
to outnumber how many times 

they say yes. Learn how to be
lonely. Learn what it’s like to know
that you are coming home to 

yourself night after night—
that empty is just another word
for open

railrose:

When I was five, my mother
carried an unborn child
in the back of her throat and

I still swallow heartburn
whenever she brings it up.

I don’t know how many weeks it
takes for a growth to become a soul but
sometimes I think my mother’s heart

still bears the weight of two.

reminders:

  • using your body means loving your body
  • use your body more
  • love your body more 
poorartists:

Paige Bradley created one of the most striking sculptures I’ve seen in recent times. Her masterpiece, entitled Expansion, is a beautiful woman seeking inner piece but fractured and bleeding with light. “From the moment we are born, the world tends to have a container already built for us to fit inside: a social security number, a gender, a race, a profession,” says Bradley. “I ponder if we are more defined by the container we are in than what we are inside. Would we recognize ourselves if we could expand beyond our bodies?”

poorartists:

Paige Bradley created one of the most striking sculptures I’ve seen in recent times. Her masterpiece, entitled Expansion, is a beautiful woman seeking inner piece but fractured and bleeding with light. “From the moment we are born, the world tends to have a container already built for us to fit inside: a social security number, a gender, a race, a profession,” says Bradley. “I ponder if we are more defined by the container we are in than what we are inside. Would we recognize ourselves if we could expand beyond our bodies?”

You were twelve. When you woke
up the night after your mother told

you about the birds and the bees,
you thought the universe was playing 

a joke on you. Your sheets looked 
like a crime scene. You searched 

with your fingers for the source of
all that wet and found it between your

thighs, that place where you never
ventured to go besides on the dare

with the boy who lives across the
street. You swallowed shame

when you showed your mother the 
mess you made in the bed. She gave

you a heating pad for your cramps
and two ibuprofen. After—

always after, when the backaches 
stop and the bloated, engorged 

feeling of excess leaves, you finally
un-clench your thighs. You unlock,

swing open. There is a feeling of 
freedom, of flight. 

It is going to be painful and slow,
like ripping off a Band-Aid or telling
yourself the truth: that he doesn’t
love you, that maybe he never did,

that he left to save himself and you
are the piece of furniture that wasn’t
pretty enough to be taken with when
he moved out in the spring. The

smell of gardenias makes you want
to vomit now. The minute after he 
left, you pulled each bud up by its
roots and tossed them into the 

neighbor’s yard. You expected an
angry phone call about the uprooted
flowers, but it never came. Instead,
his face. The memory of his mouth

slinking in under the door after you
turned the lights off. You dreamed
of his hands around your throat, 
told him to press harder right before

you woke up. You begin to turn
inwards, begin to lose count of how
many showers you take in the dark.
Hair, soap, skin—everything gets

washed down the drain. The first 
time you leave a drunk voicemail
you’re 
sure he’ll be able to smell
the wine on 
your breath. The second

time, you eat 
a stick of gum and call
it dinner. His 
name sounds different
when you slur 
out all the syllables,
less sacred 
somehow; not like you

are praying, but 
like you are dancing
naked as fast as 
you can on top of it.
After, you lay in 
bed and draw lines on
your skin to
remind yourself of your

edges. He is 
not allowed through them. 

A good friend lent me Warsan Shire’s Teaching My Mother How to Give Birth and I’m currently drowning in it.

Expect them to be at weddings,
school events, marathons, the 
obstetrics ward at the hospital
waiting silently for the right

moment, the bloody swirl of a
newborn’s head crowning. They
are hidden in all kinds of places—
under tongues, in

someone’s pocket, beneath a
car seat. Somewhere in Boston,
someone is 
wailing over the
death of their eight year-old

child. How can we look ourselves
in the 
mirror and believe that we
are good? How many more times
are we going to ask how someone

is capable of doing something like
this? A wrong step, maybe a glance,
maybe nothing at all, maybe a
word or a sigh, maybe 
we are all

bombs, maybe we are 
all ticking
and filling the world full 
with all of our
noise. Somewhere 
in Boston,
someone is wailing over 
the death

of their eight year-old 
child.

commovente:

April 10, 2013 — “the earth laughs in flowers” 

commovente:

April 10, 2013 — “the earth laughs in flowers” 

To my daughter I will say,
‘when the men come, set yourself on fire.’
— Warsan Shire, “In Love and In War”

I’ve been pulling on this electric cigarette
for hours, the sweet taste of nicotine tickling
the back of my throat. I admire myself in the 
mirror as I let it dangle between my fingers
like an extra 
limb. I sit out on the window
ledge 
and watch as neighborhood boys chase
each other, shirtless, on their bikes. I let my
hair down 
and feel like Rapunzel. I look like 
a summer storm in my dress, feet hanging bare
out of 
the window. I flick pretend ash onto the
pavement 
below. Downstairs my father is 
watching a documentary about lions. As the
narrator waxes 
on about its predatory skills,
realize that I always sympathize with the 
hunted. 

bunny-gal:

prisoners and their women

bunny-gal:

prisoners and their women

You who have inhabited me
in the deepest and most broken place,
are going, going.
— Anne Sexton, “Going Gone (via violentwavesofemotion)

sierrademulder:

My body fills                 and fills                  like a tumbler
of lemonade           poured by God.               I am
a hundred light            bulbs burning             out.
I am your           favorite dessert.            I am opening
and opening          and I feel as though          I cannot
open anymore or           my legs          would surely grow
flowers                  from the back of my           knees.
I am overflowing          the bathtub.           I am spilling
spilling                              spilling                   clean.

- Sierra DeMulder