Hạ Long in Double Exposures.
For many of these women, the reading experience begins from a place of seething rage. Take Sara Marcus’ initial impression of Jack Kerouac: “I remember putting On the Road down the first time a woman was mentioned. I was just like: ‘Fuck. You.’ I was probably 15 or 16. And over the coming years I realized that it was this canonical work, so I tried to return to it, but every time I was just like, ‘Fuck you.’” Tortorici had a similarly visceral reaction to Charles Bukowski: “I will never forget reading Bukowski’s Post Office and feeling so horrible, the way that the narrator describes the thickness of ugly women’s legs. I think it was the first time I felt like a book that I was trying to identify with rejected me. Though I did absorb it, and of course it made me hate my body or whatever.” Emily Witt turned to masculine texts to access a sexual language that was absent from books about women, but found herself turned off by their take: “many of the great classic coming-of-age novels about the female experience don’t openly discuss sex,” she says in No Regrets. “I read the ones by men instead, until I was like, ‘I cannot read another passage about masturbation. I can’t. It was like a pile of Kleenex.”
This isn’t just about the books. When young women read the hyper-masculine literary canon—what Emily Gould calls the “midcentury misogynists,” staffed with the likes of Roth, Mailer, and Miller—their discomfort is punctuated by the knowledge that their male peers are reading these books, identifying with them, and acting out their perspectives and narratives. These writers are celebrated by the society that we live in, even the one who stabbed his wife. In No Regrets, Elif Bautman talks about reading Henry Miller for the first time because she had a “serious crush” on a guy who said his were “the best books ever,” and that guy’s real-life recommendation exacerbated her distaste for the fictional. When she read Miller, “I felt so alienated by the books, and then thinking about this guy, and it was so hot and summertime … I just wanted to kill myself. … He compared women to soup.”
Here’s a fun thing you learn when you study literature: the western canon is not universally beloved. Those books are not the Truth any more than the New York Post is skilled journalism. The main reason they’re held in such high esteem is because they were written by boring white dudes with rage fantasies and boring white dudes with rage fantasies also happen to be largely in charge of deciding which books are deemed classics and taught forever in the American school system.
So if your boyfriend tells you he loves Kerouac then you tell your boyfriend Kerouac was a fucking second rate hack who wrote Beat style because he didn’t have the skill or talent to write any other way, which is probably also why he just copied every adolescent male wanderlust story since the beginning of time. That shit’s derivative and boring.
The King of Limbs remixed singles + Live from the Basement single
Elie Saab Fall 2008
"black widow is a supporting character" your spine is a supporting structure in your body let’s see how well you do without it
Simon Alexandre Clément Denis,Study of Clouds with a Sunset near Rome (detail)
Remus Lupin’s blue hair-having, rebellious, snogging in dark corners for longer than humanly possible punk child.
Sirius and James are losing their shit in the afterlife.
Budapest view, c1937 (Lucien Aigner)
Edith Wharton's original manuscript pages of The Age of Innocence
Sophie Turner for Nylon Signapore (July 2014)
I use tumblr more out of habit than enjoyment at this point
Douglas Neitzke and Peter Bruder for Indie Magazine, photographed by Sabrina Theissen.
Me: Someone told me to go to hell
Me: Couldn't find it at first
Me: But now I'm here