On Friendship.

“As no science explains adequately how dreams work, no one can explain how a poem works. Where is a dream, sure, but where is a poem? I believe somewhat in Williams’ formulation that a poem is a machine made out of words, but, finally, the poem isn’t where the words are. The poem is somewhere between the words and the reader, or it is the words taken into the reader, who exists within the general society and its history. You enter the poem when you open to its page or remember it, having memorized it, but it is a much larger world than the page. It is transformed when you say it out loud; and it changes from reading to reading—you, the reader, change it, for one thing, as you change—or is it that it changes for you? If you are reading a poem by Catullus, you are in no way the same as an ancient Roman reading it: you are not that person—that kind of person, though it is that poem, as those words. But even if you know Latin, you don’t “speak Latin,” and you haven’t much feeling for what it was like to be a Roman. A poem, like a dream, has an odd relation to time: it is in time, like a poem by Catullus, but it is timeless, as an object made out of words. A dream lasts a moment but endures as a memory might: but it didn’t really happen. A memory can be backed-up, but no outside observer can find the particulars of a dream in time and space (evidence of REM or whatever isn’t evidence of what happened in your dream). A poem didn’t or doesn’t happen, it’s a still group of words on a page; and a story doesn’t really happen either. We say that dreams, poems, and stories occur in the imagination, or the psyche, or whatever word we’re using right now, to invent another entity that doesn’t concretely exist to put them in. But doesn’t the “real world” exist in some collective category like that? All we do is dream; we live in poems and stories we invent.”

— Alice Notley on Writing from Dreams ‹ Literary Hub

About wocwog HJ. I love him. He's so raw, and there's so much pain and rage.

circle of sleep <3

Masterpost of Free Gothic Literature & Theory

Classics Vathek by William Beckford Wuthering Heights by Emily Brontë The Woman in White  & The Moonstone by Wilkie Collins Carmilla by Joseph Sheridan Le Fanu The Turn of the Screw by Henry James The Monk by Matthew Lewis The Phantom of the Opera by Gaston Leroux Melmoth the Wanderer by Charles Maturin The Vampyre; a Tale by John Polidori Collected Works of Edgar Allan Poe Confessions of an English Opium-Eater by Thomas De Quincey The Mysteries of Udolpho by Ann Radcliffe The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson Dracula by Bram Stoker The Castle of Otranto by Horace Walpole The Picture of Dorian Gray by Oscar Wilde Frankenstein; Or, The Modern Prometheus by Mary Wollstonecraft Shelley

Short Stories and Poems An Occurrence at Owl Creek Bridge by Ambrose Bierce Songs of Innocence & Songs of Experience by William Blake The Rime of the Ancient Mariner by Samuel Taylor Coleridge The King in Yellow by Robert W. Chambers The Legend of Sleepy Hollow by Washington Irving The Yellow Wallpaper by Charlotte Perkins Gilman

Pre-Gothic Beowulf The Divine Comedy  by Dante Alighieri A Journal of the Plague Year by Daniel Defoe Faust by Johann Wolfgang von Goethe The Tragical History of Doctor Faustus by Christopher Marlowe Paradise Lost by John Milton Macbeth by William Shakespeare Oedipus, King of Thebes by Sophocles The Duchess of Malfi by John Webster

Gothic-Adjacent Northanger Abbey by Jane Austen The Wendigo by Algernon Blackwood Jane Eyre & Villette by Charlotte Brontë Lyrical Ballads, With a Few Other Poems by Coleridge and Wordsworth The Mystery of Edwin Drood by Charles Dickens The Idiot & Demons (The Possessed) by Fyodor Dostoyevsky The Man in the Iron Mask by Alexandre Dumas Moby-Dick by Herman Melville The Island of Doctor Moreau by H. G. Wells

Historical Theory and Background The French Revolution of 1789 by John S. C. Abbott Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth by A. C. Bradley The Tale of Terror: A Study of the Gothic Romance by Edith Birkhead On Heroes, Hero-Worship, and the Heroic in History by Thomas Carlyle Demonology and Devil-Lore by Moncure Daniel Conway Ancient Pagan and Modern Christian Symbolism by Inman and Newton On Liberty by John Stuart Mill The Social Contract & Discourses by Jean-Jacques Rousseau Feminism in Greek Literature from Homer to Aristotle by Frederick Wright

Academic Theory Introduction: Replicating Bodies in Nineteenth-Century Science and Culture by Will Abberley Viewpoint: Transatlantic Scholarship on Victorian Literature and Culture by Isobel Armstrong Theories of Space and the Nineteenth-Century Novel by Isobel Armstrong The Higher Spaces of the Late Nineteenth-Century Novel by Mark Blacklock The Shipwrecked salvation, metaphor of penance in the Catalan gothic by Marta Nuet Blanch Marching towards Destruction: the Crowd in Urban Gothic by Christophe Chambost Women, Power and Conflict: The Gothic heroine and “Chocolate-box Gothic” by Avril Horner Psychos’ Haunting Memories: A(n) (Un)common Literary Heritage by Maria Antónia Lima ‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction by Aguirre Manuel The terms “Gothic” and “Neogothic” in the context of Literary History by O. V. Razumovskaja  The Female Vampires and the Uncanny Childhood by Gabriele Scalessa Curating Gothic Nightmares by Heather Tilley Elizabeth Bowen, Modernism, and the Spectre of Anglo-Ireland by James F. Wurtz Hesitation, Projection and Desire: The Fictionalizing ‘as if…’ in Dostoevskii’s Early Works by Sarah J. Young Intermediality and polymorphism of narratives in the Gothic tradition by Ihina Zoia

Sometimes the grief really is love persevering huh

𝔠𝔬𝔩𝔩𝔢𝔠𝔱𝔬𝔯 𝔬𝔣 𝔴𝔬𝔯𝔡𝔰

please don’t spend your life convincing yourself that love or joy is reserved for the idealized version of you that only exists in the future

— Clementine Von Radics, from In A Dream You Saw A Way To Survive; "The Fear" (via lunamonchtuna)