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lostysworld · 3 years

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My dar(k)ling – The Darkling x reader

Part 1

Masterlist

Pairing: The Darkling x reader

Warnings: none in this chapter

Summary: You are a witch of old, who General Kirigan brings to the Little Palace to your greatest displeasure after his another attempt to find Morozova's stag. Despite your murderous behavior you are trying to find your place in the Palace's life. And maybe in the Darkling's heart.

Chapter summary: The first chapter, when you meet Genya Safin, and decide, that maybe it's not that bad in the Little Palace.

A/N: I don't now, actually, if should go on with this work, but I hope you'll like it, guys :D

For almost a week you spent in this carriage, that should deliver you to the Little Palace along with the general. The only thing you didn't know, is what for. For being a royal lap dog?

– Don't make that face.

You switch your grim gaze on the man on the opposite seat, who looks much more content than you. After six days of being watched constantly by him and his guard, you lost this feeling of privacy and security, that you was gathering while living alone in the forest hut.

– Maybe you want to leave me here and continue without seeing that face, general.

You are acting quite bold, giving that you are not grisha, which means, he's not your general.

– Gladly. You smell like a horse, - you roll your eyes.

– I wonder why?

The man switches his glance on you, smirking silently. Whatever rude you tell him, he seems to enjoy this short interactions. For the whole time you literally didn't say a word to him before this moment.

Kirigan sighs and leans towards you slightly, that makes you press into the back of carriage.

– Listen, Y/N. If you want it or not, but you'll be safer in the Palace amongst others. And tomorrow you will be called before the king.

– What for? - the anger slowly starts to overhelm. – I am no use for you in the war. You'd better leave me be.

– I just want every grisha to be safe in the one place.

– I'm not a grisha, - you slowly scan his smirking face. – Actually, I am much more better.

– Than it will be awful to abandon your talents then.

Abandon. Unbelievable. You spent fifty years living in the forest all alone, and everything you had is practicing your powers.

– Besides, - the man speaks again. – I know one person in the Palace who can make you more presentable.

His smirk starts slowly driving you mad. Your ancestors were powerful ageless witches, and now you are trapped in a box with a man who seems to have a God complex. And if everyone around you is charmed by him, you are definitely not.

You look behind the curtain and see the gates of the palace becoming closer.

– And you look good for fifty years of-

– Fifty six, - you cut him off, watching this interested sparkle in his eyes. – I can say the same about you, general.

His smirk drops and he clenches his jaw.

– What do you mean?

There is no way you can know the truth about him. You playfully wave your hand.

– You know, rumours...

– Rumours? In the woods? - he arches a brow in angry tension.

And then the carriage stops, and the next moment Ivan, one of Kirigan's heartrenders opens the door for them.

You shrug your shoulders, observing the man's body slowly relaxes. He makes his way out of the carriage, extending his hand for you.

This gesture is ignored, as you step on the ground finally. And now you see the Palace.

– It looks...nice.

– Nice?

The general arches his brows in surprise. Not that he wants to impress you, but after a lonely ruined hut, the palace should be a kind of miracle for you. The building is enormous, and the facade is really amazing, but you'll never admit it out loud to him.

– You should see the Grand Palace then, - you cast a glance toward Kirigan.

– I'm sure, it's nice too.

Giving up a short laughter, he finally leads you to the entrance.

Your room is huge, just...huge. After that tiny place you were living in, it feels like too much space for you only.

You can't get to the bed, when a group of people comes in. Well, too much people for you here as well.

– Saints, you look horrible!

It is a young woman with fiery auburn hair, who is hovering above you and scanning with curious glance. The way she looks mesmerizes you, as you can't take off the glance from her face.

Several girls in white uniform stand right behind her.

– But not as horrible, as I expected.

– Oh, thank you. Is everyone so polite here as well?

You raise a brow at her, seeing her eyes narrowing. It is strange for you, but her glance makes you feel secure. Like she knows everything and her confidence slowly switches on you.

– Genya Safin. I am a tailor, - the girl cocks her head, looking at your clothes.

– Y/N Y/L/N. I am not.

The girl in front of her chuckles.

– I've heard. You are not a grisha, right?

– Is that the thing, that everyone is discussing now?

Genya waves her hand at the nearest girl, and murmurs something to her, dismissing others.

After a moment you two are alone in the room. Without a word Genya starts unbraiding your long hair, when accidentally stops, that draws your attention.

– What's this? - her abashed voice makes her nervous.

– What?

– Your hair is...scorched.

Your hair is thick naturally, but their length is uneven and tips are thin and whitish.

You greet your teeth, turning back from her.

– Don't pay attention, just do what you wanted, - the girl comes out of your back standing directy in front of you. From the expression on her face you realize, she won't stop asking.

– What happened with your hair?

– Oh, and for as long as it's not my life, you're interested? - you chucke lightly, but she's still staring. – What? I am a wicked witch. Am I not supposed to have, I don't know...dark secrets?

Your sarcasm doesn't stop her.

– A forest witch.

– Excuse me? - you look at her in surprise, when a girl in white appears once again, carrying the clothes. After that she leaves them again.

– A forest witch. They call you like this.

God. You just want to come back home without a crowd of people, rumours and other magical stuff. Not your magical stuff.

– Perfect. Just perfect.

Genya smiles at you and heads to the bed, where several costumes lay. When the young woman shows you a white kefta, you slightly wince.

Decades of living alone didn't make you wild, moody or sacractic, but actually social awkward and your sarcasm is most of defense.

You know Genya wants you to look perfect, but the kefta seems so tight and uncomfortable, unlike clothes, that you used to wear.

– Maybe it's just pants and a shirt? - you look at her in slight hope, that the girl will agree.

– Maybe you'll listen to me, Y/N.

Your groan makes her smile, and then you smile back. You feel her. There is no light energy around this girl, but it feels like one. Genya is so natural and soft, that you instantly like her. Well, you at least have a company now.

Not to mention General Kirigan.

You slightly wince at the memories of him. Unlike Genya, he has something strange inside. He was the one, who could be mentioned, when you told about dark secrets.

– What about General Kirigan?

These words slip so easily from you, that you can't get to hold them back. Genya only turns to you, casting an interested look.

– What about him?

– Tell me something.

That time with him didn't tell you much about the man, as he kept himself closed from anyone.

– He brought you here against your will? - Genya makes herself busy with your hair. You try to shake your head and not to distract her.

– He was looking for Morozova's stag, which is hardly can be found in the place, where I lived, - the memories slowly show up in front of youe inner sight. – I was alone, and really didn't care much.

– Did he know, you were not a grisha?

– He didn't, but he learned. As soon as I told him, he offered me to go with him. To the place, where I would be safe, - you hesitate for a second, and a smirk lights up your face. – Not that I was in strong need of rescuing.

The woman smirks and comes back to the costumes.

– Kirigan is better, that he may seem, Y/N. That's for sure, - you turn your gaze to the window, when Genya touches your shoulder. – How about this?

You see a white long dress with golden embroidery, that is surely not a comfortable one, giving that you used to wear pants.

Genya just can't hold her laughter back, seeing you hiding your face in the palms, moaning.

#shadow and bone fanfiction #shadow and bone fanfic #shadow and bone x reader #shadow and bone #shadow and bone imagine #shadow and bone x you #the darkling #the darkling imagine #the darkling fanfiction #the darkling fanfic #the darkling x reader #the darkling x you

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justforbooks · 4 years

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Fifty Great Classic Novels Under 200 Pages

We are now end of February, which is technically the shortest month, but is also the one that—for me, anyway—feels the longest. Especially this year, for all of the reasons that you already know. At this point, if you keep monthly reading goals, even vague ones, you may be looking for few a good, short novels to knock out in an afternoon or two. So now I must turn my attention to my favorite short classics—which represent the quickest and cheapest way, I can tell you in my salesman voice, to become “well-read.”

A few notes: This list will define “classic” as being originally published before 1970. Yes, these distinctions are somewhat arbitrary, but one has to draw the line somewhere (though I let myself fudge on translation dates). I did not differentiate between novels and novellas (as Steven Millhauser would tell you, the novella is not a form at all, but merely a length), but let’s be honest with ourselves: “The Dead” is a short story, and so is “The Metamorphosis.” Sorry! I limited myself to one book by each author, valiantly, I should say, because I was tempted to cheat (looking at you Jean Rhys).

Most importantly for our purposes here: lengths vary with editions, sometimes wildly. I did not include a book below unless I could find that it had been published at least once in fewer than 200 pages—which means that some excellent novels, despite coming tantalizingly close to the magic number, had to be left off for want of proof (see Mrs. Dalloway, Black No More, Slaughterhouse-Five, etc. etc. etc.). However, your personal edition might not exactly match the number I have listed here. Don’t worry: it’ll still be short.

Finally, as always: “best” lists are subjective, no ranking is definitive, and I’ve certainly forgotten, or never read, or run out of space for plenty of books and writers here. And admittedly, the annoying constraints of this list make it more heavily populated by white and male writers than I would have liked. Therefore, please add on at will in the comments. After all, these days, I’m always looking for something old to read.

Adolfo Bioy Casares, tr. Ruth L.C. Simms, The Invention of Morel (1940) : 103 pages

Both Jorge Luis Borges and Octavio Paz described this novel as perfect, and I admit I can’t find much fault with it either. It is technically about a fugitive whose stay on a mysterious island is disturbed by a gang of tourists, but actually it’s about the nature of reality and our relationship to it, told in the most hypnotizing, surrealist style. A good anti-beach read, if you plan that far ahead.

John Steinbeck, Of Mice and Men (1937) : 107 pages

Everybody’s gateway Steinbeck is surprisingly moving, even when you revisit it as an adult. Plus, if nothing else, it has given my household the extremely useful verb “to Lenny.”

George Orwell, Animal Farm (1945) : 112 pages

If we didn’t keep putting it on lists, how would future little children of America learn what an allegory is? This is a public service, you see.

Sir Arthur Conan Doyle, The Hound of the Baskervilles (1902) : 112 pages

A people-pleaser, in more ways than one: Sherlock Holmes, after all, had been dead for years when his creator finally bent to public demand (and more importantly, the demand of his wallet) and brought him back, in this satisfying and much-beloved tale of curses and hell-beasts and, of course, deductions.

James M. Cain, The Postman Always Rings Twice (1933) : 112 pages

A 20th century classic, and still one of the best, most important, and most interesting crime novels in the canon. Fun fact: Cain had originally wanted to call it Bar-B-Q.

Nella Larsen, Passing (1929) : 122 pages

One of the landmarks of the Harlem Renaissance, about not only race but also gender and class—not to mention self-invention, perception, capitalism, motherhood and friendship—made indelible by what Darryl Pinckney called “a deep fatalism at the core.”

Albert Camus, tr. Matthew Ward, The Stranger (1942) : 123 pages

I had a small obsession with this book as a moody teen, and I still think of it with extreme fondness. Is it the thinking person’s Catcher in the Rye? Who can say. But Camus himself put it this way, writing in 1955: “I summarized The Stranger a long time ago, with a remark I admit was highly paradoxical: “In our society any man who does not weep at his mother’s funeral runs the risk of being sentenced to death.” I only meant that the hero of my book is condemned because he does not play the game.”

Juan Rulfo, tr. Margaret Sayers Peden, Pedro Páramo (1955) : 128 pages

The strange, fragmented ghost story that famously paved the way for One Hundred Years of Solitude (according to Gabriel García Márquez himself), but is an enigmatic masterpiece in its own right.

Italo Calvino, tr. Archibald Colquhoun, The Cloven Viscount (1959) : 128 pages

This isn’t my favorite Calvino, but you know what they say: all Calvino is good Calvino (also, I forgot him on the contemporary list, so I’m making up for it slightly here). The companion volume to The Nonexistent Knight and The Baron in the Trees concerns a Viscount who is clocked by a cannonball and split into two halves: his good side and his bad side. They end up in a duel over their wife, of course—just like in that episode of Buffy. But turns out that double the Viscounts doesn’t translate to double the pages.

Kate Chopin, The Awakening (1899) : 128 pages

I know, I know, but honestly, this book, which is frequently taught in American schools as an example of early feminist literature, is still kind of edgy—more than 120 years later, and it’s still taboo for a woman to put herself and her own desires above her children. Whom among us has not wanted to smash a symbolic glass vase into the hearth?

Leo Tolstoy, tr. Richard Pevear and Larissa Volokhonsky, The Death of Ivan Ilyich (1886) : 128 pages

Another classic—Tolstoy can do it all, long and short—particularly beloved by the famously difficult-to-impress Nabokov, who described it as “Tolstoy’s most artistic, most perfect, and most sophisticated achievement,” and explained the thrust of it this way: “The Tolstoyan formula is: Ivan lived a bad life and since the bad life is nothing but the death of the soul, then Ivan lived a living death; and since beyond death is God’s living light, then Ivan died into a new life—Life with a capital L.”

Richard Brautigan, In Watermelon Sugar (1968) : 138 pages

Brautigan’s wacky post-apocalyptic novel concerns a bunch of people living in a commune called iDEATH. (Which, um, relatable.) The landscape is groovy and the tigers do math, and the titular watermelon sugar seems to be the raw material for everything from homes to clothes. “Wherever you are, we must do the best we can. It is so far to travel, and we have nothing here to travel, except watermelon sugar. I hope this works out.” It’s all nonsense, of course, but it feels so good.

James Weldon Johnson, The Autobiography of an Ex-Colored Man (1912) : 140 pages

Another early novel on the subject of passing—originally published in 1912, then again under Johnson’s name in 1927—this one presented as an “autobiography” written by a Black man living as white, but uneasily, considering himself a failure, feeling until the end the grief of giving up his heritage and all the pain and joy that came with it.

Thomas Mann, tr. Michael Henry Heim, Death in Venice (1912) : 142 pages

What it says on the tin—a story as doomed as Venice itself, but also a queer and philosophical mini-masterpiece. The year before the book’s publication, Mann wrote to a friend: “I am in the midst of work: a really strange thing I brought with me from Venice, a novella, serious and pure in tone, concerning a case of pederasty in an aging artist. You say, ‘Hum, hum!’ but it is quite respectable.” Indeed.

Shirley Jackson, We Have Always Lived in the Castle (1962) : 146 pages

If you’re reading this space, you probably already know how much we love this book at Literary Hub. After that excellent opening paragraph, it only gets better.

Christopher Isherwood, A Single Man (1964) : 152 pages

Isherwood’s miniature, jewel-like masterpiece takes place over a single day in the life of a middle-aged English expat (who shares a few qualities with Isherwood himself), a professor living uneasily in California after the unexpected death of his partner. An utterly absorbing and deeply pleasurable novel.

Fyodor Dostoevsky, tr. Richard Pevear and Larissa Volokhonsky, Notes from Underground (1864) : 154 pages

Probably the best rant ever passed off as literature. Dostoevsky's first masterpiece has been wildly influential in the development of existential and dystopian storytelling of all kinds, not to mention in the development of my own high school misanthropy. Maybe yours, too? “It was all from ENNUI, gentlemen, all from ENNUI; inertia overcame me . . .” Actually, now I’m thinking that it might be a good book to re-read in pandemic isolation.

Anna Kavan, Ice (1967) : 158 pages

The narrator of this strange and terrifying novel obsessively pursues a young woman through an icy apocalypse. You might call it a fever dream if it didn’t feel so . . . cold. Reading it, wrote Jon Michaud on its 50th anniversary, is “a disorienting and at times emotionally draining experience, not least because, these days, one might become convinced that Kavan had seen the future.” Help.

Jean Toomer, Cane (1923) : 158 pages

Toomer’s experimental, multi-disciplinary novel, now a modernist classic, is presented as a series of vignettes, poems, and swaths of dialogue—but to be honest, all of it reads like poetry. Though its initial reception was uncertain, it has become one of the most iconic and influential works of 1920s American literature.

J.G. Ballard, The Drowned World (1962) : 158 pages

Only in a Ballard novel can climate change make you actually become insane—and only a Ballard novel could still feel so sticky and hot in my brain, years after I read it in a single afternoon.

Knut Hamsun, tr. Sverre Lyngstad, Hunger (1890) : 158 pages

The Nobel Prize winner’s first novel is, as Hamsun himself put it, “an attempt to describe the strange, peculiar life of the mind, the mysteries of the nerves in a starving body.” An modernist psychological horror novel that is notoriously difficult, despite its length, but also notoriously worth it.

James Baldwin, Giovanni’s Room (1956) : 159 pages

Still my favorite Baldwin, and one of the most convincing love stories of any kind ever written, about which there is too much to say: it is a must-read among must-reads.

Willa Cather, O Pioneers! (1913) : 159 pages

A mythic, proto-feminist frontier novel about a young Swedish immigrant making a home for herself in Nebraska, with an unbearably cool and modern title (in my opinion).

Françoise Sagan, tr. Irene Ash, Bonjour Tristesse (1955) : 160 pages

Sagan’s famously scandalous novel of youthful hedonism, published (also famously) when Sagan was just 19 herself, is much more psychologically nuanced than widely credited. As Rachel Cusk wrote, it is not just a sexy French novel, but also “a masterly portrait that can be read as a critique of family life, the treatment of children and the psychic consequences of different forms of upbringing.” It is a novel concerned not only with morals or their lack, but with the very nature of morality itself.

Herman Melville, Billy Budd, Sailor (1924) : 160 pages

Bartleby may be more iconic (and more fun), but Billy Budd is operating on a grander scale, unfinished as it may be.

Thomas Pynchon, The Crying of Lot 49 (1966) : 160 pages

Everyone’s gateway to Pynchon, and also everyone’s gateway to slapstick postmodernism. Either you love it or you hate it!

Franz Kafka, tr. Willa and Edwin Muir, The Trial (1925) : 160 pages

Required reading for anyone who uses the term “Kafkaesque”—but don’t forget that Kafka himself would burst out laughing when he read bits of the novel out loud to his friends. Do with that what you will.

Kenzaburo Oe, tr. John Nathan, A Personal Matter (1968) : 165 pages

Whew. This book is a lot: absolutely gorgeous and supremely painful, and probably the Nobel Prize winner’s most important.

Djuna Barnes, Nightwood (1936) : 170 pages

In his preface to the first edition, T.S. Eliot praised “the great achievement of a style, the beauty of phrasing, the brilliance of wit and characterisation, and a quality of horror and doom very nearly related to that of Elizabethan tragedy.” It is also a glittering modernist masterpiece, and one of the first novels of the 20th century to explicitly portray a lesbian relationship.

Yasunari Kawabata, tr. Edward G. Seidensticker, Snow Country (1937) : 175 pages

A story of doomed love spun out in a series of indelible, frozen images—both beautiful and essentially suspicious of beauty—by a Nobel Prize winner.

Jean Rhys, Wide Sargasso Sea (1966) : 176 pages

This novel, Rhys’s famous riposte to one of the worst love interests in literary history, tells the story of Mr. Rochester from the point of view of the “madwoman in the attic.” See also: Good Morning, Midnight (1939), which is claustrophobic, miserable, pointless, and damn fine reading.

George Eliot, Silas Marner (1861) : 176 pages

Like Middlemarch, Silas Marner is exquisitely written and ecstatically boring. Unlike Middlemarch, it is quite short.

Muriel Spark, The Girls of Slender Means (1963) : 176 pages

The girls of Spark’s novel live in the May of Teck Club, disturbed but not destroyed by WWII—both the Club, that is, and the girls. “Their slenderness lies not so much in their means,” Carol Shields wrote in an appreciation of the book, “as in their half-perceived notions about what their lives will become and their overestimation of their power in the world. They are fearless and frightened at the same time, as only the very young can be, and they are as heartless in spirit as they are merry in mode.” Can’t go wrong with Muriel Spark.

Robert Walser, tr. Christopher Middleton, Jakob von Gunten (1969) : 176 pages

Walser is a writer’s writer, a painfully underrated genius; this novel, in which a privileged youth runs off to enroll at a surrealist school for servants, may be his best.

Truman Capote, Breakfast at Tiffany’s (1958) : 179 pages

Read for proof that Holly Golightly was meant to be a Marilyn.

Chinua Achebe, Things Fall Apart (1958) : 181 pages

A powerful, clear-eyed, and haunting novel, which at the time of its publication was transgressive in its centering of African characters in all their humanity and complexity, and which paved the way for thousands of writers all over the world in the years to follow.

Leonard Gardner, Fat City (1969) : 183 pages

Universally acknowledged as the best boxing novel ever written, but so much more than that: at its core, it’s a masterpiece about that secret likelihood of life, if not of literature: never achieving your dreams.

N. Scott Momaday, House Made of Dawn (1968) : 185 pages

House Made of Dawn, Momaday’s first novel, was awarded the Pulitzer Prize and is often credited with ushering in the Native American Renaissance. Intricate, romantic, and lush, it is at its core about the creaking dissonance of two incompatible worlds existing in the same place (both literally and metaphysically) at the same time.

Chester Himes, If He Hollers Let Him Go (1945) : 186 pages

Himes’ first novel spans four days in the life of a Californian named Bob Jones, whose every step is dogged by racism. Walter Mosely called Himes, who is also renowned for his detective fiction, a “quirky American genius,” and also “one of the most important American writers of the 20th century.” If He Hollers Let Him Go, while not technically a detective story, is “firmly located in the same Los Angeles noir tradition as The Big Sleep and Devil in a Blue Dress,” Nathan Jefferson has written. “Himes takes the familiar mechanics of these novels—drinking, driving from one end of Los Angeles to another in search of answers, a life under constant threats of danger—and filters them through the lens of a black man lacking any agency and control over his own life, producing something darker and more oppressive than the traditional pulp detective’s story.”

F. Scott Fitzgerald, The Great Gatsby (1925) : 189 pages

All my life I have wanted to scoff at The Great Gatsby. Usually, things that are universally adored are bad, or at least mediocre. But every time I reread it, I remember: impossibly, annoyingly, it is as good as they say.

Vladimir Nabokov, Pnin (1957) : 190 pages

Still one of my favorite campus novels, and short enough to read in between classes.

Charles Portis, Norwood (1966) : 190 pages

Portis has gotten a lot of (well-deserved) attention in recent years for True Grit, but his first novel, Norwood, is almost as good, a comic masterpiece about a young man traipsing across a surreal America to lay his hands on $70.

Philip K. Dick, Ubik (1969) : 191 pages

Do Androids Dream of Electric Sheep? and A Scanner Darkly have more mainstream name recognition (thank you Hollywood) but Ubik is Dick’s masterpiece, filled to the brim with psychics and anti-psis, dead wives half-saved in cold-pac, and disruptions to time and reality that can be countered by an aerosol you get at the drugstore. Sometimes, anyway.

Clarice Lispector, tr. Alison Entrekin, Near to the Wild Heart (1943) : 192 pages

Lispector’s debut novel, first published in Brazil when she was only 19, is still my favorite of hers: fearless, sharp-edged, and brilliant, a window into one of the most interesting narrators in literature.

Anthony Burgess, A Clockwork Orange (1962) : 192 pages

This novel is probably more famous these days for the Kubrick film, but despite the often gruesome content, the original text is worth a read for the language alone.

Barbara Comyns, Who Was Changed and Who Was Dead (1954) : 193 pages

Comyns is a criminally under-read genius, though she’s been getting at least a small taste of the attention she deserves in recent years due to reissues by NYRB and Dorothy. This one is my favorite, permeated, as Brian Evenson puts it in the introduction of my copy, with marvelousness, “a kind of hybrid of the pastoral and the naturalistic, an idyllic text about what it’s like to grow up next to a river, a text that also just happens to contain some pretty shocking and sad disasters.” Which is putting it rather mildly indeed.

Zora Neale Hurston, Their Eyes Were Watching God (1937) : 194 pages

In 194 pages, Janie goes through more husbands than most literary heroines can manage in twice as many (and finds herself in equally short order).

Edith Wharton, Ethan Frome (1911) : 195 pages

To be honest with you, though it has been variously hailed as a masterpiece, I find Ethan Frome to be lesser Wharton—but even lesser Wharton is better than a lot of people’s best.

Joan Lindsay, Picnic at Hanging Rock (1967) : 198 pages

The mood this novel—of disappeared teens and Australian landscape and uncertainty—lingers much longer than the actual reading time.

Angela Carter, The Magic Toyshop (1967) : 200 pages

“The summer she was fifteen,” Carter’s second novel begins, “Melanie discovered she was made of flesh and blood.” It is that year that she is uprooted from her home in London to the wilds of America, and it is that year she comes to term with herself. “It is often the magical, fabular aspects of Carter’s stories that people focus on, but in The Magic Toyshop I responded to the way she blended this with a clear-eyed realism about what it was to live in a female body,” Evie Wyld wrote in her ode to this novel. “In a novel so brilliantly conjured from splayed toothbrush heads, mustard-and-cress sandwiches and prawn shells, bread loaves and cutlery, brickwork and yellow household soap, the female body is both one more familiar object and at the same time something strange and troubling.”

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taunuswolf · 3 years

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MEINE VORBILDER, IDOLE, HELDEN ODER MENSCHEN, DIE ICH SEHR SCHÄTZE

Natürlich ist diese Liste nicht vollständig. Sicherlich könnte ich sie um viele Persönlichkeiten erweitern. Besonders bei Künstlern, Schriftstellern, Musikern und Schauspielern kämen sicherlich noch viel mehr bewundernswerte Menschen zusammen, die mein Leben mitbegleitet haben. Bei den eher unbekannten Namen habe ich die Funktion in Klammern daneben geschrieben. Einige Namen sind Legendengestalten oder biblische Figuren, zum Beispiel Heilige (HL). Menschen, die ich zum Beispiel während meiner Zeit als Redakteur oder anderwärtig persönlich kennen gelernt habe, sind zum Beispiel auf der Tumblr-Seite fett gekennzeichnet. Unter der Rubrik (Vormärz) versteht man die frühen Akteure der Demokratiebewegung, die leider nicht zum Zug kamen und stattdessen einem autokratischen System weichen mussten, die als Pseudodemokratie bis heute anhält. Im Klartext: Deutschland verträgt keine echte Opposition.

A: Jeanne d´Arc, Hannah Arendt, Ernst Moritz Arndt, Bettine von Arnim, AC/DC, Johann Valentin Andreae (Rosenkreuzer), Alexandra (Sängerin), König Arthus, Adele, Hirsi Ali, Charles Aznavour,

B: Hugo Ball (Schriftsteller), Marianne Bachmeier (Mutter Courage), Sebastian Bach, Gottfried von Bouillon (Kreuzritter), Friedrich Barbarossa, Clemens von Brentano (Dichter), G.L. von Blücher, F.W. von Bülow (Preußische Generäle der Befreiungskriege), Hildegard von Bingen, Beatles, Carl Ludwig Börne (1848ziger), Robert Blum (1848-Rebell), Ludwig van Beethoven, Arnold Böcklin, Max Brodt, David Bowie, Thomas Bernhard, Wilhelm Busch, James Baldwin, M. A. Bakunin (Anarchist), Boetius (Philosoph), Buena vista social Club, Josef Beuys, Samuel Beckett, Sebastian Brandt (Humanist)

C: Cicero, Paul Celan, Carl von Clausewitz (Oberst Befreiungskriege), Leonard Cohen, M. Caravaggio, John Cassavetes (Regis.), Karl August von Cohausen (Archäologe), Charlotte Corday (Rebellin 1790), Robert Crumb, Eric Clapton, Lowis Corinth, Joe Cocker, N.S. Chruschtschow, Sean Connery.

D: Denis Diderot (Aufklärer), Albrecht Dürer, Bob Dylan, Carl Theodor von Dalberg (Aufklärer), Dante, Dido (Sängerin), Alexander Dubcek, Doors,

E: Max Ernst, Hl. Elisabeth, Enya, Eisbrecher (Band), Michael Ende, Umberto Ecco, Joseph von Eichendorff,

F: Gottfried Fichte, Ernst Fuchs, Friedrich der Große, Georg Forster, Caspar David Friedrich, Fleetwood Mac,

G: Theo van Gogh, Franzisko de Goya, Gottfried Grabbe, Che Guevara, Siddharta Gautama, Karoline von Günderode (Dichterin), Georges I. Gurdjief (Mystiker), Matthias Grünewald, Artemisia Gentileschi (Malerin), Gandalf, Brüder Grim, Grimmelshausen, Ralf Giordano (Journalist), Green Day (Band), Florian Geyer (Rebellenanführer), A.N. von Gneisenau (General Befreiungskriege), M.S. Gorbatschow.

H: Hagen, Hermann Hesse, Peter Handke, Hölderlin, Heinrich Heine, E.T.A. Hoffmann, Gottfried Herder, Friedrich Hecker (1848-Rebell), Händel, Villard de Honnecourt (Gotik-Baumeister), Michel Houellebecq, Homer, Herodot, Klaus Heuser (BAB), Gorge Harrison, Andreas Hofer, Johnny Hallyday (Franz. Sänger), Friedensreich Hundertwasser, Werner Herzog, Elmar Hörig (Kultmoderator), Ulrich von Hutten (Humanist), Victor Hugo, Harro Harring (Vormärz),

I: Jörg Immendorff, Henryk Ibsen, Isaias (Prophet),

J. Jesus, Johannes der Täufer, Johannes der Evangelist, Jeremia (Prophet), C.G. Jung (Psychologe), Jennies Joplin, Friedrich Ludwig Jahn (Turnvater)

K: Karl Kraus, Theodor Körner, Franz Kafka, Frida Kahlo, Gustav Klimt, Charlotte von Kalb (Muse), Lee Krasner (Künstlerin), Rainhard Karl (Bergsteiger), Peter Keuer (Grünen-Gründer), Alfred Kubin,

L: Lukas, John Lennon, David Lynch, Flake Lorenz, Andreas von Lichnowski (1848ziger), Cyprian Lelek (1848ziger), Georg C. Lichtenberg, Gotthold Ephraim Lessing, Lanzelot, M.V. Llosa (Schriftsteller), Annie Lenox, Königin Luise, Ludwig A.W. von Lützow (Befreiungskriege), M. Lafayette (Fr. Staatsmann und Aufklärer) Franz Liszt, Led Zeppelin, Hanns Lothar (Schauspieler)

M: HL. Maria, HL. Maria Magdalena, Marcus, Matthäus, Matthäus Merian, Maria Sybilla Merian, Amadeus Mozart, Bob Marley, Edward Munch, Claude Monet, Albertus Magnus (Scholastiker), Merlin, Alma Mahler-Werfel (Muse), Meister Eckard (Mystiker), Moody Blues.

N: HL. Nikolaus, Novalis, V. Nabokov (Schriftsteller), Ningen Isu (Band), Nirvana, Agrippa von Nettesheim (Alchimist), Hannah Nagel (Künstlerin),

O: Josef Maria Olbrich (Jugendstilbaumeister), Rudolf Otto (Religionswissenschaftler), Oomph (Band), Oasis, Mike Oldfield,

P: Platon, Plotin, Pythagoras (Philosophen), Jean Paul, Plinius, Parzival, Tom Petty, Daniel Powter, Procol Harum, Pink Floyd,

Q: Queen,

R: Peter Paul Rubens, Rembrandt, Josef Roth, Ramstein, Philipp Otto Runge, Ludwig Richter, Rio Reiser, Ritter Roland, Rainer Maria Rilke, Erasmus von Rotterdam, Eric Rohmer, Ulrich Roski (Sänger), Rolling Stones, R.E.M. Lou Reed, Chris Rea, Petra Roth (Ex-OB Frankfurt/M)

S: Johann III Sobieski (polnischer König), Sunzi (chinesischer Philosoph), August Schöltis (Schriftsteller), Lou von Salome (Muse), B. Smetanar, Carlos Santana, Sappho (Dichterin), Schopenhauer, Helmut Schäfer (Staatsminister im Auswärtigen Amt) Sokrates, Egon Schiele, Madame de Stael, August Strindberg, Richard Strauss, Philipp Jacob Siebenpfeiffer (Vormärz), Helmut Schmidt, Subway to Sally (Band), Karl Ludwig Sand (Vormärz)

T: B. Traven (Schriftsteller), A. P. Tschechov, Ivan Turgenjev, Ludwig Tieck (Romantiker), HL. Judas Thaddäus, Hermes Trismegistos (Philosoph), P.I. Tschaikowski, William Turner, Lars von Trier (Regisseur)

U: Peter Ustinov, Ludwig Uhland, Siegfried Unseld (Verleger),

V: Luchino Visconti, Leonardo da Vinci, Velvet Underground, Vitruv, Vercingetorix, Francois Villon (Dichter), Walter von der Vogelweide, Robert Vogelmann (Menschenrechtsaktivist)

W: Wim Wenders, Richard Wagner, Otto Wagner (Jugendstilbaumeister) Wagakki-Band, Sara Wagenknecht, Ludwig Wittgenstein (Philosoph), Georg August Wirth (Vormärz),

X: Xhol (Band)

Y: Neil Young, Yvonne (Aktivistin der Gegenöffentlichkeit)

Z: Heinrich Zille, Carl Zuckmayer, Frank Zappa,

#idole #bedeutende persönlichkleiten #Helden #vorbilder

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daisydevorak · 3 years

Note

Top 5... music artists?

Thanks for the ask! 🥺

Oo that's an interesting one! Since you specified music artists I'm gonna try not to focus on bands and more on individuals. I'm a huge fan of heavy metal so there might be some heavy metal vocalists in the list because I love their deep raspy voice 🥴

David Draiman, Disturbed singer, look this is my fav band and this man is a good man and I looooove his singing voice.

Mike Portnoy, former drummer of Avenged Sevenfold, he worked on the Nightmare album, which is probably my favorite alongside Hail to the king.

Herman Li, Dragonforce guitarist, look this man is a god, also he streams himself playing guitar now which is cool and interesting.

Ivan L. Moody, FFDP singer, I just love his voice I can't get enough of Five Finger Death Punch. I've heard the dude himself doesn't have a good reputation but I'm not one to run after gossips.

Lindsey Stirling, gosh I love her music it sounds soooo good

#Ask meme #Ask answered #Music #Mischief-maker-me

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earths-roots-grow-up · 4 years

Text

I have seen some Enneagram stuff lately and felt inspired to take a closer look and write down my headcanons, especially since I already did the MBTI16 for Russia and Prussia (tho now I think the Commander, ENTJ, would be better for Prussia than the Executive ESTJ):

Prussia - Eight. Protector. This is so perfect! He is a highly charismatic and inspirational leader type who can make others follow him into the depths of hell, but his passion, drive and ambition have a merciless, self-serving edge to them. He can become tyrannical quite easily and often is bossy. Mostly driven by the body, not the feelings, he's full of enthusiasm for achieving and becoming better - to him 'better' mostly means more powerful, and power is one of Eight’s main traits.

The core emotion here is anger that shows itself in Eight's tendency to become aggressive when things go badly.

Anger being the core emotion fits Prussia bc he has this habit of using staged shows of aggression/anger to scare others into obedience - they are very well-controlled outbursts that only seem unchecked. Interestingly, one of Eight's issues is controlling their anger. I HC that Prussia controls it well, he just likes using it. But yes, under all that discipline he perfected there lays a fiery temperament (especially visible in his younger crusading years, where he managed to make tons of enemies for the rest of his life, but it can bee seen here and there in his adult life too! Violent temperament hidden under layers of iron discipline if my flavor of Prussia )

The psychological defense of Eights is denial that is supposed to make them feel less vulnerable, which is spot on. Eight's life problem to solve is "integrating self-assertion with vulnerability" which is exactly the thing Prussia struggles for most of his life, if not ALL of his life, even today, as he perceives vulnerability as a form of weakness, so lowkey pathetic, but also dangerous. He needs to outgrow this mindset to evolve/create honest relationships but also deal with this ‘stronger eat the weak’ type of thinking he has going on, which makes him look down on those who are weaker.

The second one I like for him is Three - the Performer, due to their intense drive to achieve and being very goal oriented, all traits that I think are very-Prussia. He is also, like a Performer, very competitive, has an issue with vanity (he's just egoistical) and puts the onus on results.

Sill I think Eight fits better - it's not emotion-based the way Three is. Eight’s core seems to be anger, power and control, while Three's core seems to be results. Prussia LOVES results and being productive (that's why I gave him the Executive in MBTI16) - so they both fit, but Eight just has more elements in common with Pru’s whole psychological makeup.

Russia - Four. Romantic. I love this enneagram for him, because it shows one of my fav headcanons about Russia - his nature is very dual. He has mood swings, goes from a melancholic introvert who listens to sad songs and looks into the gloomy distance, to a very out there, crazy dude who can party, do crazy stuff with friends (think Russian Man Memes), is open, friendly and unashamed of his insane ideas. Kinda lacks criticism for them really, is almost hyper-maniacal sometimes.

Fours are describes as: "Fours tend to swing from contact to withdrawal, from having lots of feelings that spill out into the environment to becoming resigned and depressed." and "(their speaking style is) sometimes warm and feelingly, sometimes flat and dry; they tend to be subjective". - and to me this is PERFECT for Russia. Fours are also described as 'moody'.

Russia can go from being cold, dry and kinda intimidating, to being very welcoming, friendly and extroverted, to moody, melancholic and just kinda sad and weird. It depends on his mood, on the moon cycle, on the weather, but also very much on the context - who he is with. For people who don't know him close, he may seem like a withdrawn, cynical and pretty scary, freezing-cold man with little emotional expression and amazing poker face.

For those who know him better, he welcomes them jovially, tells funny stories during drinking, laughs loudly and comes up with insane ideas like: lets stage a photo shoot, you're gonna hang from the window in red underwear, I'm gonna point a gun at you! (yeah, it's a famous Russian meme, used to be at least)

Still, the Four's core is their tendency for melancholy and feeling like there is some mysterious MORE that they are missing from their life, and I think that's very-Ivan - he tends to look for this More in ideologies like Marxism/Leninism or in religion.

Another trait that is important to Fours is being original - tbh I don't think Russia cares about being perceived as original, but he does care about being authentic to himself, which is also a thing for Fours. Russia is a type of a visionary, and ideologist, and also highly spiritual. He is also very creative and can think out of the box, which is a big thing for Fours - his creativity and artsy-tendencies are a big part of his life and personality, so is his need for beauty and aesthetic things.

The only issue I have with those personality types (both Enneagram and MBTI16) is that I also Hedcanon that Russia is very ambitious and competetive - he did not take part in the Cold War as one of the Main Players by accident, nor is he such a big, influential country by accident. Russia is one of THE POWERS of the World and he got there because he was determined, ambitious and also merciless. He likes power! He wants a family, sure, but he wants to be in charge of that family. There is personality type that captures both all the stuff from above (artsy, creative, spiritual, moody, dual) and this darker part of him that makes him dangerous to others.

#aph russia #aph prussia #hetalia #Axis Powers Hetalia #ivan braginsky #gilbert beilschmidt #hetalia headcanons #hetalia enneagram #hetalia world series #hetalia axis powers #hws russia #hws prussia #I feel all of this is stuff I already said about those two characters #like a LOT #so I hope this does not feel to spammy or redundant to ppl who follow me?#if it does I need info ab it bc I'm never sure what reads as just reapating and spam #and what does not

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mrepstein · 5 years

Photo

Brian Epstein’s Address & Telephone Book

A small leather bound pocket address and telephone book that was owned and used by Brian Epstein. The book dates to 1967 and it consists of 57 pages of addresses and telephone number some of which are typed, some of which are in Epstein’s hand and some which have been added by hand on his behalf. // (click HERE to view more pages from the book)

The book contains a total of 404 entries - a selection of them are listed below:

ATV Ltd

ABC Television Ltd

AIR London Ltd.

Tom Arnold Ltd

Neil Aspinall

Artistes Car Hire

Annabels [nightclub]

Alexander’s Restaurant

Ashley Steiner Famous [talent agency]

Al Aronowitz

Atlantic Records

Eric Andersen

Bob Anthony

Bryce Hanmer & Co [accounting firm]

Bedford, Okrent & Co

BBC Television Centre

BBC Broadcasting House

Al Brodax

Cilla Black

Mr. & Mrs. Tony Barrow

Mr. & Mrs Don Black

Bryan Barrett

Jack Barclay Ltd [Bentley dealership]

Peter Brown

Mr. & Mrs. B. Bullough

Mr. & Mrs J. Bullough

Miss J. Balmer

Mr. &. Mrs. Ivan Bennett

Eric Burdon

Francisco Bermudez

Lionel Bart

David Bailey

Bag O’Nails

Tony Barlow

Ray Bartell

Rodney Barnes

Bruno One Restaurant

Sid Bernstein

Kenn Brodziak

Leonard Bernstein

Al Bennett

Beverly Hills Hotel

Brian Bedford

Scotty Bower

David Ballman

Bob Bonis

Bill Buist

Arthur Buist

Dr. Norman Cowan

Curzon House Club

Crockfords Club

Clermont Club

Cromwellian Club

Paddy Chambers

Radio Caroline

Michael Codron

Cap-Estel Le

Mr. & Mrs. J. Cassen

Columbia Pictures Ltd

Eric Clapton

Capitol Records Mexico

Michael Cooper

Roger Curtis

Neil Christian

Maureen Cleave

Thomas Clyde

Cash Box

CBS Records Ltd

Denny Cordell

William Cavendish

Caprice Restuarant

David Charkham

Capitol Records

Columbia Broadcasting System

Bob Crewe

May Cunnell

Car Hire Co. for Lincoln

Dr. Kenneth Chesky

Capitol Records (Voyle Gilmore)

Irving E. Chezar

Danny Cleary

Bobby Colomby

Bob Casper

Andre Cadet

Daily Express

Disc & Music Echo

Decca Records

Bernard Delfont Ltd

Bernard Delfont

Noel Dixon

Jimmy Douglas

Chris Denning

Simon Dee

Rik Dane

Dolly’s [nightclub]

Hunter Davies

Terry Doran

Pat Doncaster

Norrie Drummond

Alan David

John Dunbar

Peter Dalton

Kappy Ditson

Robert Dunlap

Robert L. David

Diana Dors

Ivor Davis

Tom Dawes

Brandon de Wilde

Don Danneman

Malcolm Evans

Clive J. Epstein

Mr. & Mrs. H. Epstein

EMI Records Ltd

EMI Studios

Geoffrey Ellis

Etoile Restaurant

Tim Ellis

Terry Eaton

Kenny Everett

John East

Bob Eubanks

Esther Edwards

Ahmet Ertegun

Alan Freeman

David Frost

Georgie Fame

Robert Fraser

Andre Fattacini

Dan Farson

Billy Fury

Barry Finch

Marianne Faithfull

Robert Fitzpatrick

Warren Frederikson

John Fisher

Danny Fields

Francis Fiorino

Dr. Geoffrey Gray

Hamish Grimes

Derek Grainger

Rik Gunnell

Rik Gunnell Agency Ltd

Derrick Goodman & Co.

Peter Goldman

Christopher Gibbs

David Garrick

Geoffrey Grant

Mick Green

John P. Greenside

Michael Gillet

General Artists Corp.

John Gillespie

Voyle Gilmore

George Greif

Ren Grevatt

Milton Goldman

M. Goldstein

Gary Grove

Henry Grossman

Mr. & Mrs. Berrell Hyman

Doreen Hyman

Mr. & Mrs. Basil J. Hyman

Mrs. A. Hyman

Steve Hardy

H. Huntsman & Son Ltd

Simon Hayes

Frankie Howerd

Henry Higgins

Chris Hutchins

Tony Howard

Wendy Hanson

Marty Himmel

Casper Halpern

John Heska

Ricky Heiman

Joe Hunter

Ty Hargrove

Hullabaloo.

Walter Hofer

M.A. Jacobs & Son

David Jacobs [lawyer]

Dick James Music Ltd

Mr. & Mrs. D. James

Mick Jagger

Brian Jones

Michael Jeffries

Drummond Jackson

David Jacobs [d.j.]

Brian Joyce

Gerry Justice

Gibson Kemp

Johnathan King

Mr. & Mrs Maurice Kinn

Kingsway Recording Studios

Ashley Kozac

Kafetz Camera Ltd.

Reg King

Andrew Koritsas

Ed Kenmore

Walker Kundzicz

John Kurland

Murray Kauffman

Larry Lamb

Martin Landau

Kit Lambert

Dick Lester

Mr. & Mrs. Vic Lewis

Tony Lynch

Radio London

Mike Leander

John Lyndon

Bernard Lee

Kenny Lynch

Denny Laine

Lomax Alliance

Ed Leffler

David G. Lowe

Richard W. Lean

Goddard Lieberson

Laurie Records

Liberty Records

London Records

Alan Livingston

Melody Maker

Peter Murray

Keith Moon

Mr. & Mrs. G. Martin

Mr. & Mrs. Brian Matthew

Midland Bank Limited

Vyvienne Moynihan

Gerry Marsden

Ian Moody

Michael McGrath

Cathy McGowan

Mr. & Mrs. J. McCartney

Albert Marrion

Robin Maughan

Peter Maddok

Gordon Mills

Brian McEwan

John Mendell Jnr.

Marshall Migatz

Fred Morrow

Chruch McLaine

Vincent Morrone

Jeffrey Martin Co.

Gavin Murrell

Dean Martin

Gordon B. McLendon

Sal Mineo

Scott Manley

Bernard Mavnitte

Verne Miller

John Neville

Joanne Newfield

Tommy Nutter

Francisco Neuner

Tatsuji Nagasima

New Musical Express

NEMS Enterprises Ltd

Graham Nash

Nemperor Artists Ltd

Louis Nizer

Bob Nauss

Gene Narmore

George H. Ornstein

Olympic Sound Studios

A. L. Oldham

Myles Osternak

Roy Onsborg

Col. Tom Parker

Jerry Pam

Plaza Hotel

PAN AM. rep

Bob Perlman

Allen Pohju

Robert H. Prech

John Pritchard

Prince Of Wales Theatre

Don Paul

Sean Phillips

Jon Pertwee

Ricki Pipe

Dr. D. A. Pond

David Puttnam

David Puttnam Associates

Tom Parr

Harry Pinsker

Kenneth Partridge

Larry Parnes

Priory Nursing Home

Viv Prince

Steve Paul

Radnor Arms [pub]

Leo Rost

Keith Richard

Record Mirror

Dolly Robertson-Ward

Charles Ross

Rules Restuarant

Marian Rainford

Bobby Roberts

Bill Rosado

Vic Singh

Speakeasy [club]

Simon and Marijke

Simon Shops

Judith Symons

Keith Skeel

Tony Sharman

Simon Scott

Barrie Summers

John Singleton

Squarciafichi

Don Short

Dr. Walter Strach

Walter Shenson

John Sandoe Ltd

Bobby Shafto

Harry South

Brian Sommerville

Robert Stigwood

David Shaw

Chris Stamp

Aaron Schroeder

Stephen, Jacques & Stephen [law firm]

Leo Sullivan

Gene Schwann

Herb Schlosser

Gary Smith

Jim Stewart [co-founder, Stax Records]

John Simon

Jerry N. Schatzberg

Lex Taylor

Robert Shoot

Lauren Stanton

St. Regis Hotel

Eric Spiros

Howard Soloman

Taft Limousine Corp

[Sidney] Traxler (lawyer)

T.W.A. Ken S. Fletcher [director, public relations, TWA]

Derek & Joan Taylor

T.W.A. (Victor Page)

Martin Tempest

Evelyn Taylor

Twickenham Studios

Kenneth Tynan

Alistair Taylor

F. T. Turner & Son Ltd.

R. S. Taylor

Michael Taylor

George Tempest

Norm Talbott

United Artists Corp Ltd

U.P.I.

Klaus & Christine Voormann

V.I.P. Travel Ltd

Mark Warman

Gary Walker

Robert Whitaker

Peter Watkins

Peter Weldon

Mrs. Freda Weldon

Alan Warren

Orson Welles

Sir David Webster

Alan Williams

Dennis Wiley

Terry Wilson

Nathan Weiss

Norman Weiss

Gerry Wexler

Murial Young

Bernice Young

Peter Zorcon

#Brian Epstein #handwriting #60s

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