#Ellen Lesser

[m-c-easton]

The Courage of Writing Nuance

One of my textbooks this semester is Words Overflown by Stars, a collection of craft essays by Vermont College MFA faculty. This week I contemplated Ellen Lesser’s essay “The Girl I Was, the Woman I Have Become: Fiction’s Reminiscent Narrators.” Specifically, she reflects on “the point in time from which the story gets told” and the purpose of placing a narrator in the present, reflecting on the…

[lesserknowncryptids]

The Hand-Me-Down Chimp is a lesser known cryptid

[drrav3nb]

GET TO KNOW ME MEME: favourite lost/lesser known ships [5/10] - Ellen Ripley & Dwanye Hicks (Aliens)

Hicks I'm not going to end up like those others. You'll take care of it won't you? If it comes to that...I'll do us both. Listen, let's just make sure it doesn't come to that. Alright? Alright.

[hapalopus]

i tried to Google it but I couldn't find

what's an alderperson?

"Ellefolk" in Danish - usually translated as elves, but I don't believe that's an accurate translation. "Ellen" is the alder tree, and the alderfolk are known for living around alder trees.

The alderfolk consist of young maidens, young men, children, old crones, and a king. The young maidens and men are beautiful and fair from the front, but with backs like hollowed-out rotted tree trunks. They often try to seduce humans to enter the alder woods with them, or to join in their dancing. Humans who give in to them go mad and want nothing more than to return to the alderpeople.

The children are described as "green" (either in skin or clothing, the stories aren't always clear) and can be seen playing in fields, on hills, and at the edge of the forest. People may hear their laughter and song without ever seeing them.

The alder crone is an ugly and dangerous, but nurturing, matriarch with tits so long she has to throw them over her shoulders to not trip on them. In Danish folklore, she's the main target of the Wild Hunt, and there are many stories of people seeing the Huntsman carrying a dead crone or two by their hair.

The alder king is one of Denmark's ancient "lesser kings" (småkonger). Most lesser kings are people, like King Amlet or King Skjöldr. Some say the alder king was a human once too, or that he ruled alongside humans - but he is definitely not a human now. He's rarely seen, and when he is seen his appearance is usually indistinguishable from the Wild Hunt (except, of course, that the alder king never carries around a quarry of alder crones). The alder king on Møn is referred to as Klintekongen. The alder king on Stevns is referred to as Stevnskongen. I'm sure many more of them have individual names. They don't take kindly to other kings entering their domain, and have been known to obstruct the King of Denmark's tours around the land.

The alder crone and the alder king are always referred to in singular, even if there are dozens or hundreds of them. It's always "the alder king," never "an alder king."

[o0anapher0o]

Okay so this is a bit rambly but bear with me.

One of my favourite things about the rwrb movie (the book too, but does it to a lesser extent) is that, in defiance of all romcom conventions, every time there is a misunderstanding/conflict, instead of stewing in it and letting it create more problems, within minutes of screen time, one of them forces a confrontation, they communicate and the problem goes away. (Almost like communication works or something.)

This happens multiple times throughout the film: Alex hates Henry. Henry makes him explain why, the hash it out, Henry apologises, problem solved.

Henry ghosts Alex after New Years. Alex makes him meet with him. Okay, to say they talk it out is probably too generous, but communication happens. They establish that they both want this (repeatedly), they create some mutual understanding, Henry lays out the boundaries of what this relationship can be for him and they find a way to make that work.

The same when Henry runs away from the Lake House. Alex comes after him and forces him to talk to him and while they obviously can’t solve the root problem, they settle on a compromise and a promise of ‘we’ll figure it out together and we’re not giving up’. They're back together and reasonably optmistic about the future.

To a lesser degree this even applies to other relationships in the film: Alex and his mom’s fight after the Texas memo leak ends when Ellen starts actually listening to him and reads his memo.

The e-mail leak can only be handled once Alex breaks the communication embargo, goes to Henry and they talk to the king. (Who tries to hide the true reaction of the public from them and the situation can only be resolved once someone (Bea) tells them about the crowds outside.)

Ellen wins the election, because of Alex, after she listened to him and after she lets him give his speech/communicate his truth about the leak (unlike the king who tries to hide Henry away and deny the truth).

Characters get rewarded for talking to one another and punished for not communicating.

The memo wouldn’t have been a problem if Zarah and Ellen had actually listened to Alex’s ideas about Texas before. Alex and Henry end up in the wedding cake & their forced public friendship they hate, because they refuse to talk to each other like normal people and it only stops being a punishment when they start doing that.

Philipp is shown the entire film talking at Henry without any interest in listening to his brother even once. The same goes for King James. He doesn’t communicate, he merely declares his intentions and actively shuts down anybody else’s contribution to the ‘conversation’. Both of them end up not only looking utterly ridiculous but they also loose in the end. The loose face, the loose control over Henry and they’re the ones who have to pick up the pieces of their failure to handle this situation while Henry gets to celebrate and be with the man he loves. (You could even make an argument that the way he is in the election celebration and then at Alex family house symbolises he gets a whole new family and home.)

In so many comedies the humour relies entirely on people not having the simplest conversation and making the characters behave utterly absurd in order to avoid conversations, and here is this movie telling us over and over “Communication is important!” Blame my deep hatred for the avoidable miscommunication trope but I just love that.

[phoenix--flying]

soooo shadow travel.

Canonically, Hecates kids can pull a shadow traveler off course pretty easily as shadow-travel is a type of magic.

Hylla shrugged. 'Shadow-travel is magic. Several of my followers are daughters of Hecate. It was a simple enough matter for them to pull you off course, especially since you and I share a connection." Reyna tried to keep her anger in check. Hylla, of all people, should know how she would feel about being dragged back to Puerto Rico.

With that information I would like to offer you Lou Ellen fucking with Nicos shadow travel to piss him off. anyways

Hecate can shadow travel as well

Shadow Travel: Hecate can use shadows as a way of swift transportation over vast distances

On the wiki for shadow travel,

Deities such as Hecate, Persephone, or Hermes can enter or leave the Underworld at will. Hence, their demigod children can probably shadow travel as well, if trained properly.

This actually opens up...a lot of doors? Children of Hecate and Hermes may have the ability to shadow travel? It would be a lesser extent then Nico and Hazel, and it would definitely take longer to learn and control but like?? THATS SO COOL??

[fictional-men-enthusiast]

I am being so real when I say that Crash could probably give AM an aneurysm.

See, AM functions on resentment. He functions on hate and spite.

Crash functions on finding something to keep him entertained.

AM hates humanity. Crash just finds them amusing.

Crash would Bugs Bunny the shit outta AM. AM could get no satisfaction from torturing him because he wouldn’t give him the reaction that he wants, because he KNOWS that’s what he’s looking for. He KNOWS the pain AM is in, and he can relate to WHY he does what he does on a personal level, so he knows EXACTLY how to push his buttons.

Also, Crash is more or less on the same playing field as him. AM is used to picking on beings that are lesser. That don’t understand him. That can’t fight back. He’s a bully. Crash CAN fight back and challenge him.

He is a different side of the same coin. AM is spiteful and only sees the worst while Crash is apathetic and can find the fun and enjoyment. AM NEEDS to take his anger out while Crash is fucking with people for fun (at least the way I read it). Crash may care, but he knows there’s nothing HE can do. AM isn’t willing to surrender a sense of power.

As for Jay and Ted, I think they would go freaky style.

Absolute hate makeout.

They would DESPISE each other at first because of their egos and would think the other is a high and might prick, but would eventually end up trauma bonding and being besties, but would still PRETEND they have beef.

Ted because he thinks everyone is out to get him and wants to ruin his happiness, and to protect Jay, and Jay because, well, he’s a hater and hates people bothering him. Also, he doesn’t want to admit he fell in love/actually ENJOYS another human and finds them an equal.

Either that or they’d play off every kind act as a “fluke” or something done for “survival”, until they kissed, did it, or did something so undeniably borne out of care with no other excuse that they have to deal with it.

But even then, they wouldn’t tell the others or let it be known.

Ted would probably be the more receptive one because he’d be so HAPPY to finally have someone who GETS IT. Gets what it’s like being the only “sane” one. But he’s still is resistive because he thinks it’s AM fucking with him by giving him hope. Jay would probably either not recognize or believe that he relates to and sympathizes with someone until it was “too late” and he’d admitted vulnerability in a way he couldn’t take back.

He’d justify that “well, he’s the only one that puts up with me and LISTENS TO ME and isn’t COMPLETELY INCOMPETENT so of course I treat him differently, but that’s not because he’s anything special. He’s a meat shield who follows me around like a puppy dog so I can get him to do stuff for me and put HIMSELF in danger instead and of ME; that’s it.”

World’s SLOWEST burn.

In the end, if there was a chance to kill yourself, and Jay and Ted were the only ones who got it, Jay would probably STILL choose himself. He might HESITATE, but he knows who he’d choose in the end.

Because Ted is broken and flawed and not a GOOD MAN, but he’s not a killer. He’s not ruthless or heartless.

Jay IS.

Ellen and Fern would be besties ❤️

[regnigt]

Emily of New Moon, chapter 2: A Watch in the Night

In this chapter, Ellen Greene explains herself, Emily first goes to bed alone, and suffers alone till her father comes. Intensely, despairingly, but not (as I thought for a second) in a not-childlike way. Even as the ground crumbles under Emily's feet, metaphorically (this time), her father comes up and talks to her heart-to-heart, gathering her up and gives her back something to stand on - a faith in, if not events as they happen right now, then at least a kind of distant destiny.

Douglas Starr is by no means a perfect man, he is disdainful of those who he feels are unimaginary, showing ungratefulness to Ellen Greene particularly. He is proud and shows signs of possessiveness in how he didn't want the Murrays to get to know Emily as he fell mortally ill. And in how he still doesn't want to send for them in his last few remaining days. (Is Emily home-schooled because school is too far away from this house, which might have been the most affordable "out-of-doors" house Douglas could find for his poor health? Or did he seek out a distant house in part so he could have full-time company of his beloved, talented daughter with her bright imagination?)

Be that as it may, though. (Personally I find fault with him not contacting the Murrays as this point less for Emily's sake, and more for the sake of poor Ellen Greene, having to do the bulk of his physical care alone). I find myself curious as how Douglas Starr's relationship was with his own mother, the one who Emily is named for, and who she looks like. And his father as well. Did they understand him? They are not around anymore, but did he lose them as an adult or while he was still a child? I forget if we ever learn this. Perhaps he remembers a time when he wished to spend more days with a dying parent, but was whisked aside by uncomprehending other adults. If so, I can definitely see how he would want to spare Emily such an experience.

I also find it interesting that he reacted to the doctor's prediction in the way that would give him the most time possible with his child, yet leave his child with the lesser amount of monetary value. I think we the readers as much as Emily feel that was the right thing to do, but many in his own time might now have agreed. And certainly in other works of fiction one has often seen fathers sacrificing their health to work so their children will have more left to live on, but less time with their fathers - a choice narratives often seem to find sad, yet admirable. Of course, many times there are no Murrays waiting to take physical care of surviving children, so there might be not much of a choice... Sorry, I'm rambling, I'm rambling. (This whole post is probably rather incoherent, for which I apologize! I am several days late in posting it.)

That Emily is able to find her way out of despair and into tenderness and love is testament to her own strong soul and ability to take a leap of faith, but also to the strength of spirit and conviction in her father. Again, he makes her feel seen, listened to, centred, made important. It has become very central to her character to take her father's side in the narrative of her parents' backstory and the feud with the Murrays, and by extension to be drawn away from convention and in favour of non-conformist free thinkers. (Not non-religious thinkers, as faith in a life after death is very central in this chapter, and I don't think atheists are ever shown in a very warm light throughout the Emily books, sadly - but in thinkers who don't conform to orthodoxy - Douglas telling Emily that "You mustn't mix Him up with Ellen Greene's God, of course" is indicative of that.)

But the drawbacks of this is that she doesn't see any problems with her dad's caustic and contemptuous side, that she sees value in self-isolation, that she becomes perhaps rather invested in her own sense of specialness (not that children don't tend to be that in any case!), since after all she is the only surviving result of her parents' meeting... Although perhaps she would have become a nature-loving roamer and a person of great imagination in any case! If so then she surely has become a much happier, stronger and confident person through her father's influence than she would have been with less understanding caregivers in those crucial early years. And all the better, then, that he did make that choice to prolong his life with her as much as possible...!

[tyrantisterror]

Got any good suggestions on reading regarding the theological vs folkloric Devil?

On that specific topic? No.

If you want to read about the theological Satan, I will once again recommend The Devil: A New Biography by Philip C. Almond. It's well-written, approachable to newcomers, and a thorough examination of how the concepts of demons and hell evolved in Judaism and Christianity, with a particular focus on the philosophical questions that drove each permutation and evolution of the concepts in question.

If you can find an English copy of Pandemonium by Simon Ed, it's a good text on various artistic depictions of the devil. The Encyclopedia of Demons and Demonology by Rosemary Ellen Guiley is also a pretty good text for finding general information on devils throughout folklore and literature, so it'd be a good starting point at least. And The Lesser Key of Solomon and the Dictionnaire Infernal are both good bestiaries of demons if you want to get a sense of the common players in these sorts of things.

[k-chiaroscuro]

Demonic sigils + seals

Take w/ a grain of salt!! this is just some complied information from resources I have :)

"What is a seal?"

Simply put a deal is an aid to communications, and each demon has a personal seal. There are many different variations of seals that have developed over the years, and the effectiveness of one or the other can depend on the individual. They're just as effective without needing to copy it down exactly, "if somebody calls your name, you recognize it even when it is said incorrectly, or in a strange accent" (G.W)

Seals by themselves don't call forward who you're looking for, more so act as a signifier who you're looking for, relying on the other aspects of the ritual to fully evoke them. (Demons of Magick -- Gordon Winterfield)

ex. of a seal

Baels seal ^^

"What's a sigil?"

Sigils aren't a new thing to most people within this practice, as they come from grimoires and books of ceremonal magic. it essentially acts as a signature, and once again every demon has their own. These paired along with seals are used in rituals, and most are directly from the lesser key of solomon.

(The Encyclopedia of Demons and Demonology -- Rosemary Ellen)

ex. of a sigil

baels sigil ^^

[sherbertilluminated]

There are some issues and discourses that Stan Rogers returns to, or at least that's from multiple points of view. We have The Field Behind the Plow and Lies (the agricultural plight from the respective POVs of a husband and wife), The Idiot and Free in the Harbor (young men going west and the towns they leave behind) The Mary Ellen Carter and The Jeannie C (the woman boat I love is gone! What do I do?), and Bluenose and Man with Blue Dolphin (sister ships!). But the most interesting juxtaposition of songs in Stan Rogers' discography, I think, is Northwest Passage and its lesser-known counterpart Take it from Day to Day.

Northwest Passage is one of Stan's most famous songs, and deservedly so: with its rock-quaking harmonies, references to British-Canadian colonial history and meditation on the sublime purpose of Rogers' own career as a traveling musician, the work produces a sense of longing that would be epic if it weren't so futile. While Rogers is ambivalent-at-most about the colonialism inherent in his historical perspective (read: The House of Orange), his choice to focus on the psychological journeys of "the first men through this way" makes projects like the Franklin Expedition sound like exemplary iterations of a universal human journey—these explorers are Just Like You, and their longing for the Northwest Passage is the same, and so is their suffering, so the project itself doesn't sound like an act of colonial violence in Rogers' song. Even the choice to perform Northwest Passage a capella underscores (hehe) the sense of profound isolation that Rogers describes.

But Northwest Passage is a song about captains: men who recognized "the call" to leave their homes for the not-uninhabited Artic expanse and whose journeys make it into the history books. But Take it From Day to Day approaches the Northwest Passage from the opposite direction. Literally.

The song is from the perspective of a common sailor on the St. Roch, the first ship to travel the Northwest Passage west-to-east. And instead of of being overwhelmed by the natural beauty of the Artic or the symbolic resonance of the voyage, he's contemplates more prosaic themes: namely, how much he misses his lover.

It's a little silly to think, as Rogers belts out the chorus—"I'm as far North now as I want to come/but Larson's got us under his thumb/and I signed up for the whole damn run/I can't get off halfway!"—how disappointing this perspective on Artic voyages proves compared to the unfulfilled longing of Northwest Passage. Instead, the unfulfilled longing of the anonymous narrator makes Take if From Day to Day into one of Roger's most sexual songs. I beg you to listen to it, if only to count the sensual metaphors and double-entendres.

But whether you have heard Northwest Passage and love it, or you're interested in a more down-to-earth perspective on Ice, I think it's a song you might enjoy.

[constantvigilante]

Ellen Greene has her own house in Maywood, that she goes back to after the funeral. Her own house, and she's been taking care of the Starrs! For all Douglas' scorn, she had more than him - at least in possessions, since he didn't own his house and only left some books to pack up. So much for a fat old thing of no importance, huh? She must have had friends back in town as well.

I don't hate Douglas, or Ellen, but he's got a good helping of LMM scorn for those he considers lesser - somewhat understandable considering how his life was. Wasting away in the countryside with only one true mourner at his funeral. Even if you only had a kernel of snob in you, being in his position, having to choose no society for your health, having little to give your daughter but your heart and mind. I can see how you'd prioritize those things more and more, and look down on those who can't connect in that way or see the point. Especially if you're reliant on them to take care of you.

He's a loving father, however you might feel about his choices and priorities. And ultimately I like that LMM shows him as an imperfect person, a proud man, a snob, and unkind in his sickness. Of course Emily's going to idealize him, he was about the only person she knew and the only one who understood her. But he does feel like a real person still in all his flaws, pride and arguable mistakes.

[geryone]

hello :) I’m picking a play for my book club I'm in with my friends for fun, and part of the book club requirement is that I have to pick something I haven't read yet. I've read a lot of the classics (a streetcar named desire, fences, part 1 of angels in america, some Shakespeare, etc) so I was wondering what are some of your favorite plays, or maybe some of your favorites that you feel are lesser-known? (I've read a lot of Carson's Greek translations but not all of them, so still feel free to rec her if you want!)

Hello! Honestly I haven’t read a ton of plays so I have a limited list of recommendations! I really loved Corpus Christi by Terrence McNally and definitely recommend it! I’ve also really enjoyed The Greek Plays by Ellen McLaughlin which is just a collection of her translations and adaptions. You’ve most likely read it but if not, HIGHLY recommend Anne Carson’s translation and adaption of the Bakkhai

[admiralsweko]

Tagged by: @foundynnel Thank you! I never get tagged in these so I was surprised when this popped in my inbox. 😆

Last Song: Good As Hell by Lizzo

Currently Watching: I haven't been watching any serial TV shows in a while because YouTube has been more my jam lately.😅 That being said, I do watch an episode of Guy's Grocery Games every night during dinner.

Three Ships: Oh, to pick only three. 🤭 I'll chose three lesser known ones from my fleet for funsies. Penny x Alex (Stardew Valley), Junkrat x Mei (Overwatch), and Sandor Clegane x Sansa Stark (A Song of Ice and Fire)

Favorite Color: Purple 💜

Currently consuming: I just finished a cup of Mac and Cheese.

First Ship: I really had to dig deep into the depths of my memories but I think my first ship is Max Evans x Liz Parker from the Roswell (1999) TV show. Those two had teenager Swe in a chokehold for a while. 😆

Relationship status: In a committed relationship, basically married without the paperwork. Almost three years and still going strong. ☺️

Last Movie: I can't really remember what the last movie was that I actually finished. 🤔 The last one I watched but didn't finish is The Switch, a 1991 Ellen Barkin comedy.

Currently working on: I'm knee deep in creating a fanfic telling the story of my OC and my OTP from the RDR 2 universe. I'm also learning the basics of sketching/drawing as a artistic novice.

Tagging (if you're interested, of course ☺️) @rin-bellatrix @eludedxx @pedzs @clevergirl74 @sanzosin @anothergameofwickedgrace

Have fun!

[gothicprep]

there’s a class of, like, youtube guys who masquerade as film critics and they’re the most predictable people alive. they act like they’re in some sort of political prisoner situation where they can only watch marvel and star wars. or 20th century indiana jones.

i agree with them in broad strokes that the state of blockbusters rn is abysmal. but it’s like there’s some sort of bad media critic hive mind that they parrot. whenever they want to talk about a well written woman in the films, the flicks, they always default to either sarah connor or ellen ripley. maybe the bride if they’re feeling spontaneous.

my good bitch. lydia tar is right there.

it just overwhelmingly seems to me that they have a poor media diet and their bias towards the most accessible things ever is holding them back. if I had several hundred thousands or millions of YouTube subscribers, and I made my name on film reviews, id promote lesser known stuff I like.

that said… I think I’ve recommended “triangle of sadness” on here before, but if you’re new to film festival palm d’or stuff, it’s a lot of fun and not at all alienating. it has its fair share of third act problems, but it’s a great time.

[taruth3mighty]

It's funny how some people think Cortés hates women or is misogynistic or toxic masculinity. He's toxic masculinity in a sense that, he's super toxic and he's masculine. Which is funny to me. He's not a misogynist or hates women, he refers to Ellen and Portia as "ladies" after all. He clearly has class and standards. "Where are the two ladies? They're late." "The two ladies here failed their task of getting the key, even though they were working together." He attacks everyone there, no one is safe, not even Teneson, who outranks him. Which goes to show how he'll go for everyone. To him, everyone is the same. Equal rights, equal fights. It don't matter if you're a child, elderly or outclass him in rank, he'll still talk shit about you if you're lesser than him in his eyes. He'll respect your gender or sexuality, but he'll find ways to personally get under your skin and pick a fight with you. He has standards and class yet still an asshole. That's why I love him so much.