What I am not

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  • poetryaboutmilkduds:

    what dimension is this 

    Look at those fucking brows omg

    • 4 years ago
    • 41 notes
  • poetryaboutmilkduds:

    i keep a cherry in my teeth

    to season each east, pull the setting

    from imagined to horizontal defeat,

    company tax laughs kettled on thumbtacks

    where we now take our tea,

    where i bless the surgeon that scalpels you from me,

    on a winding road we plot protagonists

    and water them until, like candy, they degrade,

    purchase sugar in their names, tarriffs for each

    governing mistake, you outside, me on the outskirts of a shadow

    by some smudging shade,

    coming out from a cloud, coming out to denounce

    the gods of our present ways.

    • 4 years ago
    • 19 notes
  • hey i have a crush on you
    poetryaboutmilkduds

    Hey I have a huge crush on you!!!!!! Wanna hang out today???

    • 5 years ago
    • 4 notes
  • will u marry me
    Anonymous

    Fuck yes, everyday

    • 5 years ago
    • 1 notes
  • Fake gay, 3 pump and dump chump, she’ll never love you. You’re just safe for her, right now. She will come back.
    Anonymous

    y i k e s

    • 5 years ago
    • 2 notes
  • poetryaboutmilkduds:

    a godless symphony

    i’m happy when it rains

    because i like when the earth

    breathes on our necks but never quite

    snaps them.

    i repeat because language repeats

    because i’m happy when it rains

    and the air

    is

    • 5 years ago
    • 13 notes
  • poetryaboutmilkduds:

    guess who’s back and ready for an alternate ending to the last jedi

    • 5 years ago
    • 14 notes
    • #we're taking over the world
    • #im so excited
    • #<33333
  • blazeofgold:

    i know this isn’t really original but im obsessed with how english words that refer to the bodily, the tangible, the elemental etc are so often of anglo-saxon/germanic origin e.g. (heart, blood, jaw, flesh) or observable phenomena, like adjectives describing light (glisten, gloaming, glitter, gleam, gloom, glow, dark, fire) or places (hearth, hall, hill), and the most stark, primal emotions or states (hate, love, life, lust, death) and of course fuck, shit, bitch, cunt etc– these often monosyllabic, consonant heavy words…and then you have the lilting, limpid romance/latinate, words like acquiesce and exacerbate and agrarian and pellucid and clemency and lucidity…and how maybe the secret of all great english language poetry is a textural balancing of the push-pull of the germanic and the romantic/latinate, a balancing of these two energies. like some of the most powerful moments in shakespeare are where the verbosity falls away and you have these plain utterances (“to be or not to be” or lear’s dying “look there look there”– all anglo saxon words) that are so powerful precisely because the language is so ornate elsewhere. i once came up with an elaborate wildly incoherent theory about this in the pub with some drunk american masters student who was dressed like harry styles

    (via poetryaboutmilkduds)

    • 5 years ago
    • 30097 notes
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    • 5 years ago
    • 5124 notes
  • (via poetryaboutmilkduds)

    Source: Flickr / olivianotter
    • 5 years ago
    • 883282 notes
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