Lioness, darling. 

This is an old photo. By far not my favorite, but it’s one I’m drawn to when I try to focus on appreciating my body for what it is, and what it does for me. I am sinew and bone, both unforgiving and compliant. I stretch, I tear, cracks invade my surface, and I can break. I am held together by fat, muscle, skin. These are my limbs. Mine and mine alone, and I choose who to share them with, if ever. 

But I do not choose when they crave the touch of another’s. And they do. 

All my love, 

postscript: I very much like the no-theme-theme agreement.

Isn’t it amazing, as complicated as our bodies are - as particular as each connection is - there are still things we can not control. Cravings to be touched. For what it is worth - you are gorgeous and i hope whomever gets to touch you, loves you right. I’m very glad you like the no theme-theme agreement. Xoxo 

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Vampirella // Dave Stevens

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Commando (1985) dir. Mark L Lester

Disaster Year 20XX’s review

Image resource





Ruin with Head of Medusa and Landscape (1941)

Salvador Dali

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by robbie stingle


Actually, this is not by Robbie Stingle.  This is by me.

CRG on the stool.

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Hercules at the Feet of Omphale. 1912.

Gustave Claude Etienne Courtois. French 1853-1923. oil/canvas.

In Greek mythology, Omphale (Ancient Greek: Ὀμφάλη) was a daughter of Iardanus, either a king of Lydia, or a river-god. Omphale was queen of the kingdom of Lydia in Asia Minor; according to Bibliotheke she was the wife of Tmolus, the oak-clad mountain king of Lydia; after he was gored to death by a bull, she continued to reign on her own.

Diodorus Siculus provides the first appearance of the Omphale theme in literature, though Aeschylus was aware of the episode. The Greeks did not recognize her as a goddess: the undisputed etymological connection with omphalos, the world-navel, has never been made clear. In her best-known myth, she is the mistress of the hero Heracles during a year of required servitude, a scenario that offered writers and artists opportunities to explore gender roles and erotic themes.

In one of many Greek variations on the theme of penalty for “inadvertent” murder, for his murder of Iphitus, the great hero Heracles, whom the Romans identified as Hercules, was, by the command of the Delphic Oracle Xenoclea, remanded as a slave to Omphale for the period of a year, the compensation to be paid to Eurytus, who refused it. The theme, inherently a comic inversion of gender roles, is not fully illustrated in any surviving text from Classical Greece. Plutarch, in his vita of Pericles, 24, mentions lost comedies of Kratinos and Eupolis, which alluded to the contemporary capacity of Aspasia in the household of Pericles,[6] and to Sophocles in The Trachiniae it was shameful for Heracles to serve an Oriental woman in this fashion,[7] but there are many late Hellenistic and Roman references in texts and art to Heracles being forced to do women’s work and even wear women’s clothing and hold a basket of wool while Omphale and her maidens did their spinning, as Ovid tells: Omphale even wore the skin of the Nemean Lion and carried Heracles’ olive-wood club. Unfortunately no full early account survives, to supplement the later vase-paintings.

But it was also during his stay in Lydia that Heracles captured the city of the Itones and enslaved them, killed Syleus who forced passersby to hoe his vineyard, and captured the Cercopes. He buried the body of Icarus and took part in the Calydonian Boar Hunt and the Argonautica.

After some time, Omphale freed Heracles and took him as her husband.

Omphale’s name, connected with omphalos, a Greek word meaning navel (or axis), may represent a significant Lydian earth goddess.


(Source: ay-ayrawn, via nocontxt)



CYBORG — IMG_5511.jpg




here’s a comic I drew several months ago for The Lifted Brow (issue 20)

Michael Litven


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(Source: rhinestonefilms, via sarkos)



it’s finally nice enough to sit in a park and surreptitiously draw people!

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