by Amy Silbergeld
On the edge of discourse, of ‘civilization’, of speech itself, experimental fashion can act out what is hidden culturally. And, like a neurotic symptom, it can utter a kind of mute resistance to the socially productive process of constructing an identity.
Alfred Stevens, Portrait of Sarah Bernhardt as Fedora, 1882
tried to explain to the seven year old i babysit that being immortal would actually be awful because eventually everyone you know would die and you would be alone and he was like “good”
waddup mu’fuckas #me