I think, perhaps one of the funniest things to come from EPIC popularising the Odyssey is that now a ton of people think Poseidon wanted to kill Odysseus.
In the Odyssey, Poseidon has no intention of killing Odysseus. In fact, part of the whole reason Zeus lets Poseidon do whatever he wants even though he thinks Odysseus is rad and should get to kiss his wife is explicitly because Poseidon had no intentions of killing Odysseus. Poseidon wanted to pay back the suffering/inconvenience blinding Polyphemus would have caused. It's a really abstract thing tbh. How do you pay back someone permanently disabling your son? Poseidon's solution was just to amputate Odysseus from his other half; i.e. Penelope. The end game was never murder, it was always an endurance race.
(Od. Book 1: Zeus reassuring Athena that he is not, in fact, a part of Odysseus Hater-Nation. Trans. Robert Fagles)
Also, for those wondering if there's any sort of in text reason for why Poseidon wasn't around in God Games - at the time in the Odyssey when Athena petitions Zeus to let Odysseus leave Calypso's island, Poseidon was -checks notes- on vacation in Ethiopia. Yep. He left to Ethiopia for a festival and thusly was very much absent for Athena's whole "please let Ody go? Please? 🥺" request.
(Od. Book 1: While Odysseus was suffering, Poseidon went to party in the east)
I am begging y'all to read the Odyssey. It's a comedy for everyone except Odysseus and Penelope who are, in fact, suffering 24/7 365.
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at some point it's just like. do they even fucking like the thing they're asking AI to make? "oh we'll just use AI for all the scripts" "we'll just use AI for art" "no worries AI can write this book" "oh, AI could easily design this"
like... it's so clear they've never stood in the middle of an art museum and felt like crying, looking at a piece that somehow cuts into your marrow even though the artist and you are separated by space and time. they've never looked at a poem - once, twice, three times - just because the words feel like a fired gun, something too-close, clanging behind your eyes. they've never gotten to the end of the movie and had to arrive, blinking, back into their body, laughing a little because they were holding their breath without realizing.
"oh AI can mimic style" "AI can mimic emotion" "AI can mimic you and your job is almost gone, kid."
... how do i explain to you - you can make AI that does a perfect job of imitating me. you could disseminate it through the entire world and make so much money, using my works and my ideas and my everything.
and i'd still keep writing.
i don't know there's a word for it. in high school, we become aware that the way we feel about our artform is a cliche - it's like breathing. over and over, artists all feel the same thing. "i write because i need to" and "my music is how i speak" and "i make art because it's either that or i stop existing." it is such a common experience, the violence and immediacy we mean behind it is like breathing to me - comes out like a useless understatement. it's a cliche because we all feel it, not because the experience isn't actually persistent. so many of us have this ... fluttering urgency behind our ribs.
i'm not doing it for the money. for a star on the ground in some city i've never visited. i am doing it because when i was seven i started taking notebooks with me on walks. i am doing it because in second grade i wrote a poem and stood up in front of my whole class to read it out while i shook with nerves. i am doing it because i spent high school scribbling all my feelings down. i am doing it for the 16 year old me and the 18 year old me and the today-me, how we can never put the pen down. you can take me down to a subatomic layer, eviscerate me - and never find the source of it; it is of me. when i was 19 i named this blog inkskinned because i was dramatic and lonely and it felt like the only thing that was actually permanently-true about me was that this is what is inside of me, that the words come up over everything, coat everything, bloom their little twilight arias into every nook and corner and alley
"we're gonna replace you". that is okay. you think that i am writing to fill a space. that someone said JOB OPENING: Writer Needed, and i wrote to answer. you think one raindrop replaces another, and i think they're both just falling. you think art has a place, that is simply arrives on walls when it is needed, that is only ever on demand, perfect, easily requested. you see "audience spending" and "marketability" and "multi-line merch opportunity"
and i see a kid drowning. i am writing to make her a boat. i am writing because what used to be a river raft has long become a fully-rigged ship. i am writing because you can fucking rip this out of my cold dead clammy hands and i will still come back as a ghost and i will still be penning poems about it.
it isn't even love. the word we use the most i think is "passion". devotion, obsession, necessity. my favorite little fact about the magic of artists - "abracadabra" means i create as i speak. we make because it sluices out of us. because we look down and our hands are somehow already busy. because it was the first thing we knew and it is our backbone and heartbreak and everything. because we have given up well-paying jobs and a "real life" and the approval of our parents. we create because - the cliche again. it's like breathing. we create because we must.
you create because you're greedy.
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just to be completely clear, the amount of military power and political influence Israel has has NOTHING to do with its settlers being Jewish. Israel is a force for American & European interests in the region and they're just doing what America does and allows/encourages its close allies to do.
war crimes aren't considered war crimes when someone America finds useful is doing them. european and american pushback against anyone criticizing Israeli apartheid & genocide is 100% because these crimes are useful to American & European hegemony.
Governments that are deeply antisemitic, like France, aren't suddenly caring about Jewish people. Jewish people, persecuted the world over, don't hold some kind of hegemonic power outside of Israel.
The state of Israel and its attendant brutal treatment of the locals are both incredibly useful to the US, and American hegemony means we're expected to celebrate both.
not bc they're Jewish. this isn't a break in the pattern of western antisemitism and it's not evidence that antisemitism doesn't exist.
it's just like how you could get fired for saying shit against the US war in Afghanistan when i was growing up. it is 100% about US military and political interests (ok slightly western europe too but lbr)
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Hot take maybe but I think Bertie would be FAR more likely to survive the first two months of Dracula than Jeeves would be. Bertie has a healthy sense of self-preservation. Jeeves consistently underestimates how dangerous a situation might get (Steeple Bumpleigh, the club book) because he’s overconfident about his level of control over any given situation. He'd handle Dracula masterfully if they faced off in England, but on Dracula's home turf? Much more doubtful.
I realize this might be a tough sell, so I will explain further (or it's not a tough sell, and I'm going to explain further because I want to). (criteria taken from @canyourfavesurvivecastledracula) Without further ado.
Would Jeeves and Wooster survive Castle Dracula?
Jeeves
Jeeves' survival will depend on how long Dracula finds him more entertaining than irritating. On that basis, I don't think he's long for this world. On the one hand, he has a huge wealth of knowledge about English society and culture that he can recite perfectly from memory. That should buy him at least a little time with noted teaboo Dracula.
On the other hand, he would be absolutely no fun as a vampire plaything. Jeeves cannot be got. Sneaking up on him while he's shaving will yield zero reaction (though that's at least good for his short-term survival--given that, although he DID take the crucifix from the old woman out of politeness, he certainly isn't going to wear it. The rules of fashion don't go out the window just because you're in a spooky castle). Then, although managing the whims of rich jerks is not an insignificant part of a valet's job, Jeeves usually does this by bending his employers to his will. Dracula is not the sort of employer this will work on. It'll just add insult to injury when on top of being impossible to scare, NOW Jeeves is telling Dracula that his favorite cloak is several centuries out of fashion and he's not allowed to wear it anymore.
Jeeves will 100% go exploring in the areas he was told not to go-- though to be fair, he MIGHT actually get away with this, what with his superpower of appearing in rooms without being seen or heard. Said superpower might save him from the brides as well (though this is by no means guaranteed). Since I find it doubtful that Dracula would come to rescue his annoying ass, not being noticed is his best defense.
There are a couple other things working in Jeeves's favor; the question is just whether they'll be enough to save him.
He DOES know shorthand, and could try to send coded letters. He might even have the foresight to squirrel away some extra stationary where Dracula can't find it. But could he get them posted? Would it even do him any good?
He certainly has enough cultural literacy to figure out what his new boss is pretty quickly. If he didn't chuck the crucifix out the carriage window, he might start carrying it around in his pocket.
Psychology of the individual, sure, but the individual in question is a 400-year-old vampire who lives in an isolated castle in a foreign country and is regarded as a terrifying mythological figure in the surrounding villages. Jeeves has never come up against anything this alien before, he's cut off from his normal resources, and opportunities to play people against each other are limited.
He probably has enough upper body strength from all that shrimping and fishing to climb the wall, so he COULD escape if he wanted to, if he survived long enough. It's just, again, that overconfidence, and also Dracula has a vast library full of rare old books that are entirely at his disposal. He's keeping his eyes and ears alert for potential escape strategies, of course, but I don't see him being as desperate to get out as Jonathan was.
There are just a lot of "depends on"s here, and I'm not convinced that luck would shake out in Jeeves's favor, all things considered.
Bertie
Bertie is so perfect for the job of Castle Dracula Prisoner it's like it was made for him. Think about it. Being held against his will in big manor houses comes more naturally to him than breathing. He's afraid of things that are scary. A lifetime of dealing with Aunt Agatha has made him the world's preeminent expert in "curl[ing] up in a ball in the hope that a meek subservience [will] enable [him] to get off lightly." He will NEVER go exploring in places he's been warned away from if nobody is forcing him to (Rev. Aubrey Upjohn's office notwithstanding. There were biscuits in there). He's both fun to talk to and easy to toy with (and extremely English). A+ prisoner. Dracula adores him.
In my opinion, Bertie is at Castle Dracula either because Aunt Agatha got some wires seriously crossed and thinks he’s going to meet an eligible potential bride (I mean, there are certainly brides there), or because Dracula has something Aunt Dahlia wants him to steal (far less likely, given that one of Dracula’s THINGS is famously not owning anything silver). Either way, he's shown himself entirely willing and able to escape down drainpipes if a sitch gets too scaly.
He DOES take the crucifix, and DOES wear it (which is what will save him during the shaving scene, because you KNOW he's going to jump a foot and cut himself like the dickens). He's read enough supernatural goosefleshers to be genre savvy about terrified old women cryptically pushing crucifixes into one's hands. I also think his sunny disposish endeared him to the villagers, and they were particularly vehement about urging him not to go. He doesn't speak German or Romanian, but he's empathetic enough to recognize Pure Terror. So by the time he actually gets to the castle, his imagination is already running wild and he's plenty aware that he is in imminent danger.
I think the biggest risk to Bertie will be the brides; whether or not he's susceptible to trances, if he thinks they're trying to marry him, it's against the code of the Woosters to turn them down. But that only becomes an issue if he comes face to face with them, which, luckily, I think is unlikely on account of the aforementioned "won't go exploring" (and if he did, Dracula would definitely rescue him).
I'm inclined to say due to his drainpipe-escape habits that he WOULD be able to climb the wall and MAY attempt to sneak into Dracula's room to look for the keys if his desperation grows to outweigh his fear. Whether he does or not, though, he does NOT have the stomach to attempt shovel murder, and therefore won't get magic brain fever, and may very well simply walk out the front doors when the people come to take the boxes away. OR he climbs his way out like Jonathan did. Either way.
When Bertie tells this story at the Drones later, Tuppy will say that no doubt it's been greatly exaggerated and all that probably happened was that he spent a couple months in an oldish house entertaining a weird loner.
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