#queer as pink

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soracities:Virginia Woolf, The Waves[Text ID: “She has found me–She has kissed me. All is shattered.

soracities:

Virginia Woolf, The Waves

[Text ID: “She has found me–She has kissed me. All is shattered.”]


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lesbianherstorian:“THE SOFTNESS OF MOONLIGHT, THE STRENGTH OF THE SUN” at the first national march o

lesbianherstorian:

“THE SOFTNESS OF MOONLIGHT, THE STRENGTH OF THE SUN” at the first national march on washington for lesbian and gay rights, photographed by larry butler, october 1979


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lustfulpasiphae:

dateagirlwhosweird:

date a selkie, but don’t hide her cloak. let her go home and visit her family now and then, knowing that she’ll come back and hang her seal cloak in the closet like she always does. trust is important.

The first time she lets the redhead take her home, she’s diligent about hiding her cloak. She folds it carefully against tears and rips and abrasions, and hides it in a sea cave whose entrance is concealed by the tide.

She does the same, the second and third and fourth times, careful, wary, mindful of her mother’s lessons. Remembers the way her mother’s hands had chafed on her soft cheeks, rough with cooking and cleaning for her fisherman husband, the way her mother’s peat-dark eyes had been tense and harsh with the lesson.

“Mind me, Niahm. Never let them find your cloak.”

The way her mother’s mouth had curved, a sickle of dissatisfaction and relief and envy, as she had escaped into the waves.

So she minds her mother’s lesson, and she takes care with her cloak.

Would that she had taken as much care with her heart.

The fifth time, she wears the cloak to the girl’s door, clutched about her throat, dripping along the darkened lanes.

She enters the home, welcomed with soft kisses and gentle touches and kindling passion. She drapes the cloak, artful in her carelessness, across an old wooden chair, the one that creaks and tilts slightly if you don’t sit just right.

When she wakes, in the wee hours of the morning, even before her lover, the cloak still rests, supple and dappled by the sea, on the back of the chair.

She frowns into the softening dawn, dons the cloak, and returns to the sea.

And again, the sixth time. And the seventh.

The eighth time, she finally breaks, prickling and hurt with longing, gripping a handful of russet hair in her hand, firm with emphasis.

“Surely you know what I am,” she says to her lover, the cool froth of sea foam and the call of gulls curling around her voice.

“Of course,” her lover responds, soft and tender in the dawnlight, throat arched willingly, pale as the inner whorls of a shell. “You taste of the sea,” the girl whispers, reverently.

She shakes her lover’s head gently, fingers tangled still in russet locks. “Why?” she demands. “Why won’t you keep me?”

A long silence that waits and fills, like a tidepool, stretches between them. Cool as a current. Deep as the Channel.

Her lover’s eyes are dark and tender. “Must I trap you to keep you, my heart? Is that the shape of love that you desire?”

She sinks into the thought, struck and stymied, remembering her mother’s harsh hands, her cold eyes. Her hand eases into russet waves, caresses where her grip had punished. Her lips press cool and damp as the sea against the arching curve of her lover’s shoulder. “What shape of love will you give to me?”

The answer is easy, quick, certain. “Myself. Only myself, whenever you should wish it. Your cloak by the door, your body in my bed, and the freedom to go, whenever you must. As long as you wish.”

It’s not an answer a fisherman could ever give, nor would think to.

The ninth time, she hangs her cloak by the door, draped in careful dappled folds next to a drying oilskin jacket.

shiraglassman: adayinthelesbianlife:Patricia Cronin, Monument to a Marriage (installed at Woodlawn

shiraglassman:

adayinthelesbianlife:

Patricia Cronin, Monument to a Marriage (installed at Woodlawn Cemetery, Bronx, NY), 2006

In Monument to a Marriage, Patricia Cronin disrupts the cemetery. Installed ‘for eternity’ in New York’s necropolis, Cronin and her partner lie entwined upon a modern mattress among the memorials to the partners in and products of state sanctioned heterosexuality. By taking anticipatory revenge, Cronin out-manouevres the reality that she and her partner, Deborah Kass, could not be recognized as a family in the eyes of the American state at the time the work was made. “If I can’t have it in life,” says Cronin, “I’m going to have it in death.”

This is powerful and made me tear up. I mean, I don’t think I’m ever going to forget this image, this idea.


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flamingkorybante:From Something That May Shock And Discredit You, Daniel Lavery

flamingkorybante:

From Something That May Shock And Discredit You, Daniel Lavery


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injuuns:inspired by letters sent between gay lovers in the middle ages

injuuns:

inspired by letters sent between gay lovers in the middle ages


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