coco🍂

@sheepisch.bsky.social

211 Followers 1578 Following

He/him. Vibes-based organism with little capacity for numbers and logic. Letting my body descend into squalor. One of the screaming masses. lxcoco.itch.io PFP: Frank Ocean - Boys Don't Cry Zine (2016) Banner: Nakamura Hiroshi - Omens of a Place (1961)

A picture of a passage from the Bell Jar by Sylvia Plath, marked between two blue lines and a light blue sticky note in the margin. The passage reads as follows: "Edging to the rim of the hilltop, I dug the spikes of my poles into the snow and pushed myself into a flight I knew I couldn't stop by skill or any belated access of will. I aimed straight down. A keen wind that had been hiding itself struck me full in the mouth and raked the hair back horizontal on my head. I was descending, but the white sun rose no higher. It hung over the suspended waves of the hills, an insentient pivot without which the world would not exist. A small, answering point in my own body flew toward it. I felt my lungs inflated with the inrush of scenery - air, mountains, trees, people. I thought, 'This is what it is to be happy.' I plummeted down past the zigzaggers, the students, the experts, through year after year of doubleness and smiles and compromise, into my own past. People and trees receded on either hand like the dark sides of a tunnel as I hurtled on to the still, bright point at the end of it, the pebble at the bottom of the well, the white sweet baby cradled in its mother's belly."
Image is of "Sungawa No.5" by Nakamura Hiroshi. It is part of the greater Japanese Reportage Movement that Nakamura himself was apart of. The painting depicts the "Sungawa Struggle", a 2 year long event where farmers and protesters blocked the eviction of local families and the confiscation of their farmlands, clashing with Japanese police. The local US military base known as the Tachikawa Air Base planned to expand their air field and required land from the nearby town of Sungawa to do so. The painting depicts a clash between the protesters and the Japanese police. The painting is divided in half by the two groups. On the right, the protesters are depicted as local farmhands and villagers sitting en masse outside the fences of the base. On the left are rows of orderly Japanese policemen standing at attention, clad in black and armed. They also have an armored vehicle with them. In the center of the painting, one of the protesters is being dragged away by the police while several other protesters try to pull them back. A priest, rendered smaller than the others, stands next to the protesters in solidarity. The sky hangs dark, overcast and foreboding above the scene. Power lines, a transformer, and an American plane are silhouetted in black in the background. A survey map of the region lies on the ground, trampled underfoot by one of the policemen grabbing the protester.
Illustration of a giant capybara.