I Have A Weird Appreciation For Baroque Artists, In Particular Francois Boucher And Peter Paul Rubens,

fuck the talking stage let’s just have a homoerotic sword fight and passionately make out after almost killing each other

Quotes: 1.) Louise Glück, From Averno; “Blue Rotunda” 2.) Ocean Vuong, from On Earth We’re Briefly Gorgeous 3.) Clarice Lispector, from Selected Crônicas; “Excess and Privation ,” 4.) Rachel Cusk, on the reception of Aftermath, as cited in Olivia Sudjic’s Exposure

Art: 1.) Daniel F. Gerhartz 2.) Adrian Ghenie, Henrik Uldalen 3.) Helene Delmaire, Glenn Brown 4.) Alexandra Levasseur

Hand of Buddha, circa 710-794 

its fun to enjoy things

when programs fucking autocorrect <3 to ❤️ and :) to 😃,,,, do you have any idea what you’ve just done?? what you just fucking destroyed ?

Staff Pick of the Week

A few weeks ago I read the Epic of Gilgamesh for the first time, and despite the fact that the origins of the story are probably from the mid-3rd millennium BCE, and the earliest cuneiform tablets we know the story from date from the late 2nd millennium BCE, the narrative’s emotional frame, and the frank depictions of sex, violence, fear, longing, and friendship, all felt remarkably contemporary to me. Just last week, Gilgamesh came up again in a discussion during a session of my course on the History of Books and Printing. Since Gilgamesh has had a recurring presence in my life this past month, I’ve decided to highlight some images and text from our copy of the Limited Editions Club production of Gilgamesh, translated by William Ellery Leonard and printed in 1974 at The Stinehour Press in Lunenberg, Vermont, in an edition of 2,000 copies.

The book includes nine bold three-color woodcuts and seven black-and-white woodcuts and linocuts by the American visual artist Irving Amen (1918-2011), who also signed the entire edition. The text is printed in the Club’s proprietary eighteen-point Janson type, with thirty-six-point Trump Gravure wedge-serif capitals for the titles. The woodcuts beautifully capture every significant scene in the epic. Click on the images to view the captions.

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– MAX, Head, Special Collections

*The quote is from a poem by Song Dynasty poet 苏轼 (Su Shi), but with "old person" replaced by "man"

[eng by me]

i know we’re both just messing around pretending to be whole but look at me. if the train was coming would you move. if the ground was falling from under your feet would you even notice or would it just be another tuesday for you. if somebody stabbed you could it hurt worse than you already do. what i’m saying is that i love you but i think we both drive over the speed limit when it’s raining. what i’m saying is that i want to hold your hand and i understand about how you sometimes have to sit down in the shower. what i’m saying is that i’m here for you and if the train comes please move.

Reconstruction, Ziggurat, Ur.

by the sea