A picture set on a thick, mossy tree along a thin, curved path in a forest. The undergrowth is tall, a mixture of ferns, lichen, and ivy, dead and alive, a rug of green and orange and brown. The mossy tree the two people are against appears to be the thickest of any other tree in frame. The moss along its side contrasts the visibly empty, thin, pale branches of every other tree. In the center of the picture are two people, men or butches or both. They stand on the undergrowth and off the path. The roots underneath it all have caused a slight elevation distinguishing it and the thick ferns around it from the sunken brown walkway. The two people are holding each other. The one against the tree is perched the highest. He's got a close-shaven, short haircut, with the top slightly longer than the shaved sides. He's wearing dark demin and a black and grey jacket, sturdy and wintry. The second person a foot lower on the slope is wearing sneakers, paler denim, and a black and blue windbreaker or wintry jacket. His hair is a similar cut, if not slightly longer. He's standing on his toes to reach the mouth of the darker-clad person. His black and blue jacket is being pulled up by his partner, revealing part of his lower pale back and spine. The man in dark denim has his right hand down the one in lighter denim's pants, squeezing his ass and revealing a little above his beltline.
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"You've punctured my solitude, I told you. It had been a useful solitude, constructed, as it was, around a recent sobriety, long walks to and from the Y through the sordid, bougainvillea-strewn back streets of Hollywood, evening drives up and down Mulholland to kill the long nights, and, of course, maniacal bouts of writing, learning to address no one. But the time for its puncturing had come. I feel I can give you everything without giving myself away, I whispered in your basement bed. If one does one's solitude right, this is the prize."
This is from Maggie Nelson's "The Argonauts". It's all those forced and stuck in isolation want. Solitude she says, but how often is it really a choice?
Crouched is a person dressed almost entirely in black leather. Boots, pants, jacket, all identical in shine and shade and contrasted by a blank pale-grey t-shirt covering their chest, which appears flat. The background is nothing to write home about, it could be anywhere- it's an off-white wall with slightly darker baseboards. The crouch is revealing- their legs are open while they balance on their forefeet. Their right hand is pale, slightly pink, and warm in tone; it's shut into a fist on top of their right knee.
Here two black boots- a stylistic mixture of combat and rain, it seems- are bound by metal shackles paired by a thick chain of just over six links. The shackles are entirely smooth, a plain and straight-forward pair of hinged cuffs. These boots, of course, are filled by a person; they're kneeling on their right leg while the left is straight and likely angled in support (note: this photo only shows halfway or so down their calves). Their skin is not visible at all, as they're wearing long black socks and a pair of vibrant jeans that appear to be skinny. The background is likely a bright white cloth, slightly wrinkled.
To describe later; this is Brown and Blue Lovers by Juliusz Lewandowski (b. 1977 )
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A dull, pale grey and beige rabbit's foot (unclear if fake or not) boasting long fur is capped at one end by a metal, silver-colored cap depicting a rabbit's head. The head is attached to a ball keychain.
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A gif from the movie Brokeback Mountain, directed by Ang Lee and released in 2005. Ennis del Mar, a strong white man with sympathetic brown eyes and dirty blond hair, is wearing a light blue striped collared button-down as he grabs Jack Twist by his leather(?) vest collar and shoves him against a wall in a passionate kiss. They're outdoors, in a small apartment or condo complex. Jack Twist is a white man with dark brown hair and dark blue eyes; in this clip he's wearing a red collared button-down and a tan/brown cowboy hat, one that Ennis hits off him before kissing him against the wall. It's all angst, desperation, hunger, release. Ennis looks happy, Jack looks shocked.
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To describe later; from Leonard Cohen's One of These Days
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