Nervous Awe And Apprehension Are Born Out Of Proximity And Attention. The Greater The Intimacy Between

Nervous awe and apprehension are born out of proximity and attention. The greater the intimacy between these cultures and nature, the greater the tension. The industrial world destroys nature not because it doesn’t love it but because it is not afraid of it.

Mary Ruefle, On Fear

More Posts from Moonmovement and Others

5 years ago

“You / bring out the sea in me, so wade. / Wade in this.”

— Jasmine Reid, from “Instructions for the Moon,” Deus Ex Nigrum


Tags
4 years ago

and how it's hard not to always want something else, not just to let the savage grass grow.

Ada Limón, Mowing


Tags
4 years ago

“I am the ocean; the earth; whatever dies for you.”

— Alice Notley, from In The Pines: Poems; “The Black Trailor (A Noir Fiction),” (via loveage-moondream)


Tags
4 years ago

The first rule of war is sympathy with the enemy.

Simon Critchley, Tragedy, the Greeks, and Us


Tags
2 years ago

I would count the number of times we had made love. I felt that each time something new had been added to our relationship but that somehow this very accumulation of touching and pleasure would eventually draw us apart. We were burning up a capital of desire. What we gained in physical intensity we lost in time.

Annie Ernaux, Simple Passion


Tags
3 years ago

the poets are only the interpreters of the gods by whom they are severally possessed.

Plato, Ion tr. Benjamin Jowett


Tags
2 years ago

We live by the waters breaking out of the heart.

Anne Carson, Kinds of Water


Tags
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)


Tags
4 years ago

her eyes are pure stars, and her fingers, if they touch you, freeze you to the bone.

- Virginia Woolf, Orlando


Tags
Loading...
End of content
No more pages to load
moonmovement - moon movement
moon movement

denn das Schöne ist nichts als des Schrecklichen Anfang

219 posts

Explore Tumblr Blog
Search Through Tumblr Tags