Hellboy: The Wolves of St. August by Mike Mignola
(Source: 80pagespecial)
The natural habitat of the biblophibian. Stay very still and quiet and you may hear them burbling.
DOUG JONES, Happy Birthday (52) —
Born: May 24, 1960 in Indianapolis, Indiana.
Acting credits include: Pan’s Labyrinth (2006), Hellboy (2004), Legion (2009), Fantastic 4: Rise of the Silver Surfer (2007).
I came across this little gem of a website today:
http://derailingfordummies.com
and oh man. Rage so good. It’s every tooth-grinding, cavilling fly-away argument anyone has ever shot back at you in a conversation to avoid having to think about a position of privilege they occupy or just a way in which an idea they have about a larger identity they don’t belong to (women, POC, queer folk, disabled, etc.) is wrong or hurtful.
(my father is especially bad for Devil’s Advocate. I am the better debater, and he knows it, so as soon as he cottons on the conversation isn’t going his way he’ll pull out the ‘I’m just kidding, you’re so sensitive, I was playing devil’s advocate the whole time!’ card. asakjjshialhjhjjhhh)
So as part of a ridiculous law known as Bill 78, citizens involved with the Quebec Student Strike must provide police with all protest routes for the cops approval. Here’s the first one they handed in.
That’s the spirit I’d expect of Montreal. Makes me feel all warm and anarchical inside.
(Just to boost the signal, here’s a link to a petition you can sign to get Bill 78 repealed. Because it’s not like students aren’t shat on enough already.)
Alright I’m going to bed, but first this.
I’ve thought about this a lot, okay, more than makes me look a productive and adjusted member of society to admit. But there are just so many things about this that make it probably my favourite music video ever. How can I possibly restrain myself.
The symbols everywhere, the hunting imagery, the bodies, especially the ones in the empty pool (I have no idea why that, specifically, should unsettle me so), the dog (and Karen’s face, jeeeeesus) coming out of nowhere all David Lynch, how outright unheimlich everything is, the psychopomps, the ferryman on a stygian river, the perfect marriage of audio and visuals. It scares the fuck out of me. I think it’s amazing.
(also the implication that the kids are dead means that there are technically no living creatures in the video except for the dog, and even that is suspect. and I still don’t think it’s about death.)
(Source: life-before-aesthetics)
It was not a remarkable conversation.
You wanted to talk, but not about yourself
and not about me, either. You wanted to tell me
about otters.
I listened, wanting to be somewhere else,
someone else,
with better places to be.
I listened and I understood a peculiar sort
of poetic and unmitigated truth, the sort
we cannot stand without growing thicker skin,
stronger stomachs.
An otter, you see,
carries around within its sleek, water-slick girth,
a mass of cells, recombinant, ripe with potential.
Amalgamate, might-be shapes that will one day,
when conditions are right, become otters
themselves. Otters, separate and alive
in their own right.
‘Delayed implantation,’ you parrot, your face alight
with science and wonder and I think,
how very like words – set to tumble about between neurons,
floating, proto-vocabulaic, as-yet unassembled
into the grand tales and poems I wish
they would one day become. Stories,
alive, in their own right.
Proper writing, then,
not this gallimaufry stew of syllables
waiting between breaths
to be borne.
Unfathomably, they bide their time, content
in the space between synapses,
until conditions (such as they are) are right. Rhythms half-formed,
lingering, loitering just out of reach - this fulsome aggregate
of sound and wayward neurotransmitters. They wait,
an importune cacophony of dreams spent half awake, caught
between the panicked friction of beginning and the sly, quiet
satisfaction of becoming.
Becoming.
A poet, in my own right.
How very like words we are, my dear, lives caught between
the catchpenny and the rubbish bin. Tangled
in the spaces held gingerly between moments, awkwardly
knowing what we must become without understanding
the how or why of it.
We are the acorn, the seed ranged far, carried wild
and rambling across the earth to lodge in just the right
soil, distant and unfathomable. We are
the formless mass of cells, recombinant, adrift
on disappointingly common seas of almost-was and might-have been.
We are the dandelion seed, released into the wind
with chaotic certainty instead of hope.
I am impatient, awash in the tide of soon, love, soon.
This is you?! ahsaobafhgfkhot damn. I think I’m in love with your vocabulary. I may have to abscond to the coast of France with it. (I especially love ‘caught between the catchpenny and the rubbish bin’, love love love)
(Source: wordwracked)