#rachel vorona cote

[snailsnfriends]

friendship among girls

west wind (mary oliver) / a good love (charlotte ager) / twin stars (clairel estevez) / sex education (laurie nunn) / derry girls (lisa mcgee) / water serpents (gustav kilmt) / ribs (lorde) / anne of green gables (lucy maud montgomery) / the friends (max ginsberg) / in the company of women (january gill o'neil) / graceland too (phoebe bridgers) / wicked (winnie holzman) / fleabag (phoebe waller-bridge) / silhouette (janice lobo sapigao) / x / juno (jason reitman) / black iris (leah raeder) / jennifer's body (karyn kusama) / the art of loving and losing female friends (rachel vorona cote) / clothes swap/brooklyn 2008 (hope gangloff) / mabel (becca de la rosa & maybell marten) / twin stars (clairel estevez) / friends (colin bootman) / my little pony: friendship is magic (lauren faust)

[gabbysdawsons]

quocc oc challenge ➣ web weaving

i love you too, man. // monty jameson & hallie haddix

ozirants, twitter. // the body, stephen king. // wait for me (intro) ("hey, the big artiste"), hadestown // the beatrice letters, lemony snicket // king and lionheart, of monsters and men // the secret of the old morgue, nancy drew // the one with all the cheesecakes, friends // ribs, lorde // a summer’s love, eric rohmer // the art of loving and losing female friends, rachel vorona cote // the cult of sheila, santa clarita diet // if i didn't have you, banners

taglist: @richitozier, @foxesandmagic, @lizziesxltzmxn, @phoebestarks, @lovehermioneforever, @jewelswrites-ish, @kiara-carrera, @heavenlysurf, @decennia, @stanshollaand. @ocfairygodmother, @raith-way, @lucys-chen, @daughter-of-melpomene

[antonio-velardo]

Antonio Velardo shares: Kids’ Books That Don’t Ignore the Dark Side of Life by Rachel Vorona Cote

By Rachel Vorona Cote It would be tempting to allow my son to believe in a world that will never betray him, but I want him to know better. Published: November 28, 2023 at 05:01AM from NYT Magazine https://ift.tt/wL9i2Qj via IFTTT

[glimmer-in-the-bones]

BOX D (ART SUPPLIES, BOOKS, KITCHEN, MISCELLANEOUS, SENTIMENTAL ITEMS)

BUTTER KNIVES

CAKE DECORATING TIPS

CALLIOPE BY JEANANN VERLEE

CAN TOPS (2)

CONSTRUCTIVE ANATOMY BY GEORGE B. BRIDGMAN

COOKIE CUTTERS

COOKING THERMOMETER

DAMAGE FREE WALL HANGING STRIPS (2 PACKAGES)

DINNER FORKS

DINNER SPOONS

FROSTING KNIFE

FUNNELS (2)

GRASS BY KEUM SUK GENDRY-KIM

HEARTBEAT 100 BY CASSIDY BLACK

HIGH SCHOOL YEAR BOOK

HURRICANE MOUTH BY AMANDA OAKS

JULIET HAS A GUN PERFUME SAMPLE SET

KITCHEN TOWELS (4)

MEDICAL SHARPS BIN

MY DARK VANESSA BY KATE ELIZABETH RUSSELL

NATIONAL STUDENT POETS PROGRAM 2014 BOOKLET

NICOLE ANGEMI’S ANATOMY BOOK

OIL PAINTS

PALETTE KNIVES

PLASTIC PAINT CASE

PREDATORS BY ANNA SALTER

RUBY BY CYNTHIA BOND

SALAD FORKS

SCRUBBING BRUSH

SILICONE GRIP

THE BODY FANTASTIC BY FRANK GONZALEZ-CRUSSI

THE BOOK OF SKELETONS BY RACHEL VIGIER

THE PEOPLE WE KEEP BY ALLISON LARKIN

TOO MUCH BY RACHEL VORONA COTE

TUPPERWARE CONTAINERS (4)

TURQUOISE WAFFLE BLANKET

WASTED BY MARYA HORNBACHER

WASTELAND BY FRANCESCA LIA BLOCK

WOODEN HOPE CHEST

[araekniarchive]

hi! if you feel inspiration for it (and you haven’t done so already) the blurring of lines between friendship and being in love from someone? like when does it cross from platonic to something more, or being completely platonically in love with someone to the point where it feels like romance? if that makes sense lol

Daniel Ladinsky, mistranslating Hafez of Shiraz

A Summer’s Love (1996) dir. Éric Rohmer

Queen, You’re My Best Friend

@bakwaaas (x)

Emily Rapp, Transformation and Transcendence: The Power of Female Friendship

Taylor Swift, It’s Nice to Have a Friend

Anahit Behrooz, Touch Me Not: Lockdown & Physical Intimacy

Grace and Frankie (2015–2022), 2x08: The Anchor

Lucy Maud Montgomery, Anne of Green Gables

Ruth 1:15, The Holy Bible (NIV)

Rachel Vorona Cote, The Art of Loving and Losing Female Friends

Danez Smith, acknowledgments

@chnt (cropped)

[atealiers]

Rachel Vorona Cote, The Art of Loving and Losing Female Friends

[liminalweirdo]

Women, long regarded as the lodestars of excess, are eyed like shape-shifters with the power to transform into Medusa. But I've since realized that there is power in what others call monstrosity. Our refusal to abide, to prioritize the comfort of the West's hegemonic governance, lays bare the rickety scaffolding of culture's so-called behavioral norms. The roots of rules are never so deep that they cannot be wrenched from the soil; man-made boundaries remain at the mercy of the creatures who erected them. For when we are Too Much — and when we refuse to apologize for that — we burst against those walls and marvel as they give way like sand.

Rachel Vorona Cote, Too Much: How Victorian Constraints Still Bind Women Today

[jessabessamessa]

"I had begun, and where I so often return - to melancholy and resignation, to the gut-churning to fear that I will never be capable of living in the world properly, and that I will always, at last, wear out my friends, lovers, even family because I cannot help but be utterly myself: a brimming body of conflicted, burning feeling."

-Too Much: How Victorian Constraints Still Bind Women Today, Rachel Vorona Cote

[thebeautifulsentence]

But it smells like my mother, like the memory of white flowers, and my mother smells like home.

Rachel Vorona Cote, Catapult 

[walkermargaret]

Narratives of female self-mutilation, conversely, tend to veer towards self-abnegation and self-annihilation. During the Middle Ages, female martyrs would mutilate themselves to safeguard their chastity. Saint Wilgefortis, betrothed without her consent and plagued by her father's sexual advances, starved herself while praying for God to divest her of physical charms. As she became evermore emaciated, Wilgefortis's body grew a coating of hair, and a beard sprouted from her chin. Her royal fiancé, aghast at the effects of her asceticism, spurned her, and her father—brutal and enraged—ordered her crucifixion. As she died on the cross, Wilgefortis referred to "the passion that encumbrances all women" and beseeched women to pray through her to be delivered from vanity and erotic desire. In the mid-16th century, according to some accounts, the precocious Saint Mary Magdalene de' Pazzi clandestinely fit herself with a crown of thorns and began whipping herself when she was only 10 years old to practice religious self-abnegation. Ten years later she had joined a convent and restricted her diet to bread and water—this dietary order, she said, had come from God himself. She continued to self-flagellate, sometimes in public, in order to banish the demons purportedly plaguing her. She coaxed the convent novices to whip her, too, and to stand on her mouth. Sometimes she burnt her skin with hot wax. When, at 37, she lay battered and swollen on her deathbed, she admonished her sisters not to touch her, lest they be visited with sexual longings. The cases of Saint Wilgefortis and Saint Mary Magdalene de' Pazzi are extreme, but they're far from isolated. As scholar Robert Mullen notes, 88 percent of those who bore wounds believed to be connected to Christ were women. "The prevailing Christian acceptance was that the stigmatic blood 'not only purged the woman of her sin but also saved her fellow Christians' by compensating for sins through substituted atonement," he writes. These holy women, then, were both vessels of contamination and vehicles of spiritual deliverance, blessed in their squalor.

Rachel Vorona Cote, “The Misogynistic History of Trying to Understand Women Who Self-Harm”

[thedownfallofamerica]

No but seriously women aren’t taken seriously as villains on their own, and there’s also an unspoken rule that women and femme people don’t get to be scary or viscous or violent or evil because it’s unsettling and uncomfortable. Even in horror there’s a lot of constraints female characters fall under on what they can and can’t be.

Thinking about how there are so few women villains in horror (only when it is explicitly about her sexuality; Carrie, Teeth, Jennifer's Body), but through demonic posession women get to act violent and wreak havoc among the living,,

[stuckwith-harry]

on the platonic & the romantic — king princess, “isabel’s moment” (cheap queen, 2019). salman toor, “four friends” (oil on panel, 2019). sandra jeppesen, “queering heterosexuality” (queering anarchism, 2012). rachel vorona cote, “the art of loving and losing female friends” (pacific standard, 2017). david crane & marta kauffman & brian buckner, “the one with ross’s tan” (2003, friends s10e3). indigo de souza, “take off ur pants” (i love my mom, 2018). abba, “the winner takes it all” (super trouper, 1980). rachel vorona cote (cont). kevin sullivan & joe wiesenfeld, “anne of green gables” (1985). co-star app. jensen mcrae @ribcagecarnival​, “immune” (who hurt you?, 2021).

[electraheart2012]

we were best friends forever, but the truth is—

otessa moghfesh / valerie duca / samia / lady bird (2017, dir. greta gerwig) / rachel vorona cote / pariah (2011, dir. dee rees) / madeleine morlet

[snoppy]

picture us in the light, kelly loy gilbert - the art of loving and losing female friends, rachel vorona cote - us against you, fredrik backman - ocean vuong - david levithan