Marilyn French, The Women's Room (1977)

Stills from “Mia” (2021), shot on 16mm (dir. Mariana Dimitrova), Sitges, Spain

The God Fit, Anne Carson (from Glass, Irony and God)

Anaïs Nin, Mirages: The Unexpurgated Diary of Anaïs Nin (1939–1947)

Hiroshi Yoshida Rapids 1928

cottage lifestyle

Summer Awad, “Syllogism for Palestinian Grief”

variations on a theme by elizabeth bishop, john murillo

— Sylvia Plath, The Unabridged Journals of Sylvia Plath

[text ID: It seems to me more than ever that I am a victim of introspection. If I have not the power to put myself in the place of other people, but must be continually burrowing inward. I shall never be the magnanimous creative person I wish to be. Yet I am hypnotized by the workings of the individual, alone, and am continually using myself as a specimen.]

"Almost every woman I have ever met has a secret belief that she is just on the edge of madness, that there is some deep, crazy part within her, that she must be on guard constantly against losing control - of her temper, of her appetite, of her sexuality, of her feelings, of her ambition, of her secret fantasies, of her mind.”

Elana Dykewomon, "Notes for a Magazine," Sinister Wisdom #36 (Winter 1988/89).

The Double Image, Anne Sexton//Portrait of the Illness as Nightmare, Leila Chatti//Phaedra’s Love, Sarah Kane