;

“On ambush, or other night missions, they carried peculiar little odds and ends. Kiowa always took along his New Testament and a pair of moccasins for silence. Dave Jensen carried night-sight vitamins high in carotene. Lee Strunk carried his slingshot; ammo, he claimed, would never be a problem. Rat Kiley carried brandy and M&Ms candy. Until he was shot, Ted Lavender carried the starlight scope, which weighted 6.3 pounds with its aluminum carrying case. Henry Dobbins carried his girlfriend’s pantyhose wrapped around his neck as a comforter. They all carried ghosts.”

     - Tim O’Brien, The Things They Carried

The two of us in her apartment, a wine bottle holding dearly onto stagnant air, the piano player played a song that told me the moon was weak in her knees. That when she slipped, head too heavy,
I caught her as sleep would a dream
and washed her back,
her porcelain wounds,
in the blindfolded sea.

I took to carving crescents.
I fed the waning tide.

She turned to peeling minutes.
So softly she did die.

And a stubble of applause,
the discordant final notes,
applause,          applause.

The piano player turned to me,
her full white smile
         ready to faint,
my fingers sneaking tremors.
We unfurled as fogged light.
Falling open,

She turned I took
minutes waning    soft

We, two oceans spilling,
two bodies sifting 
sinking keys
sing a broken blue.

And then the soul wanders.

goldenryan:

Being alone most of the time can’t be good for me mentally. I think it’s starting to take its toll.

Are you okay?
Are you okay? 

With all of this I know now; everything inside of my head. It all just goes to show how nothing I know changes me at all. Again, I wait for this to change instead, to tear the world in two. Another night with her, but I’m always wanting you.

Use me, Holly, come on and use me. (We know where we go.)
Use me, Holly, come on and use me. (We go where we know.)

With all of this I feel now; everything inside of my heart. It all just seems to be how nothing I feel pulls at me at all. Again, I wait for this to pull apart, to break my time in two. Another night with her, but I’m always wanting you.

Use me, Holly, come on and use me. (We know where we go.)
Use me, Holly, come on and use me. (We go where we know.)

She’s all I need. She’s all I dream. She’s all I’m always wanting. She’s all I need. She’s all I dream. She’s all I’m always wanting, you. I’m always wanting you.

And all again, I wait for this. To fill a whole, to shake the sky in two. Another night with her. I’m always wanting you. Another night with her, but I’m always wanting you.

All of This by blink-182

“Two aspects of Holly’s character exemplify and dramatize important aspects of the psychopathic personality. One is her emotional impoverishment and the clear sense she conveys of simply going through the motions of feeling deeply. One clue is the sometimes outrageous inappropriateness of her behavior. After Kit guns down her father before her eyes for objecting to his presence in Holly’s life, the fifteen-year-old youngster slaps Kit’s face. Later she flops into a chair and complains of a headache; later still she flees with Kit on a cross-country killing spree after he sets fire to her house to conceal her father’s body.

“In another example, with several more murders to his name now, Kit lazily separates a terrified couple from their car at gunpoint and directs them out into an empty field. Casually, Holly falls into step with the frightened woman. “Hi,” she says, in her flat, childish voice. “What will happen?” asks the woman, desperate for some understanding of what’s going on. “Oh,” answers Holly, “Kit says he feels like he just might explode. I feel like that myself sometimes. Don’t you?” The scene ends with Kit locking the two in a root cellar in the middle of the field. Just about to walk away, he suddenly shoots into the cellar door. “Think I got ‘em?” he asks, as if swatting at flies in the dark.

“Perhaps the film’s most subtle evidence of psychopathy comes through in Holly’s narration of the film, delivered in a monotone and embellished with phrases drawn straight from the glossies telling young girls what they should feel. Holly speaks of the love she and Kit share, but the actress manages somehow to convey the notion that Holly has no experiential knowledge of the feelings she reports. If there was ever an example of “knowing the words but not the music,” Spacek’s character is it, giving viewers a firsthand experience of the odd sensation, the unnamable distrust and skin-crawling feeling, that many – lay people and professionals alike – report after their interactions with psychopaths.”

On Terrence Malick’s Badlands, from Robert Hare’s Without Conscience: The Disturbing World of the Psychopaths Among Us

(Source: terrencemalick.org)