#japanese church

[whatisonthemoon]

Kumi Taguchi’s first Dateline report, The Church and the Assassin, which investigates links between the 2022 assassination of former Japanese prime minister Shinzo Abe, and the Unification Church, aka “the Moonies”, opened her eyes to a side of her ancestral homeland she hadn’t seen before.

On family trips, and while filming her 2019 ABC documentary, Kumi’s Japan, in which she sought to understand her father’s last wishes, the Insight host came to know only a peaceful, harmonious country.

“It was the first time I have dug into a current, controversial story, and it felt different being there,” says Taguchi. “It was such a privilege, and a great way in which to look at my own sense of that country, still with these gentle, polite, lovely people, but there’s a lot going on beneath the surface.”

In the potentially explosive documentary, Taguchi meets with investigative journalist Yasuomi Sawa at the Yokohama Archives of History in Tokyo to learn about Abe’s connections with the Unification Church. (Abe’s alleged killer told investigators he was motivated by a grudge he held against the church over his mother’s bankruptcy.) Bizarre footage is also shown of Abe and Donald Trump at a Church event.

“What I know from my dad [who was an investigative journalist in Japan] and what I saw in Mr Sawa, is that Japanese journalists are very thorough,” says Taguchi. “You’d think maybe there’s a sense of restriction and they don’t want to criticise the government. There’s none of that. Speaking to Mr Sawa reminded me of that robust journalistic heritage in Japan, especially in that massive building in which every newspaper in the country is archived daily. Japan still has a very strong print industry where physical newspapers are still massively popular.”

In heartbreaking interviews, Taguchi speaks with people who claim their lives have been destroyed by the church’s donations requirements. She also conducts conversations, inside a shuttered church premises, with church members, including a leader.

“There’s a lot of fear among church members. But when we arrived, they were so welcoming. I was worried it might feel a little like [dealing with the Church of] Scientology, like, ‘Oh god, now I’m on the radar!’ I didn’t feel like that at all. We were very open and honest with what we were doing and what questions we were asking, and why we felt we needed to ask them.”

Regular viewers of Dateline, which is Australia’s longest-running international current affairs program, broadcast since 1984, may notice a shift in tone towards the end of the report. After a commercial break, Taguchi appears in the home of a young mother who has prepared for disasters such as earthquakes, tsunamis, nuclear explosions or military attacks, by installing a tiny portable bunker in her living room.

“It feels like a quirky thing at the end,” says Taguchi. “But it’s part of the culture in Japan and such disasters are not out of the realm of possibility.”

The structural change to include a five-minute human interest segment, following the main 25-minute report, is intended to broaden audience appeal and cater for digital platforms.

As well as umpiring Insight forums for her second year, a job Taguchi relishes because, “I feel like that’s where we need to constantly be aiming for in our daily lives – it’s OK to disagree and it doesn’t have to end in fisticuffs”, she plans to film another, as yet unspecified, report for Dateline. Other topics in the program’s 2023 slate include Scotland’s housing crisis due to the short-term rental industry and stories from Jamaica, Turkey, Ukraine and Denmark.

“I find it amazing that a program like Dateline can be still so strong when there’s so much competition in such a globalised market,” says Taguchi. “Twenty years ago, I remember switching on Dateline, and it was my only window into the world. I wonder whether its longevity is because it’s not a deliberate Australian lens, but there’s a way in which Australians ask questions and frame stories. Generally, as Australian storytellers, I don’t think we’re afraid to be a bit bold.”

[insiderzx]

japanese church

[odiggity]

East Meets West

Interlaken, Switzerland

[kyokocanary777]

横浜山手の末日聖徒イエス・キリスト教会 山手ワード前に、ピンクの花が咲いてました。

夏頃の写真に��りますが💦

教会には、ピンクの花が似合うような気がします。カメラを構えた時、絵になるなぁと思うことが多かったです。

例えばこの近くのカトリック山手教会には、春になると桜が咲いて、とってもきれいです。

この辺に住んでいた頃は、春になると毎年写真を撮っていました。

そして、カトリック山手教会近くの代官坂辺にも桜がいっぱい咲いて、山手本通りの風景が華やかになります。

秋ならば、ピンクのコスモスと教会の風景も絵になるかも。

秋といえば、銀杏並木も美しい。

少し歩いたところにある山下公園通りの銀杏並木の風景、今から楽しみにしています。

マリンタワーの近くですね。

[radiantrookie]

The time the Reds and Blues were officially dubbed in Japanese

[thegirlintheblackdress]

The Annunciation, by Takato Yamamoto

[jo--2004]

[namedvesta]

Church of the Light, by Tadao Andō, Ibaraki Kasugaoka, Osaka, 1989.

[grimalkinmessor]

Aideku with blood (smut) 🙏❤️

Sorry this took so long, smut is hard 🥲How about a vamp AU? :3 Warnings in the tags ✨

Aideku/Smut/Blood

———

Izuku is nervous.

"Don't be such a pussy, Deku," Tsubasa jeers, shoving him forward. The mausoleum looms in front of them, haloed by the setting sun. "It's one night."

"Yeah, you can handle one night in an empty building, can't you?" Neiru laughs. "Or...mostly empty, anyway. Aside from a few corpses."

Izuku swallows. "I-I can do it! I just—"

"Good," Neiru interrupts, stepping up to open the big stone door. It opens with a grating moan, a vast expanse of black yawning beyond it. Neiru gives a mocking bow. "In you go then!"

Nails biting into his palms, Izuku sets his jaw. "...I do this, and you'll give me my picture back?"

Tsubasa throws an arm around Izuku's shoulders, leaning in close and making his skin crawl. "Aw c'mon, Deku, we're friends, right?"

They haven't been friends in years.

"It's just a little game. The picture's just insurance that you won't chicken out. We'll give it back if you make it the whole night without bailing."

Izuku doesn't believe him. But what choice does he have? If he refuses, he doubts they'll hand it over—it's more likely that they'll rip it up right in front of him. Besides, Izuku is less concerned about spending the night in a mausoleum than he is Tsubasa and Neiru letting him out in the morning.

But even if they don't, Izuku is crafty. He'll figure it out.

Tightening his hold on his backpack, Izuku strides forward into the tomb.

"Finally! Thought we'd have to throw you in," Tsubasa complains, and Neiru snickers as he begins to push the door shut.

"Have fun, Deku!"

Before Izuku can even reply, the door thuds shut, and the bar scrapes back into place over it from the outside. Izuku waits a moment before fumbling for his phone, turning on the flashlight to get a good look around. It's not that big of a space really, but it's full of cobwebs and coated in a thick layer of dust. It's clear that these ancestors haven't been visited in a very long time. There's about six plaques on either wall, some of them so old that the kanji has worn down so much he can't make out the names. They're so old that Izuku wouldn't be surprised if there were actual bodies behind those plaques rather than just urns full of ash.

And speaking of bodies—the biggest thing in the room is the long stone slab directly opposite the door. It has no plaque on it, but the seam between the heavy stone lid tells Izuku that it's likely a coffin, which means that he really is locked in here with a corpse.

Izuku gulps. It's fine. It's fine. He can handle this. There's nothing to be afraid of.

Shaking his head, Izuku finds a fairly clean spot in the middle of the room and sits down, shrugging off his backpack to rifle through it. First things first; he pulls out his actual flashlight, shutting his phone off to preserve the battery. He clicks his flashlight on and sets it on the floor like a tiny lamp, before tugging out one of his textbooks. Might as well get some work done while he's stuck here.

He's almost out of high school now, looking into nearby colleges so he can stay close to his mother—which makes it all the more pathetic that he's still getting pushed around by people like Tsubasa and Neiru. Granted, it's not as bad as it used to be, but it's still irritating.

Izuku tries to ignore his surroundings as he works his way through the next chapter, gnawing on his pen and occasionally jotting down notes in the margins. This works for a while; he manages to make his way through two whole chapters without much trouble. He loses track of time a bit, until—

—something skitters across his foot.

Izuku shrieks, throwing himself back on instinct, leg flailing as he tries to stand only to end up toppling harshly against the casket behind him. Yelping, Izuku crashes back to the ground, clutching his shoulder with a wince. It throbs when he touches it, and he hisses quietly. That's going to bruise.

Grabbing blindly for his flashlight, Izuku staggers back to his feet and looks around for whatever just tried to climb his pants leg. He sees a spider the size of his hand sprint into a crack in the wall, and Izuku shudders, making a soft 'blegh' sound.

Swinging the light around slowly, Izuku freezes when he realizes that his flailing has pushed the lid of the stone casket aside. "Sh-shit," Izuku whispers, anxiety spiking. He sets the flashlight down again, face up, the light dispersing throughout the tomb enough to give the place a dim glow. "Shit, shit, shit—"

Hands shaking, Izuku approaches the cracked casket and tentatively peers inside. He expects to see some withered husk of a thing, or maybe nothing but bones and dust given how old this tomb seems—he's very much not expecting what looks like the perfectly preserved corpse of a man who couldn't have died more than a year ago.

Izuku blinks, squinting. The flashlight glow is dim, but from what he can see it's a man with long, dark hair and a riot of stubble. The white and black yukata he's wearing is shockingly pristine, pale hands folded calmly over his stomach. There are no signs of decay at all, not beyond the ashen white of the corpse's skin. Unable to help himself, curiosity ad incredulity flaring, Izuku reaches forward and touches the man's cheek. The flesh is stone cold—not quite icy, but certainly not full of warmth. There's a bit of give there too, the flesh porcelain but still somehow soft.

Brow furrowing, Izuku slides his hand down to press two fingers to the corpse's white neck. He's no sure whether he's surprised or relieved to find no pulse.

Izuku barely has time to register this however, because mere seconds later a hand snaps out and fists in his uniform jacket, yanking him down and in to the coffin. Izuku yelps, panic spiking, as he crashes onto the cool body settled in the slab, mouth opening to scream as the stone lid of the casket slams back into place.

But no sound escapes his mouth, because in the sudden darkness he feels teeth slice into his throat—before pleasure overtakes him.

Izuku gapes at nothing as a solid arm latches around his waist, tight enough to bruise and yet somehow still seeming absentminded. The subtle rasp of stubble rubs against his neck, and Izuku smells the faint scent of blood as lips move and hum quietly against his pulse. The electrifying feeling of heat spiders out from the point of contact, spreading through Izuku's body and pooling in his gut. Izuku's eyes flutter, a weak noise escaping his mouth as his hands flex and paw at the chest of the-the thing beneath him. He's not sure whether he means to push it away, or draw it closer.

Izuku feels his blood spilling slowly down his neck, thick and hot, and the pieces slot together in his bewildered, fuzzy mind.

Vampire.

He is locked in a tomb—a coffin—with a monster of legends. It's feeding off of him, stealing his blood, likely killing him...

But Izuku can barely bring himself to care.

A ragged groan scrapes out of his throat as the vampire sucks out his lifeblood, ecstasy filling him in its place. He feels his cock stiffen, pressing tight against the seam of his pants as Izuku's eyes roll back in delirious elan. Through the haze, his ever analytical mind notes that the man's hands are skating up and down his sides, one fisting loosely in his hair to pin his head at a better angle. The chill of the corpse's skin is slowly being replaced by warmth, siphoning off Izuku's body heat as well as his blood.

Izuku gasps as a leg juts up beneath him, a muscled thigh slipping in between his legs and pressing against his erection. The pressure makes him tremble, little hiccups of sound lilting out of his mouth as he instinctively rocks his hips down in helpless little jerks, each movement giving him another jolt of pleasure.

A tongue swipes over his bloodied neck, the white-hot bliss of those teeth leaving him for a moment as the monster beneath him cleans him up. Izuku whines at the loss, a quiet desperation striking through him.

'No, no, come back, I'm almost...'

He moans shakily as he feels those fangs pierce the other side of his neck, drawing out his blood and sending him high once more.

"A virgin...?" a low voice purrs, sleepy and bemused and...in his head?

The hands on him tighten, and Izuku whimpers as it sends another spike of arousal through him. He has the vague sense of shame, of embarrassment, at the way he's humping the man's leg, rubbing the tent in his old jeans against the silky white fabric of the man's yukata—but it's a faint sensation. His anxiety is drowned out by the sheer amount of ecstasy coursing through him. Izuku feels it building in his stomach, coiling in his gut as his toes curl and his thighs clamp tight around the muscled thigh beneath him.

He's close, he so close, he—

Red glow fills the space, casting the figure beneath him in a crimson haze. His eyes are a brilliant, luminous scarlet, and the light of them makes the blood painting his mouth look black.

"Your lust..." the man rasps, hands skating up and down to fasten around Izuku's hips. His voice is low and wet, and Izuku can smell his own blood on his breath. "I can taste it."

Then the monster yanks Izuku's hips down, forcing him to grind up against the man's stomach. Izuku cries out, sobbing as the force, the crush, the smell sends him toppling over the edge of orgasm. He cums so hard his vision goes white, mouth open in a soundless wail as wave after wave of pleasure crests over him, shocking up his spine and curling in his scalp. He forgets to breathe for several precious moments, knocked breathless by it.

Vaguely, he feels the man's mouth on him again, trailing his tongue against the newest wound. Izuku's eyes flutter, and he collapses fully on top of him, lost in the afterglow. He's not sure whether the dizziness he feels is because of his orgasm or the blood loss, and he's not sure he particularly cares either. His limbs feel like jello.

"Mm, you're type O," that low voice muses, a hand trailing up and down Izuku's spine. "I thought it was merely that I hadn't fed in so long, but it's no wonder. Best way I've woken up in a long time." The hand pauses, and the red glow now saturating the inside of the coffin flickers. "Mind telling me what year it is?"

"It's..." Izuku begins, the question booting his brain back into gear. His thoughts begin to race as he blinks rapidly to clear his head, a myriad of questions and emotions and reactions flashing across his mind in quick succession. "I-It's 2237."

"A little over four hundred years this time," the man murmurs, brow furrowing in contemplation. "Odd. Someone usually wakes me up every turn of the century."

"U-Um, sir," Izuku tries after a moment, wriggling in mortification when he feels the mess he's made in his pants. "Can you, um, let me out now? If y-you're not going to finish me off?"

'Why would you ask that, WHY would you—'

"I would," the monster begins absently, licking a stray trail of Izuku's blood from the corner of his lips. He's looking at the faintest trickle of light that can be seen from the seam of the stone lid. "But it seems like it's still daylight out. The mausoleum must've collapsed..."

Izuku attempts to push himself up, but the idle hand on his back isn't as idle as he thought. Vampire strength, he realizes quickly. Biting his lip, he tries not to think of the bruises already blossoming on his hip. "No, that's just my flashlight! It's actually very late, so it's safe for you to let me out, I promise!"

Scarlet eyes narrow at him, grip tightening, and Izuku squeaks like a dog toy when those fangs scrape against his neck again. "You're not lying to me, are you? Little lust thrall?"

Izuku's face flushes brightly, and the man noses his cheek almost instinctively, as if following the blood flow. "I-I'm not! I'm not lying, I swear! Please, just—I don't want to die," he finishes weakly, hands fisting tightly in cloth pooling by the monster's sides.

The man's eyes soften slightly, and he sighs. The tang of warm iron feathers against Izuku's face. Reaching behind them both, the man swipes the lid to the side with one hand, the rough scrape of stone on stone making Izuku wince. Before Izuku can even move, he finds himself being hauled up and set outside the coffin on his feet. He staggers immediately, knees still weak, and nearly falls.

A calloused hand pushes against his back, keeping him upright. Izuku swallows and blinks away the spots crowding his vision, stumbling away to pick up his flashlight.

He turns again, cringing at the wet feeling between his legs. The man is sitting up in his box, peering at him curiously. Unable to help himself, Izuku tentatively asks, "So... you're n-not going to eat me?"

Tipping his head, the man gives him a hooded smile, dark hair shadowing his face as he answers, "Not anymore than I already have."

Izuku's face feels so hot he'd work well as a heat lamp.

The man steps smoothly out of his tomb and, to Izuku's surprise, folds into a bow. "Aizawa Shouta."

More habitually than anything, Izuku bows back. "Midoriya Izuku. It's, uh, nice to meet you?"

Aizawa smirks at him, the tips of his fangs flashing. "Well, Midoriya," he says, practically purring out the name. Izuku's breath catches. "Thank you for the meal. I hope you'll allow me the chance to taste you again. In a place where I can properly see you, this time."

With that, Aizawa rises from his bow and swirls into shadow, racing out of the doors of the mausoleum and leaving them banging open behind him. Moonlight spills into the tomb, and Izuku watches Aizawa's shadows zip through the cemetery and out into the night.

He has a feeling that he's just got himself into far more trouble than he knows.

[galleryofart]

A Japanese Princess Going to Church

Artist: Gyula Tornai (Hungarian, 1861-1928)

Date: 1906

Gyula Tornai was a Hungarian painter, now featured in the Hungarian National Gallery. He was a noted painter in the Orientalist genre.

Tornai was born in Görgö, Hungary (today Spišský Hrhov, Slovakia), in 1861. He received his art education at academies in Vienna, Munich and at Benczúr's Studios in Budapest where he studied under Hans Makart and Gyula Benczúr. His initial paintings were pictures of popular everyday themes such as the Good Fat, Camelian Lady. His style was heavily influenced by Makart (Makartstil or "Makart’s style" in German).

Following his travels to Spain, Algeria and Morocco, he turned to more exotic themes and painted works depicting street life, merchants, musicians and harems. He spent 10 years in Morocco and lived in Tangiers for a year between 1890 and 1891. In 1900, he exhibited pictures in the Exposition Universelle in Paris to great acclaim, winning the bronze medal. In 1904, he sold many of his works to raise money for further travel.

In the Summer of 1905, he travelled to Far-East where he continued his interest in Orientalist themes. During this period he travelled through India and Japan. Shortly after his arrival in Japan, he painted a portrait of the former Prime-Minister, Count Okuma, who became an influential patron. This patronage gave him unprecedented access to many facets of Japanese life and customs that had previously been hidden from Europeans. This allowed him to explore Buddhism and Shintoism in depth. Tornai remained in Japan for 16 months during which time he painted such works as A Japanese Princess Going to Church, Geisha, The Geisha House and the Samurai Warrior amongst other paintings.

In 1907 he was exhibited in Paris and London; in 1909 at Budapest in the Műcsarnok; in 1917 at the National Salon. In 1929, the auction hall organized an exhibition of legacies from his works.

His Oriental works gained him international recognition during his own lifetime. A contemporary source commented that his works from this period, ”the like of which for glory of colour and intense appreciation of the picturesqueness of the east had not been seen before.” His paintings are also noted for their irony, humour and wit. For instance, his painting The Connoisseurs features a group of locals, possibly Berbers, gathered in the artist's studio critically examining a painting of Oriental men. These men were probably the subject of the painting. He also gave viewers glimpses of another world with his depictions of Oriental customs and practices. Several of Tornai's paintings are held in the Hungarian National Gallery.

[whatisonthemoon]

MAY 8, 2023

Ninety percent of prefectural assembly members with ties to the Unification Church were re-elected in the unified local elections in April, but their popularity showed signs of waning, an Asahi Shimbun survey showed.

The unified elections were the first collective nationwide vote held since the Unification Church came under fire again for its fund-collection methods following the assassination of former Prime Minister Shinzo Abe in July last year, apparently over his ties to the religious group.

According to an Asahi Shimbun survey conducted in August and September last year, 292 of the 2,314 responding prefectural assembly members acknowledged their connections with the church, now formally called the Family Federation for World Peace and Unification.

The ties included attendance at Unification Church-related meetings or events, and receiving support from the group in election campaigns.

The terms for 251 church-connected assembly members expired in spring. Of them, 228 sought re-election in the April 9 elections held in 41 of Japan’s 47 prefectures, while 23 members did not run due to age or other reasons.

Of these candidates, 206, or 90.4 percent, were re-elected. Twenty-two members, or 9.6 percent, lost their seats.

Among those re-elected, 47, or around 23 percent, ran uncontested.

More than 80 percent of the church-tied prefectural assembly members were from the ruling Liberal Democratic Party.

Among all 1,111 LDP incumbents who ran in the local assembly elections, 98 members, or 8.8 percent, were defeated.

Of all 228 candidates who confirmed their ties to the church, 118 gained fewer votes than in the previous election, while 42 garnered more ballots.

It is not clear if the church ties affected vote counts for 68 of the candidates because they ran uncontested in either of the two latest elections, or won in a by-election held within the past four years.

However, some candidates lost several thousand to 10,000 votes compared to their tallies in the previous election after their connections with the church became known.

Setsuko Sakuraba, 65, an LDP candidate, sought a second term in the Niigata prefectural assembly from the electoral district of Joetsu city.

But she was defeated in the election after gaining 9,536 votes. That was 2,459 votes fewer than her total in the previous election, when she placed fourth and gained one of the five assembly seats for the city.

Sakuraba had attended Unification Church-related events and received support in her campaign from people connected to the group.

These ties were reported in local newspapers and The Asahi Shimbun.

After her election loss, Sakuraba said about her church ties, “It’s hard to say how much, but there must have been a significant impact (on the election results.)”

She said someone had placed stickers with words “Unification Church endorsed candidate” on her campaign posters in Joetsu city.

About 50 to 60 of these stickers were found, she said.

In the Tochigi prefectural assembly election, 82-year-old Kazuyoshi Itabashi of the LDP was elected for a national record 14th straight time.

Itabashi gained 10,411 votes in the election four years ago, but this time he received 7,674 ballots, down by 2,737.

He also received the fewest votes among the five elected candidates representing the Oyama city and Nogi town electoral district.

“I think there was a slight decrease in votes,” he said after the election.

In September last year, reports surfaced that Itabashi was serving as head of the prefectural association of a church-related organization called the Federation for World Peace.

He resigned from the position.

Before the election, a Buddhist organization that had supported Itabashi told him that it would withhold its support because of his connection to the Federation for World Peace.

The Unification Church’s public relations department told The Asahi Shimbun, “Our organization has never had involvement with specific candidates or political parties.”

[asoftepiloguemylove]

hiii i love your page could you please make a web weave on being closeted and the greif that comes with ti? isokay if not! have a lovely dayyyy

i hope this is what you were looking for !! have a good day <33

Lidia Yuknavitch The Chronology of Water: A Memoir // Jeanette Winterson Why Be Happy When You Could Be Normal? (via @weltenwellen) // Hozier Take Me to Church // blue (2002) dir. 安藤尋 Hiroshi Ando // Richard Siken Cover Story (via @kvothes) // Saeed Jones How We Fight for Our Lives // Hozier Take Me to Church // 渚のシンドバッド Like Grains of Sand (1995) dir. 橋口亮輔 Ryosuke Hashiguchi // Clarice Lispector

[x-heesy]

𝚂𝚊𝚒𝚕𝚘𝚛 𝙼𝚘𝚘𝚗 𝚋𝚢 𝙰𝚗𝚗𝚊 𝚂𝚝𝚎𝚒𝚗𝚋𝚊𝚞𝚎𝚛 🌙

#contemporaryart #art #artist #painting #artwork #abstractart #modernart #artgallery #arte #fineart #artoftheday #artcollector #instaart #artistsoninstagram #drawing #contemporarypainting #abstract #contemporaryartist #gallery #photography #sculpture #kunst #abstractpainting #design #illustration #digitalart #artlovers

𝙵𝚊𝚋𝚕𝚎𝚜 & 𝙵𝚊𝚒𝚛𝚢𝚝𝚊𝚕𝚎𝚜 - 𝙳𝚎𝚗𝚒𝚣 𝙺𝚞𝚛𝚝𝚎𝚕 𝚁𝚎𝚖𝚒𝚡 𝚋𝚢 𝙽/𝚊, 𝚁𝚘𝚜𝚒𝚗𝚊 🎧

[religious-extremist]

How mistaken are those people who seek happiness outside of themselves, in foreign lands and journeys, in riches and glory, in great possessions and pleasures, in diversions and vain things, which have a bitter end. It is the same thing to construct the tower of happiness outside of ourselves as it is to build a house in a place that is consistently shaken by earthquakes. Happiness is found within ourselves, and blessed is the man who has understood this. Happiness is a pure heart, for such a heart becomes the throne of God. Thus says Christ of those who have pure hearts: "I will visit them, and will walk in them, and I will be a God to them, and they will be my people." (II Cor. 6:16) What can be lacking to them?

Nothing, nothing at all! For they have the greatest good in their hearts: God Himself!

+ St. Nektarios the Wonderworker of Pentapolis and Aegina

[bulbagarden]

i was in downtown salt lake city taking a look around today, and there was this really cool ice cream/dessert place! it's called the penguin brothers and they have ice cream sandwiches!! go there if you're in the area, support small businesses!!!!!!!!!

but i wanted to share this cute kanto (penguin!) ash + piplup.. and what i got too LOL. honeycomb ice cream w snickerdoodle! it was sooooooooo goood omg..

[beeftendergroin]

I forgive you Mother I can hear you, and I long to be near you But every road leads to an end Your apparition passes through me, in the willows and five red hens You'll never see us again

-Death with Dignity// Sufjan Stevens