#Southern William wisp

[moominpopzz]

so i gave in

[moominpopzz]

THE RAIN ONE I WAS JUST AB TO MAKE A POST AB THAT BC I SAID THAT TO MY SISTER EARILER

William going “Hm. It’s gon’ storm soon.” And Vyncent looking at him confused on how he can tell cause the sky’s clear and so Will just looks at him and goes “oh no I can smell it.” And Vynce goes for MONTHS thinking Will is magical bc low and behold it does storm like an hour later

Will not only just getting sweet tea but he drinks it and his face scrunches and he’s like “blegh it’s so bitter” cause,, ppl never actually put as much sugar in it as in the south and he hands it over to Dakota who takes a sip and is instantly spitting it out it’s so sweet

im thinking about southern william wisp

specifically what i was thinking about is him using the phrase "as the crow flies" but i looked that up on trends and it's not actually a southern-ism

but like, him saying stuff like that, saying yall, being able to smell when rain is coming, and vyncent going "is this a normal thing on prime" while dakota is just as confused

william orders sweet tea and dakota just. stares. lmao

[arisveah]

william wisp knows french, he just never tells anyone.

[stormsandskies]

Small town William Wisp who knows the entire town and the entire town knows him, so when the little boy who used to run around the small park and through the fields with his friends changes overnight they notice. They notice his skin turn pale, not a typical winter pale that comes from lack of sunlight and being indoors all the time, but the pale that leaves barely a flush to the skin as if his heart isn’t beating like it once was. They notice his lack of energy, how little he goes outside now, they notice his heavy black hoodie even in the southern heat.

At first, they assume he is sick, after all the Wisp parents look stressed and concerned more often than not. It doesn’t help when the school year rolls around and people find out he isn’t going to the school in the town and is instead going to the city

They see absolutely nothing of William after that, but the Wisp parents look beyond stressed constantly watching the news the moment a mention of an attack on Rockfell is made. They understand it must be stressful to know your kid could be out on the street when the attack occurred. Must be scary to think they’re out with friends when some villain and superhero come tumbling through the coffee shop wall. they don’t know the real reason, don’t know they’re watching their youngest son almost die again fighting the villain of the week.

One day after a trip to the city to see their sons the Wisps come back visibly shaken, as though something is wrong, Mrs.Wisp will not stop crying and her husband stands next to her side attempting to help but clearly on the verge of tears as well.

Throughout these two years, strange things had been happening around town, kids reporting they saw strange creatures walking around town, people claiming they saw some sort of glowing blue wisp floating around, and sights of horrific monsters just standing at the edge of the forest surrounding the town.

Then a while after the Wisps leave again and this time they do not come back before their town is ordered to evacuate. People pack up as quickly as possible, as if in a trance.

When they return it’s hard to miss the damage in the area. Despite the work done by the heroes to restore the town blood stains a clearing close by, the sign is scorched, and the body bags, so many line the streets as they work to identify and return the bodies to their families. William looks different, way different to the boy who left. His dark hair is streaked with white, his once brown eyes a shocking blue, a slightly jagged scar runs down the middle of his face and neck, more dot his arms and legs, he seems to float when he moves, and occasionally a small blue wisp will dart around him.

So the town notices and knows that the little boy they knew is changed forever, they also know that he saved the world with the other teens who stand beside him, just as scarred, and they know for certain they hate the so-called heroes who did this to these kids, to the boy who played tag with their kids, to the boy who made sure to say hello to everyone at the church cookout, to his friends that he cares about so deeply.

This small town knew an energetic kid and awkward teenager, now they know a still awkward but more confident almost adult, they knew a 15-year-old who disappeared for two years, now they know a 17-year-old who came back different, they knew William Wisp, now they know The Whisperer.

[thanotaphobia]

all this talk about southern william wisp, when, hear me out: deadwood is just like michigan

[6footeel]

southern accent william wisp truther . i’ve heard his ma . i know he came home from trompin in the woods hollering HEY MAW GUESS WHAT I FOUND . as a kid . i know it

[dogboyratgirl]

southern william wisp is real to me. he describes his mom as southern. so like. how is it not

[apilgrimpassingby]

For Option B (which is what the polls are leaning towards), it's not really either. Basically, the way I envision it is set about 100 years after the return of magic, with Britain having split into a bunch of different mini-states; the whole idea is to combine different periods, regions, figures and bodies of folklore into one giant British folklore crossover.

So far, what I've settled on:

During the initial collapse, King Arthur returned from Avalon with a company of knights (mostly Welsh ones that the French authors diminished, such as Gawain, Kay and Culhwch), and has now built a kingdom in the West Country, based around Camelot, rebuilt atop the hillfort of Cadbury Castle, and with a broadly High Medieval feel, technology and structure.

However, there's a breakaway; Mordred and Lancelot both allied with the aim of taking Gwenhwyfar (Guinevere to English and French speakers) - which one of them will actually get her will be decided later - and run a rebel kingdom in Cornwall with an army of spriggans, mermaids, giants, pixies, buccas, Dando's dogs and so on, centred on Tintagel Castle and with the support of Lancelot's foster mother, the Lady of the Lake.

Wales is split three ways; the north is Cymru and is a medieval kingdom run by Owain Glyndŵr, the southeast is Wales, the remnant of 21st century Wales and the southwest is Annwn, a kingdom of tylwyth teg run by Gwyn ap Nudd.

I don't know what's going down in the Midlands yet, but Robin Hood and his Merry Men will definitely be there, and at least part of the West Midlands will be the Anglo-Saxon Kingdom of Mercia, with Wild Edric and Lady Godiva.

The Southeast is the home of the remnant of Britain's old government; however, they realised that World War Two was effectively part of British folklore, and so they could gain magical power to compete with the others by tapping into it. Hence London has been rebuilt to consist mostly of gun platforms, air raid shelters and London Underground stations, everyone is on rationing and the government is lead by Winston Churchill.

East Anglia has reverted to fenland and is hence largely underwater and full of will-o'-the-wisps, shug monkeys, Black Shuck and whatnot, with (literal) islands of civilisation in the marsh, with the only notable cities being Cambridge and Norwich. The southeast, which still calls itself the United Kingdom, is trying to conquer and/or drain here, but is being thwarted by both the monsters, the hostility of the region and parties of guerrillas led by Tom Hickathrift and Hereward the Wake.

Northern England has the Republic of York, where Yorkshire has dominated most of it; I'm not sure what that'll be like, but I'm pretty confident it will have a 19th century vibe and that Mother Shipton will be there.

The Isle of Man has Manannán back, and he's looking after the island with his mists; the locals use this to become a major centre for piracy, lead by Francis Drake.

On the Scottish Borders, the Border Reivers are back, and Dumfriesshire and Galloway are now home to Elphame, a faerie kingdom with Thomas the Rhymer as its emissary.

The Central Belt of Scotland is a Late Medieval kingdom run by William Wallace, although he has to deal with Sawney Bean's clan expanding over southern Ayrshire, plus he's made Michael Scot (click on the link, it's not the one from The Office) king of his own personal fiefdom in Selkirkshire in exchange for fighting against ...

The Cailleach, who has taken over the Scottish Highlands and filled it with forests, magic and monsters and is attempting to expand.

Northeast Scotland is now the Republic of Aberdeen, which is trying to preserve modernity.

Clan MacLeod has made use of the Fairy Flag to make an alliance with the faeries; the two frequently intermarry and now govern the islands of Lewis and Skye.

The Shetlands and Orkneys are now Nordøjar, the neo-pagan Norn-speaking Viking islands.

In general:

Historic forests - the New Forest, Sherwood Forest, Forest of Dean and Wistman's Wood - have all greatly grown.

Welsh, Cornish, Manx, Scots, Scots Gaelic and Norn have all experienced revivals.

Modern technology, especially guns and computers, has stopped working; I'll need to figure out why later.

As people who've been following this blog for a while will know, I love British folklore. You may also know that I love writing and worldbuilding. The two come together in that I'd want to make a fantasy world based on British folklore. My conflict is I'm not sure which one.

Option One: A total fantasy world untethered from real history, politics, geography, and so on, utilising equivalents of people, places, cultures, etc.

Option Two: A kind of post-apocalyptic Britain where the magic comes back and the world gets restructured in the chaos, using specific real-world places, cultures, folklore characters, etc.

The advantage of option one is that I get to be more creative (I've already started working on the calendar and liturgy of this setting's version of Christianity) but I also have to do more heavy lifting for the reasons mentioned above and have to invent counterparts to folklore figures like Robin Hood, the Cailleach, Owain Glyndwr, etc., as well as to particular places, which just don't have the same impact as the real figures. Invert those for the advantages and disadvantages of option two.

Tagging @narulanth and @kaleb-is-definitely-sane because it feels like you'd have opinions on this.

[ghost-bard]

Ok so.. Mallard Conway is so far up his own ass that he’s making kids kill someone for him. Like im getting that right, right? He’s making these kids who should be more worried about crushes and homework, who just so happen to be heroes in training, kill someone, because he doesn’t want to get his hands dirty, and in return they’ll get their clone father figure/mentor back?

Fuck this guy jesus christ.

[quicksiluers]

Blaze at the Bliss Farm by Dale Gallon - Gettysburg, PA July 3, 1863 – The marching columns of two Union army corps were hurrying to the north and west of Gettysburg. Called to engage Confederates descending on the town, these soldiers passed the farmstead of William and Adaline Bliss.   The Bliss Farm included a Pennsylvania bank barn with walls of mortared stone and brick. “Expensively and elaborately built… a citadel in itself.” The farm’s two story frame and log house of weatherboard siding “stood 90 paces to the north”.

Moving quickly up from Taneytown was the 2nd Army Corps. Tested and proven formidable, it hurried to support Union remnants forming a defense line on Cemetery Hill and Ridge. Among the marching columns were the men of the 14th Connecticut. Assigned to Alexander Hays’ division, its 160 soldiers soon took their place in the west facing line.  Fatefully located equidistant between the opposing forces, the farmstead was soon contested. Its barn, first occupied by Rebels, had numerous eastward facing windows and doors. The many ventilation openings and its 20 foot height were ideal for sharpshooters, who “busied themselves with picking off our battery men, officers and skirmishers”.

Pawns in a deadly back and forth, the barn and house had seen Union men stream repeatedly off Cemetery Ridge and successfully evict the Southern tenants; only to watch the men in blue pushed back in their turn. By midmorning on July 3rd, the combative Hays dispatched elements of the 14th Connecticut who briskly covered the 600 yard distance to the farm and soon controlled the barn. But with the farmhouse still occupied, and Long Lane on the northern flank bristling with Southern skirmishers, another reversal loomed. So in went the last four companies of Connecticut men to seize the “damned white house”. It was soon taken but its captors found it no place for defense, with “bullets piercing the thin siding and windows”.

With growing Confederate pressure presaging another costly reversal, Hays sent orders to burn the buildings and “wisps of hay and straw were soon on fire in the barn and in the house a straw bed was emptied on the floor” and set alight.  Recovering their dead and wounded the fighting New Englanders again crossed open field; and looked back at the all-consuming flames (x)

[moominpopzz]

Southern Wiwi and subconsciously giving the rest of PD their own little southern petnames,,,

Dakota gets Hon/Honey, both because of his eyes and his habit to get into ‘sticky’ situations trying to help as many people as he can

Vyncent gets Sugar/Sweetie, the first ones only an itty bit to make fun of Vyncent’s probably visceral reaction to having sweet tea made by Will and almost keeling over cause of the amount of sugar

Ashe I think would get like.. Dear/Darlin [if he’s rly tired] and he’d only ever use them otherwise when pointing something out and being like “oh ashe, dear, can you go get that for me” and he’d literally never ever catch himself saying it

[peterpanquotes1]

Theatre Magazine, 1905

Page viii: H.S. Hartfield, Conn. — Q. Will you publish a picture of Maude Adams in “The Little Minister”? — A. See our February, 1905, issue. — Q. What is her summer address? — A. Lake Roakonkoma, on Long Island. — Q. In what will she play next season? — A. Barrie’s new comedy, “Peter Pan.”

Page 184: Reader. — Q. What is Maude Adams going to play next year? A. Barrie’s new play, “Peter Pan.” — Q. What has been her greatest success? A. Probably “The Little Minister.” — Q. Who is the most popular actress in America? A. It is entirely a matter of opinion. — Q. When will Maude Adams play in New York again? A. She plays at the Empire in September. She will visit Mr. and Mrs. James Barrie in England this summer.

Page 200: Some of the Scenes in “Peter Pan,” the New Play by James M. Barrie in which Maude Adams will be seen next season.

Maude Adams will be seen this coming season in a new play by James M. Barrie, called “Peter Pan,” or “The Boy Who Wouldn’t Grow Up.” This piece was first produced at the Duke of York’s Theatre, London, on December 27, 1904, and had a most successful run. The popular author of “The Little Minister” designed it as a Christmas entertainment, and in addition to amusing children by introducing all kinds of whimsical incidents the author had a serious object in view. He has tried, with the usual delightful Barrie touch, to uphold the principle of “loving respect for ladies,” and inculcate a high ideal of one’s coming mother, who, in the course of a long definition, is described as “one who does a child’s work when it is tired and sings it to sleep.” Mr. Barrie has also endeavored to revive the love of children for fairies, who are referred to in an exquisitely written passage as being created by the first laughter of babies.

The play contains among other features, a burlesque of the sanguinary deeds of the old time pirates, sailing beneath skull and cross bones. There are buccaneers and redskins, all painted with vivid colors, and though the case of steel, says an English critic, there plays a lambent humor, more subdued in tone than the flickering light resembling that of a Will o’ the Wisp, which indicates the presence of Peter Pan’s watchful but jealous Fairy attendant, Tinker Bell.

Peter Pan was a child who left his home the day after he was born on hearing his parents form plans as to his future. Wishing never to grow up, or to be anything more than a child, Peter has taken refuge with the fairies, although one attempt to return had led to his finding the window shut and another child in his place. So, refusing any longer to trouble about a Mother’s Love, Peter, attired in a primitive dress of furs, spends his time obtaining recruits for his band, composed of lost children, whose dwelling place is the Never-Never-Never Land, with Indians and buccaneers for neighbors. On several of his expeditions Peter has reached the Darling house, to the alarm of Mrs. Darling and to the loudly expressed indignation of the children’s faithful nurse, Nana, who is no ordinary nurse, but a large Newfoundland. This remarkable animal carries the three Darling children to the bathroom, whether they wish it or not, gives them medicine, turns on the electric light and generally behaves like the average Jane or Susan. For her persistent barking as a sign that danger is near, poor Nana is dragged off by her master from her kennel in the children’s bedroom and is chained up in disgrace in the yard, the consequence being that the children have no one to protect them when Peter Pan pays a visit. A friendship is struck up between them, and Peter Pan gives the Darling children lessons in dying, which enables them to come to the Never-Never-Never Land.

Page 201: There, Peter’s band, comprising Tootles, Nibs, Slightly, Curly and the Twins, are shown as issuing from the hollows in the trunks of trees, which conduct them to a comfortable underground dwelling. One of the children shoots the Flying Wendy by mistake, thinking her to be a Great White Bird, and the girl is appointed “collective” Mother of them all, Peter also assuming the position of Father. Peter, however, also wishes to regard Wendy as Mother rather than as “titular” wife. His paternal responsibilities oppress him with a sense of growing years and he is also puzzled by the desire of an Indian amazon to become his squaw. A coalition is formed between the band of Indians against the pirates, whose leader is Peter’s particular foe. The Indians, keeping watch over the subterraneous dwelling, are attacked in the hight by the pirates, who take captive all the members of the band except Peter. Then follows a finely presented ship scene in which the lads are all but made to walk the plank, ending in the defeat of the pirates who are all thrown overboard. Then Peter is left behind in fairyland and a following scene shows the return of the children to their disconsolate parents to the great joy of the mother — particularly of the father, who had taken to sleeping at nights in the kennel by way of penance, and to the high delight of the once more happy Nana, who is said to be the most lovable character in a play rather heterogeneous and unevenly balanced. “Peter Pan” was a great success during its run in London, where it was beautifully staged with splendid scenery, and the effect of the piece was greatly aided by various well performed dances by music which is by turns plaintive, barbaric and nautical.

The stage sets are as follows: Act one — Our Early Days. Scene one, Outside the House; scene two, Inside the House. Act two — The Never-Never-Neer Land. Scene one, The House We Built for Wendy; scene two, The Redskins’ Camp; scene three, Our Home Under the Ground. Act three — We Return to Our Distracted Mothers. Scene one, The Pirate Ship; scene two, A Last Glimpse of the Redskins; scene three, Home.

Page 212: An Admirer of Maude Adams. — Q. Will Maude Adams play “Peter Pan” and “Alice, Sit-by-the-Fire” next season? A. She will commence next season at the Empire Theatre, this city, in “Peter Pan”; Ethel Barrymore plays “Alice, Sit-by-the-Fire.”

Page 212: If we may judge from the announcements made by the managers the new theatrical season now fairly begun will not be lacking in abundant material. Including Arthur Wing Pinero, all the leading English and American dramatists are well represented, and some of the pieces to be done here, such as Barrie’s fairy play, “Peter Pan,” Alfred Sutro’s “Walls of Jericho,” and André Messager’s “Véronique,” have enjoyed successful runs abroad. “The Pearl and the Pumpkin,” a musical piece by Paul West and John W. Bretton, presented by Klaw & Erlanger at the Broadway, was the first offering of the season in New York, and this was quickly followed at Wallack’s by “Easy Dawson,” the new piece written or Raymond Hitchcock by Edward E. Kidder. …… Maude Adams, as already announced, will be seen this season as the heroine in James M. Barrie’s whimsical play, “Peter Pan.” Blanche Walsh will continue presenting Fitch’s play “The Woman in the Case,” and William Gillette will be seen in his own play, called “Clarice,” the title role being taken by Marie Doro, Edward H. Southern and Julia Marlowe will continue their theatrical partnership, making at least three new Shakepearian revivals, including “The Taming of the Shrew,” “The Merchant of Venice” and “Twelfth Night.“ W.H. Crane has a new play by George H. Broadhurst and C.T. Davey, entitled “An American Lord,” and will be seen here in it some time in January.

Page viii: Q. When is Maude Adams going to begin her season and is she doing to play “The Little Minister” next year? A. Maude Adams comes to the Empire in November to play “Peter Pan.”

Page v: M.S.S. Boston, Mass. — Q. Will Maud Adams play “The Little Minister” next year? A. No. she has a new play called “Peter Pan.”

Page viii: J.W.M. Weekapaug, R.I. — Q. Can I obtain the orginal Maude Adams’ edition of “The Little Minister”? A. Write to Meyer Bros. & Co., 26 West 33rd St., City. — Q. Will Maud Adams be included in your “Chats with Players”? A. See our September 1903 issue. — Q. Who is to be Miss Adams’ leading man? A. It is not yet announced. — Q. What photographs have you of Maude Adams? A. We cannot enumerate them all. — Q. Will you publish her picture soon? A. See our May, 1905, issue. — Q. Is the report true that she will again be co-star with Mr. Drew? A. No. — Q. Where could I get some pictures of her in “Rosemary” or “The Masked Ball”? A. AT this office. — Q. Will she play both “The Masked Ball” and “Peter Pan” this season? A. Only “Peter Pan.”

Page ix: N.W.D., New York — Q. Will you reproduce other posters of current plays in the same way as you reproduced the English poster of “Peter Pan”? A. We may do so. Thanks for your kind remarks. — Inquirer, New York: Q. Will you publish a short sketch of Edna May’s career? A. See this issue. — Dana Hall, Boston: Q. Where could I procure a “Peter Pan” poster? A. We are trying to secure some. When we do we will announce it.

Page 285: Baltimore, Nov. 9. — From a theatrical standpoint, Baltimore has fared very well so far, the second month of the season being rich in good attractions. At the Academy, Viola Allen in “The Toast of the Town” was followed by Maude Adams in the new Barrie play, “Peter Pan.” Both of these actresses are favorite here and were welcomed by large and fashionable audiences. Another engagement of note was that of Henrietta Croeman in “Mary, Mary, Quite Contrary,” which did very well at Ford’s. …. …… Buffalo, N.Y., Nov. 11. — The all-star cast in “The Heart of Maryland” opened the Lyceum Theatre this week under the Shubert-Belasco-Fiske combination. Buffalonians are delighted with the prospects of seeing Mrs. Fiske in “Leah Kleschna,” as we have been deprived of this pleasure on account of having no place for her to appear. We are also to have Sarah Bernhardt, Mrs. Leslie Carter, Miss Alice Nielsen, DeWolf Hopper, and many others whom we could not have seen had not this theatre been opened as an independent house. We have seen Maude Adams in “Peter Pan,” Thomas Jefferson in “Rip Van Winkle,” Alice Fischer in “School for Husbands,” and next week comes Blanche Walsh in “The Woman in the Case.” After hovering around Buffalo for two years, the “Babes in Toyland” landed this week. While not the original cast, the company was satisfactory.

Page 290: EMPIRE. “Peter Pan.” Play in 3 as by James M. Barrie. Produced Nov. 6 with this cast: Peter Pan, Maude Adams; Mr. Darling, Ernest Lawford; Mrs. Darling, Grace Henderson; Wendy, Mildred Norris; John, Walter Robinson; Michael, Martha McGraw; Nana, Charles H. Weston; Tinker Bell, Jane Wren; James Hook, Ernest Lawford; Smee, Thomas McGrath; Starkey, Wallace Jackson; Great Big Little Panther, Lloyd Carleton; Tiger Lily, Margaret Gordon; Lisa, Anna Wheaton.

“Peter Pan” is a delightful play — for the elect! This may mean you and it may not. “Every time a baby laughs a fairy is born.” If you agree with this you will find much to enjoy in Mr. Barrie’s charming idyll of child life. If, on the contrary, it conveys to you no meaning, you had better avoid the Empire Theatre and go instead to see — the Rogers Brothers.

“Peter Pan” is an epic of childish joy and fancy; it is the apotheosis of youth and all its high-colored fictions, and Barrie is probably the only writer in English letters today capable of giving this whimsical conception dramatic form. Everything that surges, unreasoning, though the childish brain, all the extravaganzas, unrealities, terrifying dangers, delights, enthusiasms — all these infantile emotions are woven by the dramatist into a spectacular entertainment that is full of exquisite tenderness, sentiment and poetry, and in the lovable, elfish Peter Pan, the boy who did not want to grow up and ran away from home rather than become President, the English poet has given Maude Adams a part that suits her better than anything she has done since Lady Babbie.

No man who does not love children could have written this play, which is redolent of the nursery, and which has the miraculous effect of rejuvenating all who witness it. some of our superannuated, dyspeptic critics profess they are unable to comprehend this exquisite fantasy. Pity them! They could never have been young themselves. They were born old with all their teeth cut.

Mothers will like “Peter Pan” because it symbolizes Mother Love. The only regret that Peter feels when he runs away from home is because he leaves his dear mother behind, and when he induces the Darling children to fly away with him to the Never-Never-Never Land, he insists that Wendy, the eldest girl, shall act as Little Mother to them all.

A detailed account of the plot of this unique piece appeared in a recent issue of this magazine. It has had a long run in London, and this success should be repeated here if American theatre-goers care for dainty dramatic fare of this sort. Judging by the rapt attention with which the play was followed on the opening night, New York audiences, sophisticated as they may be, still have a corner in their hearts for the time when the sun was always smiling and the birds were always singing, and when the life of Tinker Bell — the invisible fairy whose presence throughout the play is indicated only by a dancing light — is in peril, and Peter Pan in keen distress comes down to the footlights and explains that Tinker Bell must die unless they (the audience) believe in fairies, the whole house responded to the appeal with “We do! We do!” expressed in applause. And so Tinker Bell’s life is saved!

The coming of Peter Pan to the Darling’s nursery after the children have been put to bed by the faithful St. Bernard dog Nana, who officiates as nurse, the lessons in flying and subsequent flight of the children thought he window to the Never-Never-Never Land; the arrival in the Magic Country, infested with strange animals — the Monster Ostrich, the Man-Eating Crocodile, with a cock ticking in its stomach, and the Fierce Wolves, driven away by the children looking Through Their Legs — the building of the House in the Woods with a Silk Hat for a chimney and a Lady’s Slipper for a door-knocker, the attack by the Savage Redskins and by the Bloodthirsty Pirates, the retreat to the Underground Cavern, the Capture of the Children, who are taken Prisoners to the Pirate Ship and sentenced to Walk the Plank; the Rescue by Peter Pan, the worsting of the pirates and the return of the Darling Children to their Anxious Mother — these are the …..

Page xxii: Washington, D.C., Nov. 9. — The acquisition of the Lafayette Opera House by the Belasco and Shubert forces has revolutionized theatrical conditions here. We are to have one new theater this month to play the popular-priced combinations formerly seen at the Lafayette, and the impetus given to theatrical affairs has caused negotiations to be opened which may lead to the construction of two more playhouses by next season. The Belasco opened Oct. 23 to a fashionable audience with Blanche Bates in “A Girl of the Golden West,” followed in weekly successsion by “Mrs. Temple’s Telegram,” “Darling of the Gods,” “Loveland,” and “Heart of Maryland.” Business has been uniformly large. “Peter Pan,” with Maude Adams, was presented at the National on Ct. 17. The audience heartily approved the piece. On the ensuing week, Herviern’s powerful drama, “The Labyrinth,” was seen for the first time in America, with Olga Nethersole as the star.

[esprit-de-corps-magazine]

CAF War Artists Lead In Evolving The Genre

By Ruthanne Urquhart

When we think of “war art” today, many of us think of photographs.

Cracked yellowed photos of Canada’s First World War aviators standing with pride beside the machines of wood and wire and cloth that would carry them into battle on high. Their jaunty white scarves and neat jodhpurs tucked into polished boots belie the mud and blood and soot to come. And, also from this era, the enormous paintings of heroes and generals and battles that cover walls in high-ceilinged museums and galleries.

Black-and-white and coloured photographs from the Second World War and later, of Canadian aircraft lined up on runways in England and southern France, South Korea and Italy. Agile fighters and lumbering bombers, repaired and readied by round-the-clock groundcrew so that the waving pilots and aircrew can carry the fight across the Channel, through North Africa, to the enemy in the North, over the Balkans.

Digital images, this time yellowed not by age but by blowing sand and dirt in Afghanistan, of coalition airfields where Canadians come under attack from above and from “outside the wire”, where befouled engines challenge groundcrew and aircrew alike. Where lowered ramps of cargo decks offer shelter and transport to the flag-draped coffins of Canadian warriors.

These are the pictures in our heads. Each one captures a single moment in time, as clearly as if we’d been there. Every detail in each photo ties it—and us—to that moment.

War art may be less clear, may not capture any one moment in time. But it captures something bigger, something that transcends that moment, that war. War art has the potential to reach wider and farther and longer than a photograph. And, interestingly, today’s war artists are working in mediums beyond—in fact, certainly from before—photographs.

Ottawa native Mark Thompson, one of the Royal Canadian Air Force’s embedded war artists, creates glass-based paintings and sculpture. Under the auspices of the Canadian Forces Artists Program (CFAP), he travelled to Kuwait, where the night missions of Canada’s young CF-18 Hornet pilots stirred his imagination and impressed him profoundly. One of his first experiences in Kuwait involved a night flight over flaming oil wells, which he has described as being “life-altering”.

Mr. Thompson’s work entitled “Book of War” is a tabletop installation on display at the Canadian War Museum in Ottawa, Ontario, in its current exhibition of contemporary war art. A row of five open books encased in glass lie side by side along the tabletop; within the glass of each book is a video of a CF-18 fighter aircraft in various states: day, infrared, night, etc.

The Museum chose his “Hard Rain” to be the signature work for its exhibition. It comprises three rows of five falling bombs in shades of blue, encased in glass. The white swirls through the glass emulate wisps of clouds through which the bombs are falling, and the black background is a video loop that moves up and down.

Nancy Cole is the other of this year’s RCAF-embedded war artists. She was born in Summerside, Prince Edward Island, and grew up on military bases. An experienced textile artist, Ms Cole was placed with Canadian Forces Base/19 Wing Comox, British Columbia, courtesy of the CFAP. The war art that she subsequently produced comprises two large, hand-quilted textiles.

Ms Cole’s installation at the Canadian War Museum is entitled “Night and Day”. One textile is all black, with a grouping of small red dots in the upper right quadrant, representing the dark war-work carried out by CF-18s deployed on Operation Impact in Syria. Each red dot has a fine red, crooked or looping line radiating out from it, signifying people on the ground fleeing as the CF-18s pass overhead. The other textile is white, with a similar grouping of dots, also in the upper right quadrant. This textile signifies the other end of the spectrum of CF-18 taskings: the airshows, the flypasts, the lighthearted crowd pleasing. These dots have no red lines; we imagine these people standing in groups, looking up, watching the aircraft with smiles.

In ancient times, war art was, in fact, a multi-media undertaking. It was mosaic floors with clay, glass and gemstone elements in public and government buildings; it was sculpture and bas relief work for the homes and gardens of the wealthy. And it was intricately woven floor-coverings that warmed the stone underfoot, and wall-mounted tapestries that held drafts at bay.

During archaeological excavations today, one of the finest treasures to be unearthed is often a mosaic floor composed of tesserae, small blocks of ceramic, glass and stone. A good example is the Alexander Mosaic, dating from circa 100 BC. Measuring 2.72 by 5.13 metres, this floor mosaic from Pompeii depicts a battle between the armies of Alexander the Great and Darius III of Persia.

The Bayeux Tapestry, an embroidery of wool yarn on woven linen, was created in the 11th Century. It is almost 70 metres long and 50 centimetres high, and portrays the conquest of England completed in October 1066 under the leadership of William the Conqueror, the Duke of Normandy.

War art.

Mark Thompson, glass artist, and Nancy Cole, textile artist, are reviving ancient traditions and mediums in war art. The RCAF is honoured that these artists have chosen to incorporate within their works the CF-18 Hornet aircraft, in image and in spirit.

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ANYWAYS Deadwood to me’s literally just one of those creepy ass old southern hunting towns… so here’s some things I think Wiwi Wisp does based offa that

• William Wisp knows about 4 ways to skin a deer and even more how to gut one

• He saw the shotgun in s2 and all those days when they were younger and David would take him out and shoot cans and bottles to pass time came flying back to him like it was trying to attack him, THATS truly how he knows how to use that thing

•He sees lone crying children and while trying to calm them down to find out what’s wrong calls them Sugar and Darlin and Dear and Bubba

•William Wisp who says only Ma or Mama and who probably called his dad daddy til he was like 14

•He refuses to talk when he gets too mad because his accent starts slipping out and it embarrasses him

•He has a secret country playlist buried with all his other music [It has a fake out title so if anyone sees it they don’t think ab it]

•He DEFINITELY passive aggressively says “God bless you” when he’s pissed at people

•He constantly slips up and says little country sayings that he then has to explain to the others

•He only drinks tea that’s so sweet it almost made Vyncent throw up at one point.

•He says hes “Sick as a dog” when not feeling good [<- edit add on]

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Little Southern Wiwi + That one picture holding a fish when little that every southern person I’ve ever met has :>

+ teenage David.. the best I could figure out how to draw him

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southern William wisp and getting too hot going “god I’m sweating like a whore in church” around the other three and getting stared at in utter confusion