I open myself, and
take out my
heart. Next I open you, and take out your
stomach. I put my heart in place of
your stomach, and your stomach, I put in
place of my heart. Then we try
to live like
that
take out my stomach. Next I
open you, and take out your heart. In
place of your heart, I put my stomach. In place of my
stomach, I put your
heart. Then we try to live like
that
every year, we exchange so-
mething
take out my
heart. Next I open you, and take out your
stomach. I put my heart in place of
your stomach, and your stomach, I put in
place of my heart. Then we try
to live like
that
later
I open myself again, andtake out my stomach. Next I
open you, and take out your heart. In
place of your heart, I put my stomach. In place of my
stomach, I put your
heart. Then we try to live like
that
every year, we exchange so-
mething
::: ::: :::
[Picture: Inevitability and artifice by reading_is_dangerous (Jan. 18, 2007)]“Having been the first to choose the most delightful body of a woman as the battlefield for the poetic clash opposing the inevitability of nature and the artifice of thought, as if to spread that battle across the whole universe, Sade undoubtedly has the most prestigious poetic brain. Thanks to him we can discover, through erotic energy and its countless transformations, the materiality of freedom. I do not believe that we know yet what that really is.” (my translation from French) -Annie Lebrun, Marquis De Sade: The Brink of the Abyss
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