#Essence Carson

[sinligh]

It’s early summer,

the hopeless romantic in me found her way to the surface when the heat melted couple of my overprotective layers.

so here i am, allowing her a moment of spotlight and myself some vulnerability.

it’s past midnight, I’m sitting in floor of my kitchen eating fruits with a knife

wondering, if it’s really safe to romanticize life?

I indulge myself anyway, and think about how fruits can be considered a love language if you’re starved enough to taste love that’s throughly stained with muted apologies. 

I trust, that when the sun rises tomorrow all my attempts to romanticize life will sublimate and create a thick fog of melancholy that I’ll have no other option but to get lost into.

even so, tonight I’m tired enough to let it be and so i write this, my own report of pathology

officially it’s untitled, but I’m thinking: the pathology of love.

i start by resecting pieces of all the habits that i define my existence based on along with some of the heartache that i held onto for too long

deep down, i know some of it belongs to my mother

At least its mature flavor says so, that, balanced with the sweet essence of an overly ripe fruit that never belonged

Young and brash and an acquired taste.

it’s a poorly fixed microscopic tissue, preserved in a high percentage of feminine rage

Low expectations stained with love and paranoia alike and the question that asks itself:

is it benign or malignant?

is it infiltrating my soul, taking away from my potential to grow ?

It stays unanswered, an unforced error

because i always carry those little versions of me that vary in the percentage of their belief in my own bone marrow

a core biopsy will always show that i still believe.

•••

•Quotes: Anaïs Nin/ Sylvia Plath/ Virgina Woolf/ Franz Kafka/Marcel Proust/ Simone de Beauvoir/Anne Carson/ Andrea Gibson/Anaïs Nin

•Original context:

•Art reference:

1. British School - Head of a girl, c. 1850. 2. Painting ( details) by Richard E. Miller. 3. Paintings by Jen Mazza. 4. Neil Carroll Original Oil Painting Realism Impressionism. 5. The Gross Clinic (details), by Thomas Eakins 6. Wounds of the Earth by xis.lanyx. 7.painting by Herbert James Draper.

[neoyorzapoteca]

“The brutality of fact” is Bacon’s own phrase for what he is after in a painting. He is a representational painter. His subjects are people, birds, dogs, grass, sand, water, himself and what he wants to capture of these subjects is (he says) their reality or (once he used the term) essence or (often) the facts. By facts he doesn’t mean to make a copy of the subject as a photograph would but rather to create a sensible form that will translate directly to your nervous system the same sensation as the subject. He wants to paint the sensation of a jet of water, that very jar on the nerves. Everything else is cliché. Everything else is the same old story of how Saint Michael and Saint Margaret and Saint Catherine came in the door with a thousand angels around them and a sweet smell filled the room. He hates all that storytelling, all that illustration, he will do anything to deflect or disrupt the boredom of storytelling, including smudge the canvas with sponges or throw paint at it. When I say Francis Bacon wants to translate sensation to your nerves by means of paint I’m using the verb translate metaphorically. In our usual usage, to translate is an operation of language, not paint. Silence also is something proper to language and Bacon does at times evoke it literally, as in interviews when he says (more than once), “You see this is the point at which one absolutely cannot talk about painting. It’s in the process.”

Anne Carson, Variations on the right to remain silent

[sayingounprovoked]

Sometimes when I am reading a Greek text I force myself to look up all the words in the dictionary, even the ones I think I know. It is surprising what you learn that way. Some of the words turn out to sound quite different than you thought. Sometimes the way they sound can make you ask questions you wouldn't otherwise ask. Lately I have begun to question the Greek word sophrosyne. I wonder about this concept of self-control and whether it really is, as the Greeks believed, an answer to most questions of human goodness and dilemmas of civility. I wonder if there might not be another idea of human order than repression, another notion of human virtue than self-control, another kind of human self than one based on dissociation of inside and outside. Or indeed, another human essence than self.

from "The Gender of Sound" by Anne Carson

[beebooks]

which translation do i prefer though? hard to say still. to begin with, and i believe i've expressed this before, i didn't always see the point in including the originals alongside the translation in if not winter, but having read some more now, i kinda get it. the choice to leave in space where there is text missing i've also grown a bit more fond of. at times, yes, it felt like a pretentious annoyance, but without it i'm left wondering where the translator has added and shuffled things to make the poem read more coherent and to cover over what is gone

mary barnard's translation takes the path of making "completed" poems out of every fragment she includes, but when i know the fragments are rarely that complete it makes me wonder where the gaps that have been covered over are

josephine balmer strikes a bit of a middle ground by having the poems read more naturally and complete than a lot of anne carson's while putting her "additions" or conjectures in brackets so the reader knows what is actually present in the fragments and what is the author taking poetic liberties

alll comes down to what the various translators aim to do and what the readers want. anne carson has included all fragments, even if all you can make out is a single word, while the other two have chosen to include more complete fragments and quotes and then tried to capture the essence and intentions of sappho in how they format the poems

each to their own, and there's certainly a lot to gain from the different translations

[quidfree]

Hello!!! so I love your story Sober II… I was re-reading it back to back with TSH and the way you wrote them felt so true to Tartt’s characterization of them I was absolutely floored to how you captured the essence of the characters in your writing and your extension to their dynamic.

I have a question about your own personal head-canons between the two because I also read your spin off fic of sober II and found myself wondering who you think is the more physically affectionate of the two? I get the feeling that both your Francis and Richard kind of shy away from showing the other affection, or at least quite hesitant in doing so. From what you’ve written I feel like it’s Francis because of little moments like him placing his feet on Richards legs when they’re both on the couch… but in my re-read it’s Richard usually reaching for Francis, or Richard keeping Francis’ hands on him out of instinct. And that bit where they’re in their 40s and Richard suddenly becomes paranoid about how close they were in front of his students. Anyway, sorry for the tangent but I’m simply curious about who you think is the more affectionate of the two!

Also, don’t laugh at me but when you mentioned Anne Carson in your story I fell into a spiral of purchasing a few of her novels and translations and now I’m obsessed. She’s pretty popular but she’s never really be on my own personal radar, so thanks for that!

ahh thanks so much anon- and what, i’m delighted you discovered anne carson through me, not laughable at all!

that’s an interesting question and your analysis is good haha- made me sit and think about my subconscious choices in writing them. i think you’re right that i don’t necessarily see them as affectionate with each other from jump, due to all of richard’s sexuality hangups and francis’ weird relationship to physical affection.

in my head francis is definitely more touchy but it’s like, following a specific set of rules- he’s flirtatiously touchy (see: initiating all his hookups), and casual with the touches if you’re an unthreatening figure in his life (his mother, camilla, etc), but i feel like bc richard is a bit of a complicated situation as of post-canon he’s more withdrawn with him than he might otherwise be (and might have been back in early hampden when he gave less of a shit about richard and also was prodding at him to see if his gaydar was right). he has a lot of walls in place mixed in w his sexual traumas (childhood and otherwise). altho he does tend towards softer than richard, what with the blanket coverings and such.

richard’s thing is 1) he’s the outsider, so he’s more yearning for other people to bring him in than secure in reaching out 2) Men are not for Touching. hes so happy to be part of the pile of limbs in the backseat or get his hair ruffled or hand held or whatever but even in hampden i don’t recall him initiating that very often except when his emotions just overpower him (see the camilla kisses). that said, to your point, i think especially w the benefit of their history and also the traumatic losses they suffered, richard is very reachy- the whole sober ii thing is like. the kind of panicked / instinctive motion to keep what’s left of his hampden days with him. and how that melts into holding onto francis specifically.

anyway they both have that going on. richard is probably more classically touch-starved? but they’re both more comfortable with sex than other touch from what we see- like, it is kind of ironic that the day francis comes to hook up with richard seeking that connection to distract from murder hell is Literally on the heels of richard seeking out a random girl to do the same thing with. they are soo.

they grow into it tho. francis starts it off bc hes like oh right this is someone im hooking up w now so i can do x y and z. but richard’s probably first to go sort of, ah, romantic about it, which then sends francis skittering back a bit. i have a lot of Thoughts abt their physical scars & how those play in.

[booklove22]

Things I think:

1) According to Nick and Bess, the sin eater’s soul transfers upon death to an “an unborn child” (Nick), “it’s reincarnation” (Bess). Interesting when we’re all speculating that Jean is telling Carson she’s pregnant in 4x11. Does that mean Tristan does die?

2) I think this not-Mia ghost is in fact evil and is leading Ace toward his death. So not the traditional siren thats been theorized, but maybe a paranormal entity with a similar vibe that is having some kind of parasitic effect on him? Also thinking that “whose heart may also be tempted by a new relationship” has absolutely no romantic connotation now but is more of a paranormally induced obsession. So siren-esque, but without the singing? I just can’t believe that it looks like this plot will be ongoing in 4x11.

3) Jar of requirement - “It distills the essence of spoken truths into liquid form.” Bess uses some of that 1st sin truth to uncover the mural at the courthouse. Nancy uses that same 1st sin truth to poison tip the arrow.

It seems from the trailer that Nancy uses it again sometime in the future in icarus hall, but is it that same “founders 1st sin” truth? Or has a new truth been spoken into the bottle at that point?

[livewiretribute]

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[kudzucataclysm]

how is the writing for se (and your other wips) going?

hi kimi!!! i hope yur new job is going well 🌞

its certainly…Going lol

over the past…i wanna say 5-6 months or so? ive been steadily overhauling/restructuring SE. rewriting lore, switching up the cast of (minor/background) characters, changed main character backstories and motivations, etc. its NOW that im finally approaching overhauling/rewriting the plot FOR REAL THIS TIME. im absolutely scaling back the story to be contained within the city of Necropolis itself yet expanding it at the same time. no globe trotting adventures. no Saving The WorldTM. we r no longer over the ruins of new york city but instead CHICAGO. im for sure starting to figure out the essences of New Plot but at the same time plan to tackle cultures and religions in the city as well as restructure how the hierarchy of power works. mars remains on top ofc

even now im reconsidering Dez’s dynamic with his family (cowriter and i are battling it out as we speak). Francis has been in prison for around a year before the start of the story and is now Out due to Unknown Circumstances…Maya is now just a DoctorTM, who has mysterious motives and her own clinic where Weird Stuff Happens. Carmine is still a crime boss but he has way more of an ego and im reconsidering his familial connection to Carson. Vincent’s backstory is now a bit different, shes no longer the child of a crime boss but the scion of a major corporation. Thursday and Friday are up next for lore reconsideration. FingersTM…etc etc, still figuring things out, and expanding upon secondary and minor characters roles as well :3

thats pretty much it…? ive been keeping a lot of this under wraps tbh cuz im scared of sharing/rambling abt things plus i dont rmm how to do so :/ whatre u gonna do…but ty for the ask!!

[eliza1911o1]

LOTS of feels from the finale today. Both expected and unexpected, the episode was much more wholesome than I think anyone anticipated. Nonetheless, the season still concludes as lacking with Ch 24 not delivering nearly the same impact as the last two seasons

This finale had everything we wanted: Bo vs. Gideon and uniting the Mandalorians; reclaiming Mandalore; Din and Grogu being the best clan of two in every possibly way — BUT, for all the dynamic fights and flashiness, the force of the episode still wasn’t up to par. Although it was triumphant and there was gratification in seeing Bo reclaim her throne and the Imperials be destroyed, it was a feeling more of fulfilling expectation rather than a win we desperately wanted. For me, the only real emotionally-charged scenes were those between Din and Grogu, especially when they were separated and Grogu was left alone with the Red Guards. (That part really got me… almost cried at the thought of something separating them again when they were so close…)

The season was set up to build up and conclude to this final episode where all the Mandalorians retake their planet together. However, and I’m making assumptions here, I think the majority of us still didn’t really care for any Mandalorians other than Din in the end. I’m not saying there weren’t some characters we enjoyed or rooted for, but the connection never came anywhere close to what the audience felt towards Din or others in previous seasons. We think the armorer is cool and lament Paz’s sacrifice, we’re happy for Greef Karga and excited by Carson Teva’s return, but these reactions are built on their familiarity from and we never really have any relationships furthered (past Paz and the reveal of his son). For characters like Bo and the other Rebels cameos, the excitement comes, again, from outside familiarity. For Mandalorian-only viewers, Bo’s entire arc is hollow since it requires so much background from the animated series. Katee did a great job making us invest in the character, but with the limited content in the show, much of this was due to her acting and indict rather than careful construction. While in the past there was an assortment of lovable characters we wanted to see alongside Din, s3 relied too heavily on sentimentality and the frantic nature of the plot was both too hesitantly developed and too spread out for there significant investment in anything

The season 3 finale is this huge win for the Mandalorians as a whole, it’s achievement based on the strong ties of the culture and how they are stronger together. Honestly, we don’t really care. We were rushed into those feelings. We don’t really know these new characters and we’re still learning about the culture as well as our titular character (Din, up until now)

It is jarring for the emotional heart of the show to suddenly switch from the relationship between Din and Grogu to literally all the Mandalorians. Prior seasons have relied on Din and Grogu to provide weight and this also occurs in s3 even though, unlike the past two, their relationship is not the focus

There are no stakes to this finale. The Mandalorians have to win because they are the new focus. The show has hurried them along and forced our commitment to them too fast for their to be any alternative. Din and Grogu have to be alive and reunited because they are still the essence of the show and need to exist on the outskirts of this new narrative. Paz died and as much as we dislike that fact, it is a safe choice — Paz is not a super popular character, though he is liked; his death is more heartbreaking because he’s leaving behind a kid; he embodies the culture, part of a noble house and dies in battle for his clan. That’s it. His death doesn’t even really affect any of the other characters for more than a few minutes

As satisfying as everything was, it wraps some loose ends up a little too cleanly and leaves far too many questions still open or forces too many results for ends to meet. While the s3 finale is good, could even be considered great, the entirety of the rambling season causes it to fall flat. Though there are some standouts, the season as a whole fails to deliver what was promised from the past twos other thoughts are being thunk but this is the most general opinion I can land on for now. Very interested to hear the discourse on this season as time progresses and we can look back on it objectively

[etherealeden]

the spiritual and psychological way of processing negative emotions and regulating your nervous system

explore the other chapters on my blog

Part 3b: Reframing and Self-Compassion

Reframing is similar to using the emotional scale, but it often involves a more logical approach. It’s about adopting a new perspective on a mistake, issue, or event that occurred. Reframing helps us reinterpret situations in a way that can lead to a more positive or constructive understanding. Carson and Langer (2006) capture the essence of reframing well, stating, “[…] find the perspective that provides either new knowledge, motivation for change, and/or an opportunity to teach others a valuable lesson” (p. 34).

For me, this has a lot to do with self-compassion. 💖 According to Abraham Hicks, self-compassion means seeing yourself through the eyes of your true essence or "source." 🌟 It involves viewing yourself in a more positive light and reclaiming the feelings or beliefs you wish to hold about yourself.

Source or the universe created us all as perfect beings. Wherever you are right now is exactly where you’re meant to be. The mistakes you make and the pain you experience are essential for the lessons your soul is meant to learn in this lifetime. Sometimes it can be helpful to consider how you would treat a partner, parent, or friend if they were in the same situation you’re facing right now. It can also be beneficial to connect with your inner child. Many of our limiting beliefs originate from childhood, so often it’s not just you who is hurting, but your inner child as well. 🧸 I sometimes visualize hugging my inner child, speaking kindly to them, and reassuring myself that I am safe and everything will be okay. 💕

When I moved to a new, larger city, I felt lost. 🏙️ The sense of safety and peace I had worked so hard to cultivate suddenly disappeared. This situation was very triggering for me, especially because I have a deep fear of my mental health issues reappearing. To navigate this, I chose to reframe the situation. I reminded myself that it’s normal to feel unsafe and lost when moving to a new, big city. Building a sense of home takes time, but it’s entirely possible. As I delved deeper, I uncovered a belief that I didn’t belong in this city, that I was different and somehow wrong. I meditated on this belief and eventually realized that my soul chose this city for a reason: to expand me and bring me to the next level. I understood that the universe was testing whether I could cultivate these emotions in a new environment. Essentially, I was growing and affirming that this is my new self. No one and nothing could take these emotions away from me because I can cultivate them from scratch, regardless of the circumstances. See how reframing allowed me to find a sense of safety and belonging? 💖 It’s important to acknowledge that this process took time, but I truly believe it’s magical.

See you tomorrow on part 4:

insights that allow even more acceptance

With love, Nina

Literature

Carson, S. H., & Langer, E. J. (2006). Mindfulness and self-acceptance. Journal of Rational-Emotive and Cognitive-Behavior Therapy, 24(1), 29–43. https://doi.org/10.1007/s10942-006-0022-5

[oceanstone]

“I wonder about this concept of self-control and whether it really is, as the Greeks believed, an answer to most questions of human goodness and dilemmas of civility. I wonder if there might not be another idea of human order than repression, another notion of human virtue than self-control, another kind of human self than one based on dissociation of inside and outside. Or indeed, another human essence than self.”

Anne Carson, Glass, Irony & God

The Gender of Sound

[tunglo]

repost of an old blog post for my new Ken era...

Today [March 13th] is Ken Day! Kenneth Sean "Ken" Carson first hit store shelves in 1961 and, in a move that preceded reality TV by a decade or three, we all got to watch as Barbie met the man of her dreams.

Since then Ken has gone through almost as many incarnations as Barbie herself and had over 40 different careers. In celebration of all that fantastic plastic, here are just ten of the top Ken dolls produced over the years...

--

The 'fun' of shaving Ken has been a staple of his repertoire over the years; there are versions from 1996, 1999, 2010, and 2019.

But, as ever, it's the original that's best. Here is 1979's Sport & Shave Ken. Not only did he come with this spiffing tennis outfit, he also had a shaving mug, two 'razors', and a marker pen of your very own to draw on Ken's facial hair...

According to the brochure: "It's Ken with a whole new look for the 1980s. He's athletic. He's all man."

Indeed.

--

Cool Times Ken.

Never has a name been quite so misleading.

There's a reason Pixar went with this Ken era for the Toy Story movies, and it certainly wasn't because of Ken's close relationship with the concept of cool.

--

Sometimes your problem is not that Ken has too much facial hair. It's that he just doesn't have enough. Luckily 1972's Mod Hair Ken had you covered. The same idea was utilised again in 1975 for The Now Look Ken, except this time around his hair was longer to capture the true essence of mid 70s cool.

--

Ken has been a doctor many times - 1963, 1992, 1995, 1996, 1997, 2011, 2018 - but 1987's offering beats the rest hands down. Not only is Ken a doctor, but you can fold the lapels of his shiny nylon medical coat down and he's ready for a night of wining and dining!

What a doll.

--

What more can I say?

--

--

According to Keeping Ken, this shot with Wedding Day Alan was an official Mattel postcard

In 1993 Mattel redesigned Ken to fulfil little girls' requests that Barbie's beau be cooler. Ken was now so cool he was attracting interest from all quarters, including the US gay community who were sure Ken's cock ring necklace came straight - heh - from the club scene. As a result Earring Magic Ken sold out for Christmas '93, and remains the best selling Ken doll of all time in spite of Mattel discontinuing and recalling the doll once they realised Ken's secret was out of the closet...

--

In 2010 Mattel released Sugar Daddy Ken, so named - they say - because he owns a little dog called Sugar.

Hmmm.

--

Back in 2004, just in time for Valentine's Day, Barbie ditched Ken in favour of Australian surfer dude, Blaine. Blaine O'Hare - or at least his face sculpt - began life in 1998 when Totally Yo-Yo Skipper was initially set to gain a new friend called Zach. Though he never actually made it into production, his features were used for 1999's Generation Girl Dance Party Blaine.

The Generation Girl line followed Barbie's time at high school in NYC, introducing a variety of new friend dolls and spawning another Blaine in 2000. When he returned in 2004 Blaine had wisely dropped the 'curtains' hairstyle and traded in New York for California. In this continuity the pair met through Blaine's younger sister, Summer, who was good friends with Barbie.

In fact, voting was held through the Barbie.com website to determine who Cali Girl Barbie ought to go for - Ken, Blaine, long time pal Steven, another newcomer named Diego, or stay single. We all know how that went. Ken went away to lick his wounds for a couple of years, but in 2006 he was back with a new look. It wasn't enough for Barbie to take him back though and the pair remained 'just good friends' until another PR campaign saw them get back together in 2011.

--

The Barbie: Life in the Dreamhouse webseries is awesome.

Launched in May 2012, it pokes fun at the entire Barbie mythos and did more to give Ken a personality than any other Mattel project. We learn that Ken loves inventing, is addicted to sherbet, and suffers from Hyper Cuteness Sensitivity Disorder...

--

This year Ken is finally taking control of his own destiny. Well. His own laundry, at any rate...

[strywoven]

no thoughts , just thinking of when carson said , “and the grace of the gods [...] is a grace that comes by violence.” and recognizing the inherent duality that is kaëltyr ; the benefactor of all mankind , but also a god-curse who inevitably collects and feeds upon their sorrows , entirely sustained by the essence of MORTAL PAIN . no matter their long-lived preaching of unity , they are still cruel at their foundation ; theirs is a world built upon the backs of souls and hearts and prayers given unto them in the midst of desperation and despair. like , there is a reason their idea of “crucifixion” is the image of a mortal figure flayed and strung upon a crown of antlers , just as a hunting bird ( a shrike ) hangs food upon thorns and brambles ; they SAVOR SUFFERING , as much as they grant boons of forgiveness and "eternal peace". they do , however , genuinely LOVE humanity ... but it is a VIOLENT LOVE ( re: the idea that destroying them is granting them mercy / purifying them / saving them / etc. ) .

[grandhotelabyss]

Interestingly ambivalent essay by Terry Nguyen above about Anne Carson as a poet uniquely suited not only to the age of hybridized fragmentary prose-poetic forms but also to the ethos of Tumblr. It's hard to remember now that when she arrived she was obscure in all senses and heralded as a genius by Guy Davenport, Susan Sontag, and Harold Bloom; today, as our Tumblr ethnographer points out, she almost bears mentioning in the same sentence about online pop-poetry as Rupi Kaur.

I myself found Carson through Bloom, who called her one of the few living geniuses in his book, Genius. Before Tumblr existed, I remember posting a review of The Beauty of the Husband on Livejournal circa summer 2003. I used to enjoy teaching her works where appropriate: "The Glass Essay" as the hinge between the poetry and narrative sections of the class called Textual Analysis, between The Waste Land and Wuthering Heights; and Grief Lessons, the Euripides translations, in the drama section of Introduction to Literature, a book with its own unforgettable introduction, borrowed from the anthropologist Renato Rosaldo reflecting on the death of his wife:

Why does tragedy exist? Because you are full of rage. Why are you full of rage? Because you are full of grief. Ask a headhunter why he cuts off human heads. Hell say that rage impels him and rage is born of grief. The act of severing and tossing away the victims head enables him to throw away the anger of all his bereavements. Perhaps you think this does not apply to you. Yet you recall the day your wife, driving you to your mothers funeral, turned left instead of right at the intersection and you had to scream at her so loud other drivers turned to look. When you tore off her head and threw it out the window they nodded, changed gears, drove away.

Grief and rage—you need to contain that, to put a frame around it, where it can play itself out without you or your kin having to die. There is a theory that watching unbearable stories about other people lost in grief and rage is good for you—may cleanse you of your darkness. Do you want to go down to the pits of yourself all alone? Not much. What if an actor could do it for you? Isn’t that why they are called actors? They act for you. You sacrifice them to action. And this sacrifice is a mode of deepest intimacy of you with your own life. Within it you watch [yourself] act out the present or possible organization of your nature. You can be aware of your own awareness of this nature as you never are at the moment of experience. The actor, by reiterating you, sacrifices a moment of his own life in order to give you a story of yours.

Except for the extravagance of the head going out the window, this has scarcely been said better. Also, in graduate school, I and a few other students hung out for an hour with Carson when she came to deliver a lecture, and all I'll say is that what you see on the page isn't an act. She's a writer I've definitely gotten away from, though, I suspect for the reasons Nguyen enumerates. This being Tumblr and my not being of Tumblr's primary demographic, then or now, I feel an accusation gathering force, as implied by the conclusion of the essay on "The Gender of Sound" in Glass, Irony, and God:

Lately I have begun to question the Greek word sophrosyne. I wonder about this concept of self-control and whether it really is, as the Greeks believed, an answer to most questions of human goodness and dilemmas of civility. I wonder if there might not be another idea of human order than repression, another notion of human virtue than self-control, another kind of human self than one based on dissociation of inside and outside. Or indeed, another human essence than self.

The other human essence than the self, post-patriarchal as it is post-historical, is presumably that which is materialized on the timeline or dashboard, the wholly external distribution of sensibility and affect Grant Morrison foresaw as the MeMePLEX at the end of The Invisibles around the same time Carson was writing her most notable works, as explained in a footnote to an essay:

In the narrative of The Invisibles, this transcendence of the individual paves the way to what is termed the MeMePLEX, defined as “access to multiple self-images and potentials, a menu selection of faces, contradictory personas … or multiple personality disorder as a lifestyle option”

What kind of a rotten bastard am I that I am still capable of mourning what this displaced? Sure, I'm a man, more or less—but am I wrong?

[ofsvnlightt]

Was that [SOFIA CARSON]? Oh no no, that was just [LAUDNA], a [CANON CHARACTER] from [CRITICAL ROLE CAMPAIGN 3]. They are [~57/LOOKS 20] years old, use [SHE/HER],  and [ARE] aware that they are not actually from Washington DC. Too bad they can’t stray from this city for long. 

How long has your character been here: just arrived 

Job: unemployed

Where has your character been pulled from in their fandom: episode 51 when the group gets separated.

Has magic affected your character: yes and no. she has memories up to episode 51 when bells hells gets separated, but after seeing what the other group got up to, ep 59 finally checked in on laudna, ashton and orym. so laudna has no recollection of 59 onward. (campaign 3 is currently only has 59 eps)

Anything else? as far as campaign 3 is concerned, no. but as for laudna's backstory, she actually is quite tied to vox machina and whitestone. aside from just being from whitestone, she was on of the "examples" - the warning - set for vm by the briarwoods. one of the seven people strung upon the sun tree for not just the entire town to see, but vm once they arrived. later in vm's story, they defeat the briarwoods but a little bit of delilah somehow remains. her essence, for lack of a better word, found it's way to laudna and now she lives in this in-between state. not really alive, but not dead either. it's been over 30 years since that dreadful night, but she will forever be 20, unaging.

here's her wiki if you want to read more

she's the one in blue (in the tree) - 4th from the left

[mercuranyc]

BTS Gilded Glam @glamourbulgaria Glamour Magazine 11/24 Elena Kulli wears Mercura Baroque Sunglasses styled by LSC photographer- Jarrelle Lee @jarrellelee

Model - Elena Kulli @elenakulli

Makeup Artist- Yvette Rosas @muyvette

Hair Stylist- Ashlee Norman @ashleenorman

Fashion Stylist & Creative Direction - Lisa Smith Craig @lscstyling @wemergenetwork

Style Team - Essence Carson @essencecarson

BTS Photography- Ivanna Osipovich @ivannaos

on line https://glamour.bg/moda/gilded-glam-editorial

@maison.de_hoe dress

@mercuranyc @mercuraart glasses

@deliguoro necklace

@alexisbittar earrings