#LM Publishers

[jurjenkvanderhoek]

KUNSTENAAR KLEURT EEN ZWARTE BLADZIJDE VAN DE VADERLANDSE GESCHIEDENIS

Keti Koti een gezicht geven. Letterlijk. Dat is de taak die kunstenaar Maartje Jaquet zichzelf heeft opgelegd. Met het boek ALA SMA TORI geeft zij daar vorm aan. Het boek is vooral een herschrijven van de geschiedenis. Want het slavernijverleden van het Koninkrijk der Nederlanden is een periode die doelbewust is vergeten. Weggestreept uit het collectieve geheugen. Deze zwarte bladzijde is uit de geschiedenisboeken gescheurd. Wel werd de kinderen op school onderwezen hoe best Nederland was, hoe tolerant en vooral christelijk. Maar niet dat dit zelfde Nederland, handelsgezind als het is, de aanzet heeft gegeven tot het doelbewust verschepen van talloze tot slaaf gemaakte mensen. Nergens in de vaderlandse geschiedenis is dat terug te vinden, althans tot voor kort. Maartje Jaquet probeert met haar boek dit gat te vullen, de zwarte bladzijde in te kleuren.

Keti Koti is Sranan Tongo, de Surinaamse taal, voor ‘de ketens zijn gebroken’. De ketenen waarmee de tot slaaf gemaakte mensen letterlijk aan hun eigenaren en elkaar vast zaten zijn doorgeknipt. De slavernij is onder druk door Nederland 160 jaar afgeschaft in Suriname en op de Caribische eilanden. De officiële datum dat dit plaats had is 1 juli 1863, maar nog tien jaar langer was er onder Staatstoezicht onbetaalde dwangarbeid. Dit jaar 2023 is daarom uitgeroepen tot Herdenkingsjaar Slavernijverleden. Maar al langer vieren de Surinamers en de mensen van de Caribische eilanden de Dag der Vrijheden.

logo Gertie Jaquet

Drie jaar geleden is Maartje Jaquet begonnen met het verbeelden van Keti Koti. Eerst op 1 juli 2020 tekende en schilderde zij portretten van voorbijgangers en feestvierders. Op de plek ging ze en plein air de mensen met pen en papier tekenen, nadat ze deze eerst om toestemming had gevraagd. Later maakte ze foto’s en werkte deze naderhand thuis uit in een schilderij. Op die manier heeft ze een groot aantal personen vereeuwigd. Deze portretten staan alle in het boek ALA SMA TORI, dat zoveel betekent als ‘verhalen van een ieder’. Want naast de portretten vertellen de afgebeelde figuren hun persoonlijke verhaal. In een gesprek met de kunstenaar laten zij openhartig weten wat Keti Koti voor hen betekent. Welke druk het slavernijverleden op de familie legt. Dat dit verleden nog na echoot in hun eigen dagelijks leven. En waarom ze de 1e juli jaarlijks als herdenkingsdag in Nederland willen zien, met een gelijke status als 4 en 5 mei.

De mensen in de verbeelde Keti Koti zijn alle onbekende figuren voor de meeste van de lezers van de uitgave, voor mij dus. Maar door de verhalen die ieder van hen in het boek heeft laten afdrukken krijgen zij een gezicht, letterlijk en figuurlijk. Het zijn overwegend emotionele verhalen, want dit stuk door ons vergeten historie is nog voortdurend levend bij hen. Jaquet beeldt hen in meerdere opzichten sprekend af. Ze weet met pen en waterverf de ziel van de mensen te treffen. Het is een groep mensen die breed lachend het leven inzien. Ondanks het trieste verleden dat hen nog altijd tekent. De families zijn feitelijk ontworteld. Die eeuwenoude roots liggen nog daar in het land van herkomst. Wreed werden de mensen ontheemd en weggevoerd naar onbekende streken. Verhandeld als beesten om voor een hongerloon zwaar werk te doen. Het staat niet met naam en toenaam in de geschiedenisboeken, maar toch is dat zo langzamerhand wel bekende informatie.

Het is een pijnlijke geschiedenis die Maartje Jaquet voor het voetlicht brengt. Op haar manier geeft ze hier aandacht aan, met haar kunst en door de verhalen uit de eerste hand. “Verhalen spelen een belangrijke rol in de overdracht van dat deel van de geschiedenis dat bij mij op school niet werd behandeld. (…) En, hoe confronterend en verdrietig de waarheid ook is, we moeten deze in de ogen kijken. Alleen dan kunnen we samen helen, en kunnen we samen verder.” In het boek kijkt de waarheid mij hoopvol aan. Wordt de waarheid luchthartig aan mij uit de doeken gedaan. Er spreekt optimisme uit de woorden en de beelden, kracht en doorzettingsvermogen. Een volharden om vrij te zijn. Het verbindt deze mensen, omdat ze een gezamenlijk verleden hebben. Zij zijn er omdat hun voorouders hebben overleefd.

Jaquet hoopt met dit boek een steen bij te dragen aan een open en gezamenlijke toekomst, Nederlanders en medelanders. Omdat, zo schrijft ze “wanneer we meer over elkaar weten, we naar elkaar luisteren, we elkaar beter kunnen begrijpen”. Om dit te realiseren heeft ze van ALA SMA TORI niet alleen een kijk- en leesboek gemaakt, maar dit ook zo opgesteld dat het als lesmateriaal op de basisschool in de bovenbouw en in het middelbaar onderwijs gebruikt kan worden. Daarnaast kan ermee gewerkt worden in buurthuizen en bij ouderenverenigingen. Het is breed inzetbaar om gesprekken en uitwisselingen tussen groepen aan te gaan. Een boek voor tieners, jongeren en volwassenen om erkenning en begrip voor de gevoelens die er leven te kweken.

De gekleurde bevolking in Amsterdam Zuidoost is in het boek aan het woord gelaten. Maar de kunstenaar vertelt ook ruimschoots over zichzelf en haar ervaring. Want, naast dat er een legio verhalen van anderen over Keti Koti gaan, is het toch zeker ook haar eigen beleving van en met het verleden, het heden en de toekomst van deze bevolkingsgroep. Het project is begonnen met de enkele portretten die ze drie jaar geleden maakte. In de jaren daarna heeft ze daar vele aan toegevoegd zoals hiervoor beschreven. En is Jaquet in gesprek gegaan met de mensen om meer achtergrond te krijgen. Daarnaast heeft ze van ieder van hen een uitspraak los gekregen, een soort van lijfspreuk, en deze op een lap stof geschreven.

Voor de inkt van het schrift gebruikte zij een grondstof die een persoonlijk belang en lading heeft, zoals tabak, koffie, paarse bramen en lijsterbessen, kurkuma, chocolade, sambal en tomatenpuree. Het maakproces van deze diverse brouwsels staat tevens afgebeeld in het boek. Verder maakte ze van de feestelijke herdenkingen veel foto’s en liet ze de geportretteerden oude en nieuwe foto’s uit de eigen familie inleveren. Al dit fotomateriaal naast de schilderijen en tekstdoeken maakt van de uitgave een kleurig geheel. Even kleurig als dat haar modellen in het leven staan. ALA SMA TORI, Keti Koti verbeeld, is een bijzonder project dat de zwarte bladzijde van de Nederlandse geschiedenis ruimschoots belicht. De nazaten van de tot slaaf gemaakte mensen in het stadsdeel Zuidoost worden ermee in het zonnetje gezet. Het is niet alleen een boek om de herdenking van de afschaffing van de slavernij levend te maken, maar ook een leerboek om het gat in de geschiedenis te vullen. Mede door dit boek kan niet meer hiervan worden weg gekeken. En door de excuses die zijn gemaakt is het onderdeel geworden van onze historie. Maartje Jaquet legt een kleurige steen in de Gran Rio en één in de Nederrijn, zodat het water daar nu andere lopen nemen dan deze voorheen deden.

ALA SMA TORI, Keti Koti Verbeeld. Door Maartje Jaquet. LM Publishers, 2023.

[syrupsyche]

On today's Les Mis Letters:

[brightriverstation]

Amethyst and pearl earrings

[psalm22-6]

An interesting letter from Paul Meurice and the rabbit holes it led me down

If you're bored and want something fun/french to read, consider reading the correspondence of Victor Hugo and Paul Meurice. You will find lots of interesting tidbits and really quite touching phrases. Here's a look at just one letter that caught my eye (the above portraits become semi-relevant later). So the letter is undated but contextually, it's from early June 1862. Hugo, in Guernsey, was in close communication with Meurice, in Paris, over the final corrections for Les Miserables and the publication of its last volume. Meurice writes:

Javert Derailed, The Death of Gavroche, The Grandfather, The Passion in the Sewer, the whole drama, the whole volume, the whole poem is splendid. My word! I must straightforwardly decline to express my enthusiasm to you. I would need to have your prodigious execution and your incredible form in order to explain the depths of my feelings. My emotions and my admiration are inexpressable. I can’t understand Barbey d’Aurevilly.* I’ll tell you simply: it is sublime! I cried! You are greater than anyone, greater than yourself!

*The phrase is "Je jette ma langue aux Barbets d Aurevilly." This gave me some trouble to translate. I figured that he is using the expression jeter sa langue au chien (which I gather means something like "I can't guess at",) but replacing chien with barbet, a type of dog that sounds like Barbey, and also possibly making some sort of pun about d'Aurevilly's distinctive barbe (aka beard)? I really thought he might be making a pun about Barbey's 'barbs' (as in cruel remarks, since his reviews were very negative) but it doesn't seem like 'barb' has that meaning at all in French.] Now bear in mind that in this next part, by "volume ten" he means the latter half of Jean Valjean, and by "these last four volumes," he means what we would call the last two, L'idylle rue Plumet, et l'epopee rue Saint-Denis and Jean Valjean

I have only read the first page of volume ten. We are very behind on the assembly, printing, and everything. Yet we will do everything so that it appears on the 30th.

And it was published the 30th! I don't remember rn what was causing the delays but it is surely mentioned in Bellos's book or in Leulliot's.

The effect and the success of these last four volumes will be immense. More irresistible and more unanimous than that of the other parts. Too irresistible and too unanimous from a certain point of view. It offends many people; some critics are cold, though they were well dispositioned before the book’s appearance. Don’t read into it, don’t hear things in these particular silences and particular reluctances: it can be felt, seen, and touched.

Fun to speculate about if Meurice was concerned about a particular person's silence (in which case, whose?) or if it was just in general. Hugo had expressed his frustration over the reception to both Vacquerie and even Jules Janin. I'd have to look over their correspondence again to see what Hugo said in particular to Meurice but he was surely aware of how Hugo felt. OKAY now on to the subject of the portraits, Meurice tacks on this aside at the end of the letter:

I am writing this to you in haste, having let myself run late. Do you remember a portrait of you, full-length, but young, made some time ago by Deveria? The painting is excellent but why! I never knew you like this…This portrait would have belonged to a M. le marquis de Valori! If it is truly your portrait, it’s very strange. You should remember it then. You are seated on a red damas couch. White pants, a small redingote. You are blond, thin, elegant. The person who has it wishes to sell it. She’s asking for 250 francs. Would it amuse you to have it? They’ll want your response at the end of the week.

Of course when I read this I want to know what image he is talking about. I first thought of the image on the left (scroll back up)...the image on the left is a black and white photo of what is presumed to be a portrait of Victor Hugo at age 16 (I say presumed because that is literally how it is described on Wikipedia) (sometimes it is just described as Hugo as an adolescent) by Achille Devéria (although apparently it has been disputed which Devéria painted it?). The original was, supposedly, at some time in the collection of Prime Minister of France Louis Barthou. Where is it now? Perhaps it is in the private collection of Ms Taylor. Can we get a color photo of it? No. Swift. So my mind went to this image because the subject is young, blond, possibly Victor Hugo, and possibly created by Devéria. However, it doesn't fit the rest of the description. Then @pilferingapples kindly made me aware of the portrait on the right. From what I have found online, this one is attribution to Paul Gavarni, although the websites making that attribution are pretty sketch. The portrait was supposedly at one time in the possession of M. le D. F. Jousseaume, a bookstore owner. Where is it now? Also unknown. (The provenance of both of these is kind of sketchy tbh. I checked three books about Hugo that I have which include images (Victor Hugo: A Tumultous Life by Samuel Edwards, Victor Hugo: A Biography by Graham Robb, and Victor Hugo: S'il n'en reste qu'un by Sophie Grossiord, a curator at the Maison Victor Hugo) and none of them include either of these images.) Whatever the case, the image on the right fits the description in almost every way: it is full length (en pied), the subject is young, thin, there's the red seat, white pants, wearing a coat, and he's "blond" by french standards apparently (and consider that this photo may be a bad representation of the portrait). I haven't seen that image attributed to Deveria but it's possible (or possible that Meurice would believe it's possible.) Then there's the question of provenance. Why did M. le marquis de Valori have it and who was the woman selling it? My guess is that the man in question was Henri-Zozime de Valori, a writer who knew Nodier and who died in 1859. He had published a collection called Odes choisies: précédées d'un discours sur la poésie et les poetes lyriques anciens et modernes which was reviewed (by "S.") in Le Conservateur littéraire so he may have been aquianted with Hugo some way?

Anyways, evidently, Hugo didn't want the portrait because he never responded to that part of Meurice's letter and it eventually came into the hands of the bookseller D. F. Jousseaume. And where is it now? No idea! Okay, the end.

[umarthiels]

surprise surprise, les mis letters has got me Thinking about Catholicism again!

[the-novel-approach-reviews]

Review: How We End by LM Juniper

Title: How We End Series: How We Survive: Book One Author: LM Juniper Publisher: Amazon/Kindle Unlimited Length: 343 Pages Category: Dystopian Horror, Post-Apocalyptic Urban Fantasy Rating: 5 Stars At a Glance: LM Juniper metes out the fear in a perfect contrast to the strong emotions that come with loss and a growing bond. I’ll cut straight to the chase: How We End is perfection for…

[cat-in-a-mech-suit]

Transmasculinity Throughout Time: Lou Alcott

Yes, you heard me. There is substantial evidence that the author of Little Women was in fact a transgender man! He actually didn’t go by the name that Little Women was published under, with family and friends he would go by Lou, Louy, or LM. His children called him “papa” and “father” and his father, Bronson Alcott, called him his son. He said in 1882, “I am more than half persuaded that I am a man’s soul, put by some freak of nature into a woman’s body.” As a child, he said in a journal, “I don’t care much for girls things. People think I’m wild and queer.” He would pass as a man at masked parties for fun, and delighted in people’s reactions. For his entire life, he expressed this identification as a man, and the character of Jo in Little Women was in part a self insert character based on this. So why don’t we hear about him as a trans man? Well, it’s just not convenient for most people to believe that a beloved book about girls becoming women was written by a man.

[dearestaeneas]

as someone who always forgets to repeat character names throughout their writing, writing relationships and interactions between characters who use the same pronouns is my Achilles Heel. every meme you see that’s like “what happened to him?” “he ate without watching youtube” or any variation of that? that’s me but forgetting to specify which pronouns refer to which person.

[daedelweiss]

let me be a little transparent to you guys~

my mental health atm is shit. ik i moved months ago but it still hasn't picked back up. i'm sailing through this without the help of a professional (yet) because i can't afford it, my OCD is going nuts, and moving out of a difficult household is rough. i won't get into details because i'd rather keep my personal private but my lack of resources has taken a toll on the production of Life Mission. ik i promised an update but i'm still not feeling great mentally and i want to produce and publish LM when i am in a better headspace. idk when it will be up again. i don't really want to call this a hiatus. it's just a matter of time until LM is back. i just don't know when.

but rest assured it will be back. we will see leo save his brothers. raph's arc is still in productuon. just be patient~ ❤️🧡💜💙✨️

•

if you want to support me and help me set up my office so i can be in a better space to work in, my ko-fi page is in the LM website (l!nked on my bio💖) my set up rn is not ideal for producing LM so setting up my office space would be a huge help~

•

( 🪴 please do NOT repost, edit, trace, use, and/or sell 🪴 )

[batrachised]

Did LMM have a good relationship with her husband? Was it a love match?

oh ho ho, this is a bit of a thorny question to answer!

The answer writ large is no - at least, LM Montgomery would not have us believe so. The picture she paints in her (notoriously unreliable!) journals is a rather miserable one. To be clear, there's no huge reason to doubt her when it comes to her marriage, if only because only she and Ewan would know the truth behind closer doors. However, LMM was fully aware when writing her journals that she was also writing her autobiography if that makes sense, and she characterized people accordingly; you could argue she almost cast them in the role she wanted them to play with her keen narrative sense.

That being said, this is not my attempt to argue that Ewan was actually great. I just wanted to make clear that what follows is what LM Montgomery wanted us to believe, which as proven in other instances, was not always the same thing as the truth!

LM Montgomery was blunt from the start in her journals that she did not love Ewan. She claimed the only man she ever loved was a man named Herman Leard, something that his family was taken aback by when her journals were published (questionable point number one!). However, the general consensus of biographers to my understanding is that LM Montgomery was getting older, was unmarried, and wanted children. On top of that, her personal life was destabilizing; the home she'd always stayed in had been bequeathed to a relative whom, to my impression, would not have taken care of an aging spinster relative. So LM Montgomery married Ewan, the minister.

What seems to be a decent enough marriage turned miserable after they had two kids. While it was never a "love match" according to LM Montgomery, she seemed content enough (besides despising being a minister's wife, which required a public role that could be grinding, and her struggles with mental health that followed her her entire life). Then, several years into their marriage, Ewan started exhibiting severe signs of religious melancholia. He essentially believed he was damned to hell; there was nothing he could do about it; and that he was helplessly waiting for the inevitable. This manifested in him being severely depressed and withdrawn for months on end, occasionally popping in and out of recovery with no apparent trigger or explanation.

Obviously, this would be an extremely difficult burden to bear nowadays when we have a much better understanding of mental health. Back then, there was basically nothing LMM could do. This was especially difficult because Ewan was a minister, and so she felt like she had to keep his ailment largely secret. In her journals, she frets about what would happen if their congregation found it, and how she'd take care of her boys if Ewan had to end up going to a sanitarium. This was also after the death of her beloved friend Frede, so according to LM Montgomery, she truly had no one to talk to about this--not a friend in the world.

Ewan's problems reached the point to where at one point, he was driving LMM (can't remember if their children were there, believe they were) around and they got into a horrible accident - and when LM Montgomery wrote of it in the journal, she questioned whether he had done so deliberately, implying that he was suicidal and trying to take down his family with him.

As you can see, this was not the recipe for a healthy or happy marriage. Additionally, I have heard although I can't recall the source that some believe that he resented her for her success and that's why you have the common figure of "husband supporting wife's ambitions" in her stories.

[stephensmithuk]

The Lost Special

CW for discussion of sexual abuse and capital punishment.

Originally published in The Strand in 1898, i.e. during the hiatus years, this would be collected with a bunch of other Doyle stories in the Round the Fire Stories collection released in 1898. Doyle continued to have stories regularly published during the hiatus.

The London and West Coast Railway Company is fictitious; the company that operated the line discussed in this route was the London and North Western Railway (LNWR), the biggest revenue earner of the period due to the sheer size of its operations. It would become part of the London, Midland and Scottish Railway (LMS) in 1922 during "Grouping" i.e. the merger of British railway companies into four major ones. The LNWR name came back as the London Northwestern Railway brand of West Midlands Trains in 2017, operating commuter and semi-fast services from Euston. That franchise is due to operate until 2026, at which point, considering the likely result of the upcoming election, it will be nationalised. What happens to the name after that remains to be seen.

Liverpool Central refers to two stations. The one here is the six-platform "High Level" station, opened in 1874 as the headquarters of the Cheshire Lines Committee (CLC) and offering services to Manchester Central, London St. Pancras or even Harwich for the ferry services to the Netherlands. The CLC remained independent after Grouping

There was also, slightly to the North West. the 1892-opened "Low Level" station, that was underground, opened by the Mersey Railway, but with staircase access to the High Level one and provision for a through railway connection left to that station if it was decided to join the two lines. This operated local trains towards Birkenhead using the world's second underground railway after London. This also stayed its own operation after Grouping in 1922; both companies would become part of British Railways on nationalisation in 1948.

In 1966, the Beeching Axe saw the High Level station have nearly all its services diverted to Liverpool Lime Street, with only those to Gateacre still calling there. BR wanted to stop those entirely, but local opposition prevented that. With no need for six platforms, two become a car park and the station ended up with just one functional platform in 1970, ending up in rather a state of decay. It shut entirely in 1972 and was demolished, the Gateacre services going, along with the whole North Liverpool Extension Line.

The Low Level station, however, still very busy, would have better fortunes - it would become the centre piece of the new Merseyrail network. The station was renovated, the two lines were linked and today Liverpool Central is one of the busiest stations in the UK outside of Greater London. However, the eastern part of the planned loop, including services to Gateacre, fell victim to budget cuts in the late 1970s.

Rochdale is a town in the Greater Manchester area - at the time it was a textiles hub, but that very much declined from the 1950s and the place has acquired a bad reputation. In 2012, a child sex abuse ring involving British Pakistanis "grooming" white girls was convicted in a high-profile trial and the resulting public reaction was, to put it mildly, racially-tinged. It also came out that the town's deceased former MP (who had in fact been knighted), one Cyril Smith, was a paedophile.

"Specials" refer to trains arranged outside the usual timetable, often in connection with some event. These included football excursions (or FOOTEX in BR parlance) carrying fans to away games around the country. In the hooligan-heavy 1970s and 1980s, BR would use older carriages due to the frequency of them getting damaged by drunken supporters, the whole thing becoming a policing headache. Others included various enthusiast-oriented journeys and "Merrymaker" mystery trips, usually to a seaside destination.

The main companies do not really do these today in anything like the numbers they used to, but various private companies have stepped in, including a West Coast Railways Company oddly enough, that provides the rolling stock, locomotives and drivers for the Jacobite tourist service from Fort William to Mailaig. These charter trains can be found operating multiple times a week, being sold through various different companies. Most use heritage rolling stock with vintage steam or diesel engines involved, with a variety of types catering to your tastes, although a big wallet is generally needed. Like at least £100 for standard class without dining and even then the schedule might not be the most convenient; these trains are planned around the regular services and you might have a long wait sitting in sidings for the next bit of your path to be clear.

In any event, the special train would have cost around £5,412 adjusted for inflation. However, a cursory glance suggests it would actually cost far more to do that today - hence the high prices modern "specials" charge passengers.

Signal boxes were required to log the details of trains passing through - the type could be identified by various lights arranged on the front and later the specific service by four-character codes. Today this is done electronically and monitored at larger control centres - older boxes have generally closed, with some being transported to heritage railways for their use. I would assume that the stations not mentioned did not have their own signal box.

In terms of the stations mentioned here, these were on the 1830-opened Liverpool and Manchester Railway, the first intercity railway in the world.

This route is today part of the City Line in the Merseytravel Network - trains are today operated by Northern or TransPenine Express. It was electrified in 2015. For each station in turn...

St Helens Junction: Still open.

Collins Green: Closed 1951.

Earlestown: Still open, despite being listed for closure in the 1963 Beeching Report.

Newton-le-Willows: Still open. Even had a Motorail terminal for a while, but this is long gone.

Kenyon Junction: Closed to passengers 1961, shut entirely 1963. Various locals have called for reopening it.

Barton Moss, closed 1929.

Parliamentary trains are those which railway companies had a legal obligation to operate - basically to provide cheap services for workers. This could mean one train per day on a route. Some did the bare minimum, some did a lot more. With this requirement no longer around, the term has evolved to mean services run at the legal minimum, even as low as one train a week, because it's cheaper to do that rather than go through a closure process. In some cases, the route would be used for engineering work diversions and so it is needed to keep up driver familarity. Current examples include Pilning, which has two trains a week on a Saturday. The most notable is Teeside Airport, which is meant to serve the airport of that name that operates four to six passenger flights a day, but is a fifteen-minute walk away, so getting a bus is much more preferred. This got one train westbound a week until May 2022, when its platform was deemed unsafe and Teeside International Airport refuses to pay for repairs.

Railway companies had their own police forces; these would later come under the British Transport Police.

Many mines and industrial planets had connections to the national network for transporting goods like coal or clay; BR even developed a "Merry-Go-Round" system allowing hoppers to be filled up and emptied while moving at a very slow speed to save time on shunting; newer versions are still in use, despite the coal market having massively declined. Mines would have their own engines - the nationalised National Coal Board kept steam locomotives going until 1982, 14 years after BR stopped using them, with some of their former engines now featuring on preserved lines.

The Vistula river runs through central Poland, including Warsaw.

Many mines would be closed once their seams were worked out to the point of it being now longer economical to run; some are now tourist attractions, at least in limited sections.

France used the guillotine for capital punishment until the abolition of that in 1977. It would also be extensively used, in a slightly different form in the German states, including extensively by the Nazis, until 1966, when East Germany switched to shooting people in the back of the head.

New Caledonia is a French territory in the Southern Pacific that was used as a penal colony at the time; it is currently in a state of political turmoil in a row over expanding the franchise to cover more recent arrivals, something opposed by indigenous groups seeking independence. The proposal has been suspended at time of writing due to France's upcoming elections.

[iilmunchkiin]

𝚆𝚎𝚕𝚌𝚘𝚖𝚎 𝚝𝚘 𝚝𝚑𝚎 𝙷𝚘𝚖𝚎 𝚘𝚏 𝚝𝚑𝚎 𝙳𝚒𝚟𝚒𝚗𝚎. 𝙽𝚎𝚠 𝚌𝚘𝚖𝚎𝚛𝚜 𝚊𝚛𝚎 𝚎𝚗𝚌𝚘𝚞𝚛𝚊𝚐𝚎𝚍 𝚝𝚘 𝚛𝚎𝚊𝚍 𝚝𝚑𝚎 𝚜𝚝𝚛𝚊𝚠𝚙𝚊𝚐𝚎 𝚋𝚎𝚏𝚘𝚛𝚎 𝚌𝚘𝚗𝚝𝚒𝚗𝚞𝚒𝚗𝚐 𝚝𝚘 𝚊𝚌𝚌𝚎𝚜𝚜 𝚝𝚑𝚎 𝚋𝚕𝚘𝚐. 𝚃𝚑𝚊𝚗𝚔 𝚢𝚘𝚞.

𝙴𝚗𝚝𝚒𝚝𝚢 𝙸𝚗𝚏𝚘𝚛𝚖𝚊𝚝𝚒𝚘𝚗

Name: LM

Gender: Unknown, responds to she/they/it

Age: 18 years

Danger level: Some content they make contain dark/triggering themes, suggestive undertones and gore. Continue with caution.

Notes: Entity will bite you as a greeting, wear protective and thick clothing when handling LM.

𝚂𝚙𝚎𝚌𝚒𝚏𝚒𝚌 𝚃𝚊𝚐𝚜

#LM art: Entity's drawings

#LM animation: Entity's animations

#LM whispers: Entity's thoughts

#Gifts for LM: Art made for the entity

𝙴𝚗𝚝𝚒𝚝𝚢 𝙻𝚘𝚐𝚜

August 20,2024

"𝚆𝚑𝚊𝚝 𝚍𝚘 𝚢𝚘𝚞 𝚞𝚜𝚎 𝚏𝚘𝚛…?"

Drawing Program: Clip Studio Paint Ex Drawing Tablet: Wacom Intuos BT M Brushes: Answered an ask about this.

Date of Publish: 4/29/20XX

File number: XX

Unrestricted access to this document will result to a FINE and IMPRISONMENT depending on the degree of offense: Leaking government files, selling controversial data, vandalizing existing data. etc.)

[psalm22-6]

Legal Dignitaries Interested in “Les Miserables” “Les Miserables”, Darryl Zanuck’s 20th Century production, has created so much interest in legal circles that the United Artists office is holding two special showings for groups in that field. One screening will take place tonight, with Kenneth Jones of the National Committee on Public Education for Crime Control acting as host to a group of jurists including  Max D. Steuer, Bainbridge Colby, Dudley Field Malone, Judge Otto Posalsky and others. Tomorrow evening there will be a showing at New York University in connection with Prof. Fredric M. Thrasher’s film class. 

Source: The Film Daily, 10 April 1935 -Max D. Steuer [“best known for his successful defense of the factory owners after the Triangle Shirtwaist Factory Fire] -Bainbridge Colby -Dudley Field Malone [co-counsel for the defense of John T. Scopes, by the end of 1935 he would declare bankruptcy and move to Hollywood to work for 20th century Fox], -Judge Otto Posalsky -Prof. Fredric M. Thrasher’s film class [Chicago School sociologist, around this time he began studying the effects of movies on children and “served widely as a consultant to groups concerned with motion pictures, crime, prison reform, and prevention of juvenile delinquency,” at one point he was chair of the National Committee on Public Education for Crime Control]  -the National Committee on Public Education for Crime Control: unfortunately I can’t find much, except this footnote in Thrasher’s book

What I wouldn’t give to have been a fly on the wall of these conversations! I’m sure they were...interesting. 1935 Les Misérables really had a cultural moment and the message was questionable.   

[coochiequeens]

Good news for Women’s sports!

By WDTV News Staff Published: May. 2, 2024

CLARKSBURG, W.Va (WDTV) - Judge Thomas A. Bedell has granted a preliminary injunction, allowing the four students who sued the Harrison County Board of Education to continue playing after their protest on April 18th.

The ruling came after more than three hours of testimony from school officials, a parent, and two of the five girls who participated in the protest.

Judge Bedell addressed the court to specify this hearing was not addressing the issue of transgender athletes in sports. Instead, it was focused on whether there was a violation of due process and if the school prohibited free speech.

Much of the plaintiffs’ case hinged on whether an unwritten rule could be enforced. According to Lincoln Middle School Track Coach Dawn Riestenberg, she adopted the “scratch rule” four years ago, one year after taking on coaching the team.

According to Riestenberg, if a student opted out of participating in an event voluntarily, they wouldn’t be allowed to compete in that same event at the next meet. Importantly, that rule was never written down, nor given to the student athletes in writing.

Instead, Riestenberg testified that she tells the student athletes of her scratch rule at the beginning of the season. The two students testifying disputed that claim.

A lawyer with the Harrison County Board of Education claimed that the students’ free speech rights were not infringed upon by following the scratch rule. Multiple people testified that there were other forms of protesting the issue of transgender athletes in sports throughout the season.

Riestenberg, LMS Principal Lori Scott, and a student all testified that multiple students wore “SWS” shirts -- short for “save women’s sports” -- at meets and were not reprimanded. They only reason, the BOE’s lawyer argued, that the students were not allowed to participate in the next meet was because they violated their coach’s scratch rule.

In the end, Judge Bedell said that both sides made good points, but was going to grant the plaintiff’s preliminary injunction motion.

That means the students will be allowed to compete in their next (and final) two matches of the season, regardless of whether they protest by violating Coach Riestenberg’s scratch rule.

All parties agreed that should the scratch rule want to be enforced in the future, it would need to be in writing.

Riestenberg and Scott committed to making that happen for next season.

Attorney General Patrick Morrisey issued the following response on Judge Bedell’s ruling.

“I want to say to these students and their parents: I have your backs. You saw unfairness and you expressed your disappointment and sacrificed your personal performances in a sport that you love; exercised your constitutionally protected freedom of speech and expression. These girls didn’t disrupt anything when they protested. They should be commended, not punished. We need to teach them that it is noble to stand firm in their beliefs and address their grievances within the protections guaranteed by our constitution. They need not to be silent. They have won by having their voices heard. So glad we were able to weigh in on behalf of these courageous young girls and that they are able to play.”

[pureanonofficial]

LES MIS LETTERS IN ADAPTATION - Res Angusta, LM 3.4.6 (Les Miserables 1972)

“Do you know English?” “No.” “Do you know German?” “No.” “So much the worse.” “Why?” “Because one of my friends, a publisher, is getting up a sort of an encyclopædia, for which you might have translated English or German articles. It is badly paid work, but one can live by it.” “I will learn English and German.” “And in the meanwhile?” “In the meanwhile I will live on my clothes and my watch.”

[littlemissf]

- MOD PUBLISH -

This is only a WIP. It's doesn't contain many sliders. I just thought people might appreciate me publishing the WIP & updating it along the way. The name of the esp & all might change as well along the process. This is really just a rough WIP atm. 

I mainly already publish it in this state, because of the nostril depth slider I added. It saved my sanity in the short amount I added it already so much. And I can imagine others might feel the same. I HATE editing the nostril depth ingame. I never had issues working those in Blender, thou. So I made myself a slider. Because I hated as well to be forced to edit it FOR EVERY SINGLE NEW sculpt. 

For now it's only women, because I always start with those & then work my way to what I wanna do, then I add it to men, too. But I can't promise anything. This is just really a WIP. Maybe I continue it, maybe I don't. But again, I thought maybe people appreciate it, that they can use it.