devoutvesta

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The Real Dream by Colette (1975)

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the leaves are falling in the stream, the river flows away

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the erasure of adult women is terrifying be hairless, be smooth, no wrinkles, no cellulite, no stretch marks, no smile lines, no crow’s feet, no gray hairs we are teaching our female children that they will cease to exist if they don’t keep up the ever present demand to look youthful

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Women do not simply have faces, as men do; they are identified with their faces. Men have a naturalistic relation to their faces. Certainly they care whether they are good-looking or not. They suffer over acne, protruding ears, tiny eyes; they hate getting bald. But there is a much wider latitude in what is aesthetically acceptable in a man's face than what is in a woman's. A man's face is defined as something he basically doesn't need to tamper with; all he has to do is keep it clean. He can avail himself of the options for ornament supplied by nature: a beard, a mustache, longer or shorter hair. But he is not supposed to disguise himself. What he is "really" like is supposed to show. A man lives through his face; it records the progressive stages of his life. And since he doesn't tamper with his face, it is not separate from but is completed by his body—which is judged attractive by the impression it gives of virility and energy. By contrast, a woman's face is potentially separate from her body. She does not treat it naturalistically. A woman's face is the canvas upon which she paints a revised, corrected portrait of herself. One of the rules of this creation is that the face not show what she doesn't want it to show. Her face is an emblem, an icon, a flag. How she arranges her hair, the type of makeup she uses, the quality of her complexion—all these are signs, not of what she is "really" like, but of how she asks to be treated by others, especially men. They establish her status as an "object."

—Susan Sontag, “On Women.”

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WELCOME ONE AND ALL TO WEIRDMAGEDDON !

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caught up in it

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i do not think its wrong to ship billford, here’s why

1) reevaluate the way in which you consume media. no one is shipping something because its their ideal for a perfect, romantic relationship. it’s not that black and white. that’s never been the point of shipping.

2) these tropes are nothing new, and have been beloved by ancient audiences for the same reasons it’s beloved today. whether it’s an imbalanced power dynamic, specifically god x mortal, a shared history, or mutual obsession.

3) for centuries, people have enjoyed navigating complicated and unhealthy emotional dynamics. especially when said ship can not exist in a healthy way. ford either hates or worships a much stronger, less empathetic, ancient eldritch being that likewise either obsesses over him or sees him as a nuisance/pet. either way, they’re always on the other’s mind. they are both deeply flawed, and only they know the true extent of the other’s ugliness, and they still love them.

but there is that middle ground that we’ve seen in the journal pages, some domesticity and genuine, pure love for the other. it exists, abusive relationships are nuanced, they have their good and their bad. and billford had their good parts. why wouldn’t people want to make art about it? here is your reminder that creating art does not equate to justifying or fetishizing abuse. it can and has happened, but there are many people incapable of seeing how obvious it would be if billford’s abuse was actually being fetishized by its shippers. it is so easy to notice. and it isn’t what’s being done here.

that nuance is still present when people make billford fluff. billford did have fluffy moments. there was tenderness, vulnerability, and love in that relationship. it’s okay to acknowledge that. why do you expect all art of billford to be torture porn of ford? not everyone wants to write bill physically torturing ford over and over again, especially when there are other, less gory aspects of their relationship to explore, that only increase the emotional impact of the torture that follows.

the ship is canon and is meant to be acknowledged, alex hirsch has attempted to explore both the messed up parts and the happy parts of their dynamic multiple times. in the show, in the journal, and in the book of bill. why is it any different when a fan does it?

does the art have to be explicitly acknowledge the abuse and remove all nuance from bill’s character, reducing him to something simple and one dimensional whose only motivation is to hurt others, for you to accept it? abuse is not that black and white, abusers themselves are not that black and white. bill in particular definitely is not.

it seems like a disservice to the original work.

navigating the ugly parts of a very fucked-up relationship is something fascinating and enjoyable for artists. there is a lot of grief, anger, and probably every other toxic thing in the book for you to work with. it’s the same reason people wait impatiently for whumptober.

exploring their dynamic has also allowed many to put their own abusive relationships into perspective.

i remember someone on reddit saying, “they’re both broken people, rub them sharp edges together long enough and you’ll get a fire. it’s fun to write.” and i think that describes it perfectly.

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The American Journal of Roentgenology (1906)

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Hi 👋, My name is Mohammad, and I’m reaching out in a moment of desperate need. I’m a father of three young children living in Gaza, and we are caught in the midst of a catastrophic war. Our home is no longer a safe haven, and the future here seems increasingly uncertain. 💔

I’ve launched a fundraising campaign with the goal of raising $60,000 to relocate my family to a safer place where my children can grow up in peace and have a chance at a brighter future.

Unfortunately, my previous fundraising efforts were abruptly halted when my account was terminated without explanation. However, I remain determined to keep fighting for my family’s safety and well-being. 🫶

If you could take a moment to read our story, consider donating, or simply share our campaign with others, it would make an incredible difference. Every act of kindness, no matter how small, brings us one step closer to safety and a new beginning. 🙏

Thank you for your time, compassion, and support. ❤️‍🩹

https://gofund.me/fd1faea2 🔗

Sharing this! If you can, please donate to this gofundme! I'm wishing you and your family the best.

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( @honeqq )Mr bill pines route 9 continues to ruin my life

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fellas is it gay to cover my entire house with imagery of my muse, the centre of my life, the sun in my galaxy

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my muse and I

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“Back at home my wife awaits for me. She’s my everything; my Penelope.”

Throughout the Odyssey, Odysseus had placed Penelope at a high pedestal. His devotion so ground breaking that he’s willing to go through so many lengths to meet his wife — a being so pure and bright in his eyes.

As years go on, Odysseus only sees her as this beam of hope, talking of himself as a tainted figure in comparison; unable to find any reason to push forward if it were not for his Polaris. Ultimately having situations, like in the musical, where he begs for Penelope in his dreams to see him as no different to the man she once loved. In fear that if he does come back, he had become too corrupt and disproportionate for her to recognize.

Mind that I like to think he had forgotten that time has changed her too — making her wiser and more cunning. The Penelope he talks of when influencing himself and others is only a still portrait of her younger self from when he had left Ithaca.