EN EREBOS PHOS
3.71K subscribers
65.9K photos
1.7K videos
133 files
127 links
do i frighten you? do you want me to?

🦇
Download Telegram
Helena Blavatsky, The Secret Doctrine
🤔1
Statue of Diana of Ephesus, ca. 1800
🤩422
Bernard de Montfaucon, Antiquity explained and represented in sculptures, 1722
6🔥2
😁5🤣5🔥2
Jaroslav Panuška - “Jezdec Apokalypsy” (Horseman of the Apocalypse)
🔥21
Le Bal des Ours (The Ball of the Bears), Sophie Lécuyer, 2014
5
Mary Kate Hardy, “She’s a Witch”, 2025
“You’re not a monster,” I said. But I lied. What I really wanted to say was that a monster is not such a terrible thing to be. From the Latin root monstrum, a divine messenger of catastrophe, then adapted by the Old French to mean an animal of myriad origins: centaur, griffin, satyr. To be a monster is to be a hybrid signal, a lighthouse: both shelter and warning at once.

Ocean Vuong, from “On Earth We’re Briefly Gorgeous”
1👍1
Frederick Carter, “Silence”
from ‘The Dragon of the Alchemists’ portfolio, engraved on wood by W.M. Quick, 1936
👍1🙊1
Bernie Wrightson, “Faithful Unto Death”, 1973
Mary Kate Hardy, “The Mirror Has Two Faces”, 2025
In the course of ordinary self experience I lose grasp of my thoughts, am interrupted by forgetting, frustrated by my failure to find a word for itself, stopped in the effort to think a thought that refuses as yet to come into cognition. In the background of my mind are glimmers of images and words, unheeded in consciousness as I concentrate on other matters—discarded mental contents that seem to slide into darkness. That nothingness is always there, whether it momentarily mutes speech, swallows up memory, refuses to yield an idea struggling to come into thought, or receives all the faint and discarded images and words that pass by in the back of my mind on an endless conveyor belt, from the unconscious passing briefly through consciousness to oblivion.

Christopher Bollas, Being a Character: Psychoanalysis and Self Experience
Norman Lindsay, “Laughter,” 1942
4
Stefan Eggeler, etchings for “Walpurgisnacht” by Gustav Meyrink, 1922
4