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#song of the insensible
asoftepiloguemylove · 6 months
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I DID WELL. I WISH YOU SAW. // ON LONELINESS AND WANTING MORE
Beau Taplin On Fire // Albert Camus The Misunderstanding // @/picturesoflittleletters (instagram) // Andrew Kozma Song of the Insensible // pinterest // The Smiths "There Is a Light That Never Goes Out," The Queen is Dead (1986) // @swollenbabyfat // Phoebe Bridgers "Moon Song," Punisher (2020) // Hélène Cixous "Love of the Wolf," Stigmata: Escaping Texts // "Mizumono," Hannibal (2013-2015) dir. David Slade // Bring Me The Horizon "Don't Go" There is a Hell, Believe Me I've Seen It. There Is a Heaven, Let's Keep It a Secret (2010) // Danez Smith Acknowledgements
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sweatermuppet · 2 years
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[Text ID: Andrew Kozma.
Song of the insensible.
The world is an oyster, and I'm the grit. These are the boots my brother died in.
This city is a tongue, and I'm the bad taste. I'm the cicada inside the jaundiced pre-storm light.
Hello? You sent this to the wrong address. My brother is still alive. Still dead. Was brought back
with a lazarus shot and a slap to the face. I am the leaf litter, the headless roach.
I can walk between raindrops. I can be insensible. When visibility's poor, I am the blur on the horizon.
If my brother's dead, I am not alive. If I'm alive, my brother can't be dead.
No one owns the boots. The boots own no one. /End ID]
published in issue 72 of rogue agent journal
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mortemoppetere · 5 months
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TIMING: current LOCATION: downtown wicked's rest SUMMARY: rhett doesn't show up to apartment hunt with his brother; emilio worries. CONTENT WARNINGS: mentions of sibling death
He checked his watch again. It was habit, at this point; like a silent prayer that he’d seen the numbers wrong before, a flutter of hope that he was wrong. But the numbers on the face remained the same, the truth stark and blatant. 
Rhett was late.
Some people might have written that off, because it was Rhett. He didn’t strike anyone as the sort of guy who valued punctuality. He lived in a van, he ate fucking soap, he talked shit to anyone and everyone who would listen. But Emilio knew his brother like the back of his goddamn hand, knew that, for all his faults, Rhett was a man of his fucking word. He showed up when he said he was going to show up, especially when the person he was saying it to was Emilio. With the lives the two of them led, that was a fucking necessity. 
He pulled out his phone, flipping through it absently. Rhett’s account was offline, as it had been for days now. Parker’s messages glared up at him, and irritation slid down his spine. If something was wrong, there were few people who would be willing to help him. Parker was one of maybe two who might. 
And Emilio would rather die than admit to that.
He slid the phone back into his pocket, glanced up at the building he’d been waiting outside of. The studio apartment for rent inside would likely be snatched up by the morning. On the off chance that Rhett was skipping out on their plans in some attempt to avoid moving out of his van, Emilio planned to make good on his promise to rent him a three bedroom just to spite him. But odds were, that wasn’t the case. 
Odds were, this was something much, much darker.
The detective limped away, hands in his pockets. If there was one thing he knew how to do, it was work a damn case. 
He made the rounds, checked Rhett’s usual hideouts. No one had seen him at the forge. His van was empty. None of the bartenders remembered him coming in lately, none of the hunters he knew had heard anything. Worry turned to dread when he found his brother’s cane outside an apartment building downtown, laying at the edge of an alley like it had been kicked there. He leaned down and picked it up, the knot in his stomach tightening as he stepped further into the alley. He checked the dumpster, checked the ground. No body, no blood.
He didn’t know if that was a good thing or not.
Tucking the cane under his arm, he trudged back out into the street. He texted Javi, made a request for information that would probably cost him a drink or two and a roll in the hay. After a moment’s hesitation, he texted Kavanagh, too. Covering all his bases was important and, as he told most of his clients… It was better to know. Even when the news was bad, even when it hurt. It was always better to know.
With a few more messages sent, he tucked his phone away, trying not to think too hard about the weight of that cane under his arm, about what it meant. One way or another, he’d find the truth.
Even if it fucking killed him.
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sasukevchiha · 2 years
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You and I are flesh and blood. I'm always going to be there for you, even if it's only as an obstacle for you to overcome. Even if you do hate me. That's what big brothers are for.
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johndonneswife · 2 years
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from The Surrender Theory by Caitlin Conlon
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khodorkovskaya · 1 year
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not to be a boomer but this album means so much to me
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fruedian · 5 months
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The Bear, 1.08 'Braciole' / Andrew Kozma, Song of the Insensible
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hehearse · 7 months
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"Hello? You sent this to the wrong address. My brother is still alive. Still dead. Was brought back" Andrew Kozma - SONG OF THE INSENSIBLE
The blame is on @leejihye who supplied me with funds in exchange for my soul <3
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twynte · 1 year
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Vash & Knives // You Were Born Knowing Them
Andrew Kozma, Song of the Insensible // Matthew 18:15 // Anne Carson; Sophocles; Bianco Stone, Antigonick // Grace, Florence + the Machine // Trista Mateer // Maurice Sendak // A.E. Housman, Farewell to Barn and Stack and Tree // Natalie Diaz, A Brother Named Gethsemane
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manishroom · 1 month
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late night trio/dapple duo web weave. I don't love anyone, Belle and Sebastian; An Oresteia, Anne Carson; Song of the Insensible, Andrew Kozma; The Tragic Events of September Part 1, Evelyn Evelyn; Emery Allen; I'll Give You the Sun, Jandy Nelson; Queen of Shadows, Sarah J. Mass. the rest are qsmp screenshots.
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hi, could you make one about losing your little brother?
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i hope this is what you were looking for !! also i couldn't find any art for this i'm sorry ://
Jandy Nelson I'll Give You the Sun / Sophokles (trans. Anne Carson) Antigonick / Andrew Kozma Song of the Insensible / Ann Brashares My Name Is Memory / unknown / unknown / Leonard Cohen Famous Blue Raincoat
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timelesslords · 1 year
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Antigone + siblings
Antigone - Sophocles (trans. Dudley Fitts and Robert Fitzgerald) // Homefire - Kamila Shamsie // "A Brother Named Gethsemane" - Natalie Diaz // Antigonick - Anne Carson // "Lay Me Down" - the Oh Hellos // Antigone - Jean Anouilh // "song of the insensible" - Andrew Kozma // Antigonick - Anne Carson
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sweatermuppet · 2 years
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poems on grief, loss, mourning
gone is gone by mark wunderlich
another elegy ["this is what our dying looks like"] by jericho brown
making a fist by naomi shihab nye
grief puppet by donte collins
letter to my heart from my brain by rachel mckibbens
the song of despair by pablo neruda
where my grandmother hides by caitlin conlon
grief by matthew dickman
kaddish by sam sax
elegy for neal cassady by allen ginsberg
grief work by natalie diaz
poem for jack spicer by matthew zapruder
elegy with black smoke by emily skaja
evening by dorianne laux
letter to my dead brother part 1 by jonny bolduc
drunktown by jake skeets
hunter by bianca stone
blood makes the blade holy by evan knoll
object permanence by hala alyan
people who died by ted berrigan
song of the insensible by andrew kozma
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queerfables · 9 months
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A dash of nutmeg...
Look I feel a bit like I'm throwing soup at a dart board and calling it analysis, but I have some thoughts about Aziraphale's magic words in episode 4, and it's going to kill me if I don't share.
The thing is, these words have been nagging at me since I heard them. They sounded familiar, and I've been trying to figure out why. Today, it finally clicked.
Banana. Fish. Gorilla.
Those initial three words are all key words from Crowley and Aziraphale's drunken conversation about Armageddon. It's right at the start of things, when Crowley convinces Aziraphale to help him stop the world from ending.
We'll start with the fish, because they come up first.
"The point I'm trying to make," [Crowley] said, brightening, "is the dolphins. That's my point." "Kind of fish," said Aziraphale.
Their entire exchange here is hilarious and iconic but I'll try to keep this to the point. After some banter about the difference between fish and mammals, Crowley argues that dolphins don't deserve to be caught in the crossfire when the kraken rises and the seas boil. Which conveniently brings us to:
"Same with gorillas. Whoops, they say, sky gone all red, stars crashing to ground, what they putting in the bananas these days?"
Banana. Fish. Gorilla. It got me curious, so I searched for other places these words show up in the book. There's nothing I think is really significant: a couple of things are described as banana flavoured, fish show up in rains that herald the impending doomsday, gorillas aren't ever mentioned again. If I'm on the right track at all, I think this part is here to signpost a connection between this string of words from the show and the specific moments in the book.
If that's true, it must be pointing to something. What's left? Shoe lace and nutmeg.
Shoe lace.
The word "shoelace" isn't actually in Good Omens. Neither is "shoe lace" with a space in between. There's a couple of unremarkable descriptions involving shoes, and one miraculously conjured lace handkerchief, and then - and then. Right at the very end of the story, we have Adam, grounded by his parents, being described as "a scruffy Napoleon with his laces trailing, exiled to a rose-trellissed Elba". It's tenuous. I could dismiss that as nothing. Except Adam's laces show up again, and it's the very last passage of the book.
If you want to imagine the future, imagine a boy and his dog and his friends. And a summer that never ends. And if you want to imagine the future, imagine a boot . . . no, imagine a sneaker, laces trailing, kicking a pebble; imagine a stick, to poke at interesting things, and throw for a dog that may or may not decide to retrieve it; imagine a tuneless whistle, pounding some luckless popular song into insensibility; imagine a figure, half angel, half devil, all human . . . Slouching hopefully towards Tadfield . . . . . . forever.
I'm not ready to say much about what I think the significance of this passage might be. But an allusion to the book's ending does feel significant, doesn't it?
The one thing I will say, for people who may not know, is that this passage is riffing on a line from Orwell's 1984. The line it's playing on is a lot darker: "If you want a picture of the future, imagine a boot stamping on a human face – for ever." I think it's probably relevant that this is referencing a book about a totalitarian regime. I also think it's probably relevant that it's taking that reference and twisting it into something much sweeter, more optimistic and empowered.
I'm still thinking through all the connections and implications, though.
Nutmeg.
And that brings us to "nutmeg". I have to be honest, I wasn't hopeful. I didn't remember any references to it and if I were betting, I wouldn't have put money on it appearing in the book at all. But the word does show up, and it shows up exactly once. Crowley is reminiscing about a cocktail he had once, made out of fermented date-palms. It's part of a conversation with Aziraphale, where they discuss losing the Antichrist. And here's the really interesting part:
"You said it was him!" moaned Aziraphale, abstractedly picking the final lump of cream-cake from his lapel. He licked his fingers clean. "It was him," said Crowley. "I mean, I should know, shouldn't I?" "Then someone else must be interfering." "There isn't anyone else! There's just us, right? Good and Evil. One side or the other." He thumped the steering wheel. "You'll be amazed at the kind of things they can do to you, down there," he said. "I imagine they're very similar to the sort of things they can do to one up there," said Aziraphale. "Come off it. Your lot get ineffable mercy," said Crowley sourly. "Yes? Did you ever visit Gomorrah?" "Sure," said the demon. "There was this great little tavern where you could get these terrific fermented date-palm cocktails with nutmeg and crushed lemongrass-" "I meant afterwards." "Oh."
Book Aziraphale differs from his characterisation in the show in a few ways, and this is the big one. In the book, Aziraphale is much more cynical about his own side, and much more aware of heaven's flaws. Here, he's convincing Crowley that the threat heaven poses is just as serious as any threat from hell.
If I'm right about any of this, if these nonsense words mean anything at all, I think they are saying that heaven and hell are two sides of the same very nasty coin, and more to the point, that maybe Aziraphale is more aware of it than he seems.
I need to think about this more, still. I'm not sure if I really think this connection is something, and if it is, I'm still figuring out what sorts of conclusions we might draw from it. But if the script is trying to point us to these three sections of the book, maybe there's a deeper analysis to be had here.
I do think it's interesting that the last two words each only show up in one section of the book. It's not like I'm skipping around trying to decide which passage involving shoe laces is most relevant - it shows up twice, only in the last few pages of the book and only in relation to Adam (and in particular, humanising Adam. He's Napoleon in exile, but he's a kid with trailing laces. His future isn't a boot stamping on a human face, it's a sneaker with those same trailing laces - and a stick that his dog can choose whether or not to chase).
I could talk myself in circles on this point, so I guess I've got to open it up to the floor. Am I making something out of nothing with this? Or do you think there could be something here?
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morgana-pendragon · 6 months
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i can walk between raindrops. i can be insensible. when visibility’s poor, i am the blur on the horizon. — andrew kozma, song of the insensible (x)
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deanjohn · 8 months
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SONG OF THE INSENSIBLE, Andrew Kozma
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