St Mary’s Abbey, York, North Yorkshire, England

This once powerful abbey was oft featured in the medieval ballads of Robin Hood (his arch-enemy a ‘ryche abbot here besyde Of  Seynt Mari Abbey‘). Originally built around 1055 by William the Conqueror, it was re-founded in 1088 as a Benedictine monastery. Destroyed by Henry VIII in 1540. The ruins sit in the courtyard of the modern Yorkshire Museum, in the shadows of the prominent York Minster Cathedral.

It Takes Real Guts

Chapter 1 - Never Too Late

Chapter 2 - Gwyn

Chapter 3 - Spontaneität 

Hey guys, this here is the sequel to How To Say “I Love You”. If you haven’t read that yet, you definitely should, as much of this plot wouldn’t make much sense to you. The goal is to publish a chapter of this fiction every Friday. I make no promises, but I will be trying. If the writing really starts to flow (unlike it is now), then I want to start publishing Tuesday and Friday, but no promises on that Tuesday thing. Thanks.

Warnings: Gay pairings (not as much as How To Say “I Love You”), heavy sexual material, implied sex, swearing, excessive drinking, and probably a whole lot more. If any of that bothers you, I don’t recommend that you read this.

Please Dont Forget This My Allies And Vassal Lords

You Can Still Be A Badboy And Belive In God. You Can Still Be A Badboy And Go To Church (Catholic) And Remember: “Jesus Son Of Marey”

Francis Bacon :: Enlarged contact sheet of two men wrestling, New York, from the studio of Francis Bacon, circa 1975. From: ‘The Image as Question: An Exhibition of Evidential Photography’ at Michael Hoppen Gallery / src: theGuardian

“An enlarged contact sheet of two men wrestling in swimming trunks and caps, originally taken by Francis Bacon in New York in 1975, nestled for years in a bin bag in the attic of a Mr Robertson from Surrey, who turned out to be the artist’s electrician. (Other bin bags given to him for safekeeping included personal diaries, cashed cheques, letters and holidays snaps.) The photographs highlighted in red were used by Bacon as models for painting particular body parts in motion. They echo another exhibit, a 17-frame series of a nude man walking by Etienne Jules-Marey, whose motion studies preceded those of the better-known Eadweard Muybridge.” (quoted from source)