#abymes

[knifeeater]

'no one has painted me in four hundred years' vs 'you caught the soul he is hiding' re louis' photograph. a blurred image, almost accidental brush against something true, containing a shared haunting that escapes the photographic paper. armand is someone who has been violently shaped in the form his abuser(s) wanted him to be, immortalizing him in and as an idealized picture. having learned to shape himself for someone to be loved/cared for and doing so by shaping himself after those he wants to belong with, internalizing the coven rules, picking up a persona from lestat, becoming a mirror for louis. maybe love is in great part to be seen for who you are, for someone to see through the mask you put on for the world. 'for the first time in my life, i was seen'. louis seeing through the charade of the well dressed gentleman (and not quite that of the one made weak by love). this way of seeing and discovering a world of potentiality in the eyes of the beloved for transformation and newness is what allows armand ultimately to be vulnerable. 'who am i'. tell me who i am, who i can be.

claudia on the other hand is not allowed this kind of openness. she is trapped in the image of louis' child like she is trapped in her body like she is trapped in the role of little lou. this is why louis still excludes her from the conversation around their safety regarding armand & the coven. this is why armand traps her in the doll costume, ensuring his own prophecy will come true, 'her mind [...] will break apart in time'. another cycle takes its turn. madeleine begins to see claudia, in the three-parted mirrors, as a three dimensional, multi-faceted person. out of her costume, joint act of adjusting a dress to something that fits her better, image of a woman grown. claudia works hard on creating something new for herself but again and again she's thwarted, shoved back into old images, which revolve around the use she can have for other people - the bandaid, the audience darling, 'the girl who moves a million books'. crafting a backstory one abuser can stand in for another. their methods always stay the same.

[shihlun]

Isao Kota

- Oranda jin no Shashin / Dutchman’s Photographs

1974

[polychroniadis]

Gartenbauamtabteilung by Bastian Gehbauer, 2022.

[digitalfossils]

[scrollsofhumanlife]

Francesca Boudhou

Born October 19 1991 in Les Abymes, Guadeloupe

Port-Louis, Guadeloupe

[retrogeographie]

Pointe-A-Pitre.

[celluloidwickerman]

Presence; or Polaroid Ghosts (Part 1)

‘There is a spectre inside every photograph.’ – Deborah Levy, The Man Who Saw Everything There comes a point when trying to get a book off the ground (i.e. published) where you have to accept defeat. As will no doubt become an increasingly familiar scenario, judging from my recent experiences with British publishing at least, the projects that fail to find a home on paper will eventually be…

[graveyarrdshift]

jak jeszcze raz zobaczę tego pierdolonego Kaczyńskiego albo Czarnka w telewizji lub gdziekolwiek indziej to dostanę jakiegoś pierdolca

[milfglupshitto]

wanted to make a comparison post but I can't get it to work right now so have these excerpts from Samuel Beckett's novella Company that make me very normal

[rearranging-deck-chairs]

yea i definitely felt like i was being mised into the fucking abyme youre telling me

[rapha-reads]

So, I'm reading William Goldman's The Princess Bride - S. Morgenstern's Classic Tale of True Love and High Adventure (I love this title), and I reached the page where Goldman says to write to his publisher Harcourt to ask for a copy of Westley and Buttercup's reunion down the ravine (he added in a late edition a website that, surprise surprise, doesn't work).

Anyway, I tried something.

I'll keep you posted if I get an answer!

[furog]

Jorge Luis Borges - Borges and I // A Dream // Other Inquisitions (75-6).

[fujimen]

La Strada naprawdę daje do pieca

[ehj3]

A MUSE EN ABYME

“It’s hard to be an artist. It’s hard to be anything. It’s hard to be.” —Bill Murray Not MISE en abyme. Not at all an infinite regress, but a painting in a painting (again!) More mise en scène actually. It’s a snapshot of a theatrical set with props and scenery and actors running around in it; two snapshots in one, actually, as the actors are in different places at the same time. The “leading”…

[luisasequeira]

[scrollsofhumanlife]

Francesca Boudhou

Born October 19 1991 in Les Abymes, Guadeloupe

Port-Louis, Guadeloupe