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chanoyu-to-wa · 2 years ago

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Nampō Roku, Book 7 (38c): Three Kaki-ire from Shibayama Fugen’s Tokushu Shahon [特殊写本]¹, Part 1.

〽 Kaki-ire [書入]:

[Whether to place the fukuro-dana] 8-sun or 1-shaku 2-sun [from the corner of the ro] depends on the size of the kama². As for 4-me and 1-shaku 2-sun, and also 7-me and 8-sun, knowing which [to use] reveals [the host's] understanding³.

As for the way to place the fukuro-dana in the 4.5-mat room, [within] the roughly 3-shaku 1-sun 5-bu square that is half of the tatami, it should be placed in the exact center [of this half-mat]⁴. However, for the sake of freedom -- because this will depend on the size of the kama -- 4-me and 8-sun, or 7-me and 2-, 6-sun [this is a mistake: it should be 7-me and 1-shaku 2-sun] are also acceptable ways to orient [the fukuro-dana]⁵.

Up until the time when Jōō fixed the orientation of the fukuro-dana, the [original] kane from the [ji-ita of the] daisu were said to be superimposed onto the tatami; but this did not always seem appropriate -- depending on how [the tana] was going to be placed⁶. Also, up until this time, the size of the ro, too, had not yet been decided upon⁷. Later, after discussing this matter with Sōeki, the dimensions of the ro were fixed⁸.

As for the way that the fukuro-dana is arranged [on the utensil mat], [as well as] the chū-ō no takushi [中央ノ卓子], Seirō-dana [城樓棚], Hora-dana [洞棚], and the others: we must learn it by heart that all of these [tana] should always be centered [on the half-mat] -- so that, even after the passage of many years, this [way of doing things] will always remain the same⁹.

[Ri]kyū arranged a mizusashi in his 4.5-mat room without a tana when he was going to serve tea; and Jōō also felt that this was an acceptable way of doing things¹⁰. In this case [the half mat] between the ro [and the far end of the utensil mat] should be divided by five kane, both lengthwise and widthwise, and [everything] should be arranged very carefully in accordance with these kane¹¹. However, after discussing this question with Rikyū, Jōō established the rule that, as a matter of course, before the temae has begun, neither the chaire nor the chawan should be arranged [on the mat] in front of the fukuro-dana¹².

_________________________

◎ About this tokushu shahon [特殊写本], Shibayama Fugen wrote:

kono bun ōki ni sankō ni ben nari. tsutanashi onajiku Nambō Roku no ha hon ni shite kaku made buntei wo koto ni suru ha nani-goto zo, osoraku ha Jitsuzan no te ni kakigae-shi naran. shikaraba tokushu shahon wa Nambō Sōkei no gencho ni chikai naru-beshi

[此ノ文大ニ参考ニ便ナリ。伹シ同ジク南坊録ノ写本ニシテ斯クマデ文躰ヲ異ニスルハ何事ゾ、恐ラクハ実山ノ手ニ書キ替ヘシナラン。然ラバ特殊写本ハ南坊宗啓ノ原著ニ近キナルベシ].

“This text is a very important reference. Though it is a crudely made copy of the Nampō Roku, what could be the reason for such a different style of writing? Clearly [this text] was not reworked by Jitsuzan -- but, if that is the case, this tokushu shahon might just be closer to the original work composed by Nambō Sōkei.”

Without being able to peruse the entire document, it is difficult to say when, much less by what sort of person, it may have been created (though, from what little Shibayama has shown us, it does seem to postdate the Shū-un-an documents by many decades, if not centuries; and the language of the kaki-ire -- which are uniformly subdivided into sentences according to the conventions of modern Japanese punctuation -- suggests that it was more likely a product of the nineteenth century, rather than of Sōkei’s time). Nevertheless, the text of these three kaki-ire, even if it is to a certain extent repetitive, will surely be helpful to anyone who has an interest in penetrating the deeper meaning of this entry, and the machi-shū approach to chanoyu that it reveals*.

The first kaki-ire discusses the way to arrange the fukuro-dana (and other movable tana) on the utensil mat; the second deals with the special case of the display of an hitotsu-mono [一ツ物]; and the last discusses the way the teachings of kane-wari apply not only to the tana, but to the toko, and to the room as well†.

Given the length of the kaki-ire, and the battery of footnotes that are necessary to explain them, it became obvious that I would have to divide this material into two posts. The first of the kaki-ire is considered here; and the other two will be discussed in the next post. ___________ *The author’s purpose seems to be summarizing the material presented in the Nampō Roku, interpreting it through the then-accepted teachings regarding the arrangement of the fukuro-dana (and other varieties of tana). His analysis seems to be informed by the fact that, in the 4.5-mat room, Rikyū placed the mizusashi in the exact center of the mat when there was no tana., which is then accepted to mean that the mizusashi should always rest on the center-most of the five horizontal kane (the kane that are perpendicular to the heri).

†In Book Six there is this poem by Rikyū:

toko ha toko, zaseki ha zaseki, tana ha tana ni chō ichi han ni han ichi chō

[床ハ床、座席ハ座席、棚ハ棚二調一半二半一調].

“The toko is the toko, the room is the room, the tana is the tana: two [are] even, one [is] odd; two [are] odd, one [is] even.”

This means that kane-wari is applied to these three places, which are independent from each other. The “yin” or “yang” character of the za is related to the total of these three values.

¹Tokushu shahon [特殊写本] means a special manuscript copy (i.e., not a published work, but a hand-copied, privately annotated “version,” to which access was probably limited to the person who made the copy) of the Nampō Roku. Thus, from what little we are able to see, the creator of this manuscript appears to have given precedence to a practical interpretation of the text (focused on the way the teachings it contains could be put into practice in his own chanoyu), rather than reproducing the exact wording of the original. This suggests that the person responsible was not one of the Enkaku-ji scholars, but more likely an ordinary chajin from Kyōto, Ōsaka, or even Edo, who managed to borrow one of the manuscript that were circulating within the tea community, and made a quick copy for his own personal reference.

Copies of other seminal texts that were being passed around during the Edo period are likewise replete with numerous kaki-ire that were often modified later -- sometimes by pasting a small piece of paper over an erroneous comment, in order to write something that was closer to the popular consensus.

²Hassun to isshaku ni-sun ha, kama no dai-shō ni yoru-koto nari　[八寸ト一尺二寸ハ、釜ノ大小ニヨルコトナリ].

Hassun to isshaku ni-sun [八寸と一尺二寸] refer to the two usual distances between the ro and the front of the fukuro-dana -- the original conventions that were established by Jōō himself.

It is said that the reason for the 8-sun was so that the distance between the kama (in the ro) and the mizusashi (arranged in its compartment on the ji-ita of the fukuro-dana) would be essentially the same as between these two utensils when they were arranged on the daisu. This also explains why the shaku-tate and futaoki were originally placed on the ro-dan (as shown in the sketch under footnote 7, below).

³Yon-me ni te isshaku ni-sun ni mo, nana-me ni te hassun ni mo, sore ha kokoro shidai nari　[四目ニテ一尺二寸ニモ、七目ニテ八寸ニモ、ソレハ心次第ナリ].

Yon-me...isshaku ni-sun [四目...一尺二寸] is referring to the arrangement on the kyōma-datami where a fukuro-dana* was centered between the heri, and placed 1-shaku 2-sun from the ro.

Nana-me...hassun [七目...八寸] is referring to the case, on an inakama-datami, where the fukuro-dana is placed to that it touches the heri on the side of the mat toward the ro, while being 8-sun away from it†.

These are two of the possible ways to orient the fukuro-dana on the utensil mat (in keeping with the system espoused here‡). The other two are discussed below, in footnote 5.

It would appear that, by the time this was written, two sizes of fukuro-dana were already in use: a larger version for use in the kyōma**, and Jōō’s original, which was now apparently relegated exclusively to the inakama yojō-han††.

Kokoro shidai [心次第] literally means it is up to (one) to decide; the decision to act (in a certain way) is based on (one’s) understanding‡‡. ___________ *This requires a fukuro-dana of the modern dimensions -- where the ji-ita measures 2-shaku 5-sun 5-bu by 1-shaku 3-sun.

†This arrangement is based on a fukuro-dana of the sort used by Jōō and Rikyū, which measures 2-shaku 4-sun by 1-shaku 3-sun.

‡Where, in the inakama setting, the fukuro-dana is placed so it touches the heri on the side of the mat that adjoins the ro (rather than resting that side on top of the heri as Jōō had done).

Jōō had placed the tana on top of the heri so that the mizusashi would be in the same place as it would have been had it been arranged on the daisu. Placing the tana so that it simply touches the heri has no apparent meaning at all, but simply indicates a historical misunderstanding of what “ippai” [一杯] (“fully” -- literally, a drinking cup filled to the brim) was intended to mean in Jōō’s and Rikyū’s instructions. Given that this way of understanding the orientation first appeared in Imai Sōkyū’s explanation of the way to position the fukuro-dana in the inakama, it sees that he was probably the one responsible for the confusion.

**Some sources ascribe this version to Rikyū (as was common during the Edo period when the size of virtually anything was shown to not match the original example).

††Which sort of room was already almost unknown -- outside of Edo (where the lack of space brought about the creation of even smaller tatami than those used in the countryside surrounding Kyōto and Ōsaka).

‡‡Kokoro [心] here should be understood to mean (one’s) mind, with shidai [次第] meaning “in accordance with,” or “depending on” (one’s mind).

⁴Yojō-han fukuro-dana no oki-kata, oyoso san-shaku issun go-bu shi-hō, tatami han-bun no mannaka ni oki nari　[四畳半袋棚ノ置方、凡ソ三尺一寸五分四方、畳半分ノ真中ニ置ナリ].

Oyoso [凡そ] means approximately, roughly, around: even the size of the kyōma-datami* was becoming more flexible during the Edo period, as suggested by this comment.

Tatami han-bun no mannaka ni oki [畳半分の真中に置き] means that the (larger version of the) fukuro-dana was supposed to be placed in the very center of its half of the utensil mat, as shown below.

When centered on the half-mat, there will be 9-sun 2.5-bu in front and on the far side of the tana, and 2-sun (which is approximately 4-me†) on both sides between the tana and the heri.

Centering the fundamental objects placed out on the utensil mat (whether a tana-mono, or simply the mizusashi‡) is a Sen family teaching. __________ *As has been mentioned many times before, the kyōma-datami measured 6-shaku 3-sun by 3-shaku 1-sun 5-bu, at least since the original daisu was imported from Korea in the early fifteenth century -- since the width of the tatami was fixed to accommodate the ji-ita of that daisu (which measures 2-shaku 9-sun 5-bu by 1-shaku 4-sun).

†As has been explained elsewhere in this blog, the distance between the me on the omote [表] (the woven rice-straw panel that faces the tatami) differs from region to region (and often from maker to maker as well), with there usually being between 60 and 61 me between the heri on a kyōma-datami. Thus, the range is generally somewhere between 4.8-bu (1.45 cm) and 4.9-bu (1.48 cm) -- so 2-sun would actually be a little more than 4-me.

That said, it should be kept in mind that both Jōō and Rikyū said that everything displayed on the mat (including things like tana-mono) should always be aligned to match a me on the side toward the guests. Thus, this is another example where the Sen family’s teachings directly contradict those of their supposed progenitor and guardian kami.

‡Given the concern over things being too far from the host’s seat, this practice has always seemed curious, since centering the mizusashi on the half-mat means it will be so far from the ro that dripping water is almost unavoidable.

⁵Shikaredomo jiyū no tame, kana no dai-shō ni ōjite yon-me hassun, nana-me ni- roku-sun to oki-koto ari　[然共自由ノ為、釜ノ大小ニ応ジテ四目八寸、七目二六寸ト置コトアリ].

Shikaredomo jiyū no tame [然れども自由のため] means something like “however, for the sake of freedom....”

Kama no dai-sho ni ojite [釜の大小に応じて] means “as a consequence of the size of the kama....”

Nana-me ni- roku-sun [七目二六寸] appears to be an orthographic mistake*. Presumably it should have been nana-me isshaku ni-sun [七目一尺二寸].

This sentence is simply reversing the measurements that were suggested above in footnote 3, since (in accordance with the text of the Enkaku-ji manuscript) placing the fukuro-dana 8-sun from the corner of the ro was the usual arrangement, in both the inakama and in the kyōma; while moving it backwards so it was 1-shaku 2-sun from the ro was done when the utensils that the host was planning to use during the gathering made that increase in the space available in front of the tana necessary. These variations are shown below.

This version of the text is a curious mixture of the early teachings, combined with subsequent variations introduced by Imai Sōkyū (placing the ji-ita adjacent to the heri, rather than resting upon it as Jōō had done), and later, by the Sen family (the insistence on centering the tana on the utensil mat). __________ *As Shibayama commented, this manuscript of the Nampō Roku was “crudely written.”

The word that he used, tsutanashi [伹し] (which would usually be written tsutanai [拙い] today), means inept, awkward, ill-chosen, incompetent, bungling, error-ridden. This suggests that the manuscript contained many instances where words were blotted out and changed, as well as other sorts of mistakes (such as here). The tokushu shahon was clearly copied from some other source, though without much care being taken (suggesting a document copied hurriedly by someone, for personal reference only -- books of this sort can still be found in the old book shops in Kyōto from time to time, though their accuracy always has to be questioned until verified by cross-referencing with the Enkaku-ji manuscript).

⁶Jōō kono fukuro-dana ni te okarare-shi jibun made ha, tatami ni daisu no kane wo utsusu to iu-koto mo anagachi naku-shite mi-ai no yoki-yō ni okarare-shi-koto nari　[紹鷗此ノ袋棚ニテ被置シ時分迄ハ、畳ニ臺子ノカネヲウツスト云フコトモアナガチナクシテ見合ノヨキ様ニ被置シコトナリ].

Okarare-shi jibun made [置かられし時分まで] means “up until the time when the placement (of the fukuro-dana) was decided....”

Tatami ni daisu no kane wo utsusu [畳に臺子のカネを映す] means “the kane of the daisu were reflected (or superimposed) onto the tatami.”

In other words, this is arguing that the kane-wari of the ji-ita of the daisu was simply applied to the mat in front of the daisu. This, however, is not entirely correct, at least in so far as gokushin theory is concerned. The ji-ita of the large daisu measures 2-shaku 9-sun 5-bu across, meaning it exactly fit between the heri (it touched the heri of the kyōma-datami on both sides). But the temae-za , which was an extension of the shiki-shi [敷き紙], reached roughly to the middle of the heri on both sides. So, at least according to Rikyū, there was, from an early date, an understanding that the kane of the daisu were not simply projected onto the mat*.

Anagachi naku-shite mi-ai no yoki-yō ni [強ちなくして見合のよきように] means “not necessarily appear to be good;” “not necessarily appear to be balanced.”

This might be referring to the earlier arrangement, where Jōō lifted the ji-ita of the fukuro-dana up onto the heri, in order to keep the mizusashi aligned with its original kane (which were projected from the ji-ita of the daisu); or it may be referring to the version of this arrangement that was being championed by Imai Sōkyū, which had the ji-ita placed so that it abutted the heri on the side closest to the ro (in which case the mizusashi would have lost its association with its original kane that had been defined by the daisu)†. __________ *This appears to have been a consequence of the shiki-shi [敷き紙] -- or, more specifically, a consequence of the folds of the shiki-shi (each of the eight panels of the shiki-shi measures 5-sun by 6-sun, with each of the folds being 3-bu wide: thus, the shiki-shi measures 2-shaku 9-bu by 1-shaku 2-sun 3-bu).

It is unclear where the shiki-shi came from (though it apparently was used with the daisu before the daisu was brought to Japan, from Korea, around the start of the fifteenth century), but measurements of things like the meibutsu naka maru-bon [中丸盆] (which is exactly 1-shaku 2-sun 3-bu in diameter -- which is an extremely odd measurement, if one tries to argue that it was selected by Nōami independent of any knowledge of the shiki-shi) were apparently decided based on this mysterious object. Indeed, the folds of the shiki-shi appear to have been the actual (and, frankly, rather obvious) origin of the five yang-kane. (In which case, it might be better to say that the kane of the daisu were projected onto it from the shiki-shi., though with the space consumed by the folds of the shiki-shi removed)

Later, it is true that Rikyū moved away from this way of thinking about the temae-za: once the widths of the folds are removed, the temae-za did, indeed, shrink to the space between the heri (so, at this point, it might be possible to argue that the kane of the daisu were now being superimposed onto the mat in front of it). As the Sen family only had an inkling of Rikyū's teachings from the 5 years after Rikyū was ordered to take Shōan’s mother as his second wife (to manage his Kyōto household -- and act as Hideyoshi’s resident spy), their knowledge was naturally limited to hearsay based on the things that he was saying during that time.

†In other words, the author of the kaki-ire might be saying either that (in the first instance) the fukuro-dana was not aligned with the kane; or (in the case of the second possibility), the mizusashi was misaligned.

⁷Ro mo kono toki made ha, kō-kyō sadamarazu　[炉モ此ノ時迄ハ、廣狭定ラズ].

Ro mo kono toki made ha, kō-kyō sadamarazu [炉もこの時までは、広狭定まらず] means “up until this time, the size of the ro had also not been fixed (or defined)*.” __________ *Evidence from the kaiki of the period suggests that originally the ro measured 1-shaku 8-sun square. However, this is not to say it looked like the “dai-ro” [大炉] that is used by certain schools today. While the ro-buchi did indeed measure 1-shaku 8-sun, the mouth of the ro-dan (into which the kama was lowered) measured 1-shaku square. The original arrangement is shown below (Jōō’s 4.5-mat room had the guests seated on the host’s left).

The reason for this was that, when Jōō first began to use the ro, he moved into this setting directly from the chanoyu of the daisu. Originally, the hishaku was never rested on the futaoki (or on the mouth of the kama). Every time it was used, it was immediately returned to the shaku-tate. Thus, when Jōō began to use the ro, he quite naturally retained this convention -- so, both the shaku-tate and the futaoki were placed on the ro-dan, allowing the host to return the hishaku to the shaku-tate, and place the lid on the futaoki which retained its former proximity to the kama.

When the decision was made to place these things on the mat (the ro-dan is made of mud-plaster, so it could possibly cause damage to anything made of bronze that was placed on it), the surplus was eliminated, reducing the ro to the size of the ji-ita of the daisu.

⁸Ato ni Sōeki ni dangō no ue, ro no sun-pō mo kiwamerare-shi nari　[後ニ宗易ニ談合ノ上、炉ノ寸法モ被極シナリ].

Sōeki ni dangō no ue, ro no sun-pō mo kiwamerare-shi [宗易に談合の上、炉の寸法も極められし] means “(Jōō), after consulting with Sōeki, determined the dimensions of the ro*.” ___________ *There is nothing in the historical records to suggest that this defining the dimensions of the ro was delayed until 1554 (after Rikyū had returned from the continent). On the contrary, Jōō seems to have come up with this by himself, probably as a way to give the guests more room (at the beginning of his middle period, the meal was still rather elaborate, so such a very large ro would take up too much space, making it difficult for the host to serve the guests properly).

This sentence is derived from Kanamori Sōwa’s history of chanoyu in Japan, wherein the transmuting of Rikyū from a man into a tea-god began.

⁹Fukuro-dana oki-kata, chū-ō no takushi, Seirō-dana, Hora-dana nado mo subete shi-hō mannaka to oboeru ni chigawazu, hitachi ha naki-koto nari　[後ニ宗易ニ談合ノ上、炉ノ寸法モ被極シナリ、袋棚置方、中央ノ卓子、城樓棚、洞棚抔モ凡テ四方真中ト覚ルニ不違、ヒタチハナキコトナリ].

Chū-ō no takushi, Seirō-dana, Hora-dana nado [中央の卓子、城樓棚、洞棚など]: these are the oki-dana [置き棚] (stands that can be moved, as opposed to those that are built-in) that are mentioned in Book Three*.

Subete shi-hō mannaka to oboeru ni chigawazu [総て四方真ん中と覚えるに違わず] means that "we should commit to memory the fact that all of these things should be centered (on the half mat), without any deviation (from this rule).”

Though this agrees with the Sen family’s teachings at this time, it differs from what we have been told before (where the orientation of these various tana was supposed to be determined by the part of the fukuro-dana from which they were derived). In other words, since they represented the half of the fukuro-dana where the mizusashi was located, and the shelf (the naka-dana [中棚]) above, they were originally placed off center, so that the mizusashi would occupy the same place as when it was arranged on the fukuro-dana.

The meaning of hitachi ha naki-koto nari [ひたちはなきことなり] is very obscure†. Perhaps it is something like hitachi ha naki-koto nari [経過はなきことなり] -- using a rare, albeit historical, reading for the compound that is usually pronounced keika [経過] -- and so giving the meaning “changing this (orientation) as the years go by is imprudent.” ___________ *These three tana are shown below (as represented in Edo period block-printed texts): Shino Shōha’s Chū-ō-joku [中央卓] on the left, Tennōji-ya Sōkyū’s Seirō-dana [城樓棚] in the middle, and Imai Sōkyū’s Hora-dana [洞棚] on the right.

◦ Chū-ō-joku [中央卓]: cf. the post entitled Nampō Roku, Book 3 (11): the Chū-ō-joku [中央卓].

https://chanoyu-to-wa.tumblr.com/post/185938650731/namp%C5%8D-roku-book-3-11-the-ch%C5%AB-%C5%8D-joku-%E4%B8%AD%E5%A4%AE%E5%8D%93

The chū-ō-joku usually had only two legs (though occasionally a third leg was added to the far side). This tana was originally made as a rest for a nobleman’s lacquered cap of estate, some varieties of which had rather heavy dependent tails or wings in back (necessitating the third leg). The chū-ō-joku was originally “adapted” by Shino Shōha, who arranged incense utensils on it during the shoza (of his incense gatherings), replacing them with tea utensils during the naka-dachi, so that tea could be served to everyone in the goza (before the participants took their leave).

◦ Seirō-dana [城樓棚]: cf., Nampō Roku, Book 3 (4,5): Concerning the Seirō-dana [城樓棚]; and the Modification of the Naka-dana [中棚] of the Fukuro-dana and the Seirō-dana by Practitioners of Incense.

https://chanoyu-to-wa.tumblr.com/post/185616469930/namp%C5%8D-roku-book-3-4-5-concerning-the

The Seirō-dana was derived from the fukuro-dana by Tennōji-ya Sōkyū, who basically eliminated the katte-side of that tana (the kō-dana and ji-fukuro not really being used much in chanoyu). Originally this tana was oriented on the utensil mat so that the mizusashi would occupy the same place (on the mat) as it had done when arranged on the fukuro-dana.

◦ Hora-dana [洞棚]: cf., Nampō Roku, Book 3 (8): Concerning the Hora-dana [洞棚].

https://chanoyu-to-wa.tumblr.com/post/185777964865/namp%C5%8D-roku-book-3-8-concerning-the-hora-dana

The Hora-dana was created by Imai Sōkyū, based on the kyū-dai daisu [及第臺子] -- with the bamboo peg (which can be seen in the drawing) nailed into one side taking the place of a shaku-tate. Since the Hora-dana basically captures the seat of the mizusashi from the daisu, it was also oriented so as to maintain the mizusashi in its original place.

†It might also just be another case of a miswritten word appearing in the text. But regardless, the meaning of the sentence would have to be something like what I have translated, given the context.

¹⁰Kyū yojō-han ni tana nashi ni mizusashi okite, cha wo taterare-shi ni, Jōō mo mottomo to dō-shin ari-shi nari　[休四畳半ニ棚ナシニ水指置テ、茶ヲ立ラレシニ、紹鷗モ尤ト同心アリシナリ].

Kyū yojō-han ni tana nashi ni mizusashi okite, cha wo taterare-shi [休四畳半に棚なしに水指置きて、茶を立られし] means “Rikyū, in a 4.5-mat room where there was no tana, placed the mizusashi (on the utensil mat), and in this way served tea.”

It seems that the first time he did this was when receiving Jōō in his 4.5-mat room shortly after the two had been introduced: on that occasion, the young Rikyū performed the first hakobi-temae [運び手前] -- since he had lost all of his good tea utensils (they had been purchased by Jōō), he apparently felt it was not appropriate to display anything but the kakemono and the chabana, and the kama in the ro. After Jōō entered and took his seat, Rikyū brought out everything needed for the service of tea from the katte, served tea, and then took everything away at the end. The “go-chisō” [ご馳走] (special feature or focal point of the gathering), rather than being one of the utensils, were Rikyū's physical actions performed in the service of his guest.

Jōō mo mottomo to dō-shin ari-shi nari [紹鷗も尤もと同心ありしなり] means that Jōō also agreed with what Rikyū had done.

According to his densho, Rikyū explained that, when the mizusashi is placed out by itself on the utensil mat -- that is, without a tana -- it should be centered on the half-mat. It appears that this was the precedent for the Sen family’s insistence that everything that was placed on the utensil mat should be centered.

¹¹Shikaraba ro yori ue, han-jō tate-yoko tomo ni itsutsu kane ni kokoro-ete shikaru-beki to te kane wo kuwashiki ateraruru　[然ラバ炉ヨリ上、半畳タテヨコ共ニ五ツカネニ心得テ可然トテカネヲ委敷アテラルヽ].

Shikaraba [然らば] means if so; in that case.

Ro yori ue [炉より上] is referring to the direction toward the far end of the utensil mat. In other words, the half of the utensil mat that extends in that direction.

Han-jō tate-yoko tomo ni itsutsu kane ni kokoro-ete shikaru-beki [半畳縦横共に五つカネに心得て然るべき]: tate [縦] means lengthwise, yoko [横] means widthwise; tomo ni [共に] means both (that is, 5 kane are distributed across the half-mat both lengthwise and widthwise).

In other words, the half mat is divided by five kane that are distributed not only across its width (as we have usually been doing), but also by 5-kane lengthwise (with the 5-bu yū-yo [有餘] at the far end excluded from this division*), as shown above.

Kane wo kuwashii aterareru [カネを委しい当られる]: kuwashii [委しい] means carefully, paying minute attention to detail; aterareru [当られる] means to be applied to something, to be put on, to be pressed against†.

In other words, the kane have to be visualized carefully, with the utensils then distributed across the mat with exactitude, so that they correspond to the kane. __________ *Which -- since no mention of this point has been made -- may or may not have been known by the author of this kaki-ire.

†This probably refers to the kane being pressed onto the surfice of the mat, but it could also refer to the utensils being associated with those kane.

¹²Kore Jōō, Rikyū sōdan ni te no teiken no aru-koto mochiron naredomo, temae-naki i-zen, chaire・chawan ni te mo, fukuro-dana mae ni oki-awase-suru to iu-koto ha nakare-shi-koto nari　[是レ紹鷗、利休相談ニテノ定見ノアルコト勿論ナレドモ、手前ナキ以前、茶入・茶碗ニテモ、袋棚ノ前ニ置合スルト云フコトハナカリシコトナリ].

Kore Jōō, Rikyū sōdan ni te [これ紹鷗、利休相談にて] means “Jōō, in consultation with Rikyū....” Possibly giving Rikyū a more authoritative role than would have actually been the case during Jōō's lifetime*.

Teiken no aru-koto mochiron naredomo [定見のあること勿論なれども]: teiken [定見] means a fixed or definite opinion; mochiron [勿論] means self-evident, as a matter of course; and naredomo [なれども] means but, however (in other words, the rule thus established applies to what follows).

Temae-naki i-zen, chaire・chawan ni te mo, fukuro-dana mae ni oki-awase-suru to iu-koto ha nakare-shi-koto nari [手前なき以前、茶入・茶碗にても、袋棚の前に置合すると云うことは無かりしことなり]: temae-naki i-zen [手前なき以前] means before the temae has begun†; chaire・chawan...fukuro-dana mae ni oki-awase-suru [茶入・茶碗...袋棚の前に置合する] means to arrange the chaire and/or chawan (on the mat) in front of the fukuro-dana; nakari-shi koto [無かりしこと] means something (koto [こと]) that should not exist (nakari-suru [[無かりする]).

In other words, this is saying that Jōō and Rikyū decided, after discussing this, that before the temae actually begins, arranging the chaire and/or chawan on the mat in front of the fukuro-dana is something that is better not done‡. __________ *Rikyū had learned kane-wari from Kitamuki Dōchin. And, indeed, this seems to have been his main attractiveness to Jōō (the element that determined to have more than a strictly professional relationship with the young man).

Dōchin seems to have been disinclined to answer Jōō’s questions about kane-wari, though Jōō had apparently persisted in his inquiries for a long time. And, after Rikyū’s family lost their money, Rikyū was forced to sell his tea utensils. So, as a final act of kindness (Rikyū’s lessons stopped as soon as he was no longer able to pay for them, of course), Dōchin introduced Rikyū to Jōō (ostensibly because, as the leading dealer in antiques, Jōō would be prepared to give Rikyū a good price for the things). But the unspoken part of the deal was that, since Rikyū had already studied with Dōchin for a number of years, he possessed enough knowledge to assuage Jōō’s curiosity. Nothing that we know indicates that Jōō had a true desire to understand kane-wari deeply (otherwise he would have become Dōchin’s student). He only wanted to know enough so that his own arrangements would not look wrong to people who had received the orthodox teachings (which is why Jōō, though called the greatest master of the age, does not seem to have ever given lessons, but preferred to keep himself in the background with his collection of meibutsu utensils -- the possession of which implied, to his contemporaries, that he was equally well informed about their correct usage: Jōō allowed his utensils to be used by people who had been taught about such things, and then took note of what was done, adding that to his store of information; but until Rikyū provided him with a basic introduction to kane-wari, an understanding of the reason behind what was being done had eluded him).

After Jōō had learned what he needed, he showed his thanks to Rikyū by financing a utensil-collecting mission to Korea (which Rikyū extended to a sojourn of around 10 years): as the financier, Jōō would have received a percentage of the profits when the utensils were later sold in Japan; but this trip allowed Rikyū to reestablish his family’s fortunes (indeed, if we ignore this -- as do the Japanese biographies of Rikyū -- no explanation can be found for how he became one of the three great masters of Sakai, given the utter impecunity of his situation when we last saw him in his youth...a situation that quite suddenly seems to have dissipated in 1554, when Rikyū once again begins to host chanoyu gatherings). And upon his return, Rikyū informed Jōō of the ideas and practices to which he had been exposed on the continent, so that their chanoyu began to evolve in a massive way in the year or so between his return and Jōō’s death (at the end of 1555).

†More literally, in the time before the temae has come into being....

‡The whole purpose of the tana is to give the host somewhere to place the utensils -- and, in this, it takes the daisu as its example. If one wishes to display something on the mat, then why does one need the tana?

If we consider things in this way, it becomes clear that the whole hitotsu-mono [一ツ物] episode (that figures so importantly in the Enkaku-ji manuscript’s version of this entry) is something added by the machi-shū because, if Rikyū had wanted to protect his Shiri-bukura from the danger of being lowered from the kō-dana to the mat, then there would have been no reason for him to use the fukuro-dana in the first place (since making the other utensils easily available to the utensil mat could have been accomplished simply by placing them in the dōko -- which was always a feature of Rikyū’s tearooms).

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deutchmendes · 6 years ago

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below the cut you can find a compiled list of 100+ problematic fcs and receipts to support the claims as well. we are by no means telling you not to play these fcs, (apart from the obvious racists, abusers, etc.), however, it is necessary to acknowledge that everyone on this list is problematic, thus, they should all be held accountable for their actions. it is imperative the community is aware of who they’re using and then they can make an informed choice of whether or not they would like to continue using said fc. without further ado, here’s the List™ you’ve all been anticipating / dreading from us.

alex pettyfer - domestic abuse

alexis ren - n word

alissa violet - n word

arnie hammer - in a movie that glorifies pedophilia adapted from a novel written by a straight man

ash stymest - dated a minor for 2 years (lily rose depp)

bella hadid - n word, racist tweets

bella thorne - n word, made fun of eating disorders, cultural appropriation

blackpink - mocked native american culture in their boombayah song, jennie’s use of the bindi in ddu du ddu du video

blake lively - got married on a slave plantation, said woody allen empowers women

brendon urie - rape / racist jokes, fat shamed

bts - did a photoshoot with nazi symbols at a holocaust museum, said the n word alot, colorism, general racism, misogyny, lyrics contributing to rape culture, fatphobia, made of eating disorders, rm wore dreads once and more

camila cabello - n word, bullied normani

camila rowe - dressed as a pregnant sharon tate for halloween and idolizes both manson and roman polanski, n word multiple times

cardi b - transphobic, racism

chantel jeffries - accused of allegedly stabbing someone

charles melton - fat shaming tweets

claudia tihan - n word

cole sprouse - made insensitive/racist jokes about tyler the creator, compared blm to cannibalism, emotional abusive to ex girlfriend, discredited jughead’s canon asexual identity

colton haynes - blackface

demi lovato - sex worker prank to her bodyguard involving sexual assault

dinah jane - made fun of black women / dark skinned woc on her twitter, claimed she was black despite not being black, culture appropriation, and supports trump

dom sherwood - said a homophobic slur

donald glover - made rape jokes / said a man can't get raped, fetishizes asian women, ableist, said the f slur & r slur

dove cameron - said depression is a choice

dreamcatcher - profits off native american culture

dua lipa - appropriated gay culture with “homo” shirt, n word

dylan o’brien - stole native american artifacts and laughed about it, starred in american assassin (an extremely islamophobic film)

dylan sprouse - racism

eddie redmayne - played a trans chara despite being cis

eiza gonzalez - blackface

elle fanning - worked with woody allen, played transgender teen despite being cis herself, refused to apologize for working with woody allen

emma roberts - domestic abuse

emeraude toubia - culture appropriated, lashed out when ppl were trying to educate her

exo - multiple instances of racism, colorism, homophobia, blackface, ableism and more

gal gadot- zionist, accused of emotional abuse

(g)i-dle - used henna in their latata music video

gigi hadid - made fun of asians, other general racism

gregg sulkin - said n word in snapchat, dated bella thorne while she was still a minor

hailey baldwin - n word, racist tweet

halsey - kissed underage fan

harry styles - white feminist, ignored a black fan and only interacted with their white friend

hayley kiyoko - n word, general racism

herizen guardiola - dated a minor

hilary duff - multiple instances of culture appropriation, dressed as a pilgrim with her husband as a native american

holland roden - racist

ian somerhalder - threw away his wife’s birth control without her consent, sexism

jack gilinsky - verbally abusive to his ex, madison beer

jared leto - is cis and played a trans person, sexual assault

jared padalecki - rape jokes

jason mamoa - made comments/jokes about rape

jennfer lawrence - sexism, transphobia, misogyny, ableism, culture appropriation, fat shaming and more

jensen ackles - rape jokes

julianne hough - blackface

justin bieber - animal neglect (left his monkey in germany and never claimed the monkey after being told he needed the proper documentation), wrote he would’ve hoped anne frank would’ve been a belieber when he visited the holocaust memorial, pissed in a mop bucket, egged his neighbor’s house, cultural appropriation, dreadlocks, punched a pap, almost ran over a pap, said “being gay is a choice”, doesn’t believe in abortion, used the n word and the word kkk in a song, spat on his fans, spit in his neighbors face and threatened to kill them after being told to drive careful, made prince’s death all about him, pretended to be in a wheelchair to cut lines at disneyland and has a diu

keith powers - said men can’t be bisexual

kelsey chow - claimed to be native american and she isn’t

kendall & kylie jenner - racist pepsi ad and victimized herself after being called out for it (kendall), offensive wheelchair photoshoot (kylie), stole designs (kylie), cultural appropriation: used pictures of tupac and notorious b.i.g. (without permission) for their fashion line, appropriated chola culture for their fashion line, designed a handbag shaped like a chinese takeout box, used a tan emoji despite being white (kendall), wore dreadlocks, wore cornrows multiple times despite being called out (kylie) and for a photoshoot (kendall), blackface (kylie), put the n word on a birthday cake for her friend (kylie), wore a bindi (kylie), wore indian nose ring to coachella

kiko mizhuara - blackface, culture appropriation

kj apa - liked fat shaming comment, posted a misogynistic picture, dating a minor, liked a slutshaming post

lana del rey - culture appropriation and more

lauren jauregui - rape jokes, homophobic slurs, n word, henna photoshoot, called psychiatry a joke and tweeted vaccines give autism and more

kristen stewart - worked with woody allen

lili reinhart - discredited lesbians by calling them “fanfic”, queerbaits fans, minimized depression on twitter

little mix - culture appropiation for their salute tour, culture appropiation again, perrie has multiple counts of culture appropriation, jesy wore dreadlocks

lily macapinlac - racism

lucky blue smith - trump supporter

lucy hale - bodyshamed herself on instagram, appropriated baby hairs

machine gun kelly - n word, sexualized black women

maggie lindemann - accused kesha, a rape survivor, of lying of rape

mamamoo - multiple instances of blackface, culture appropriation and more, hwasa said the n word in irreplaceable cover

marina diamandis - culture appropriation and blackface

megan fox - biphobia

melissa benoist - homophobic comments about ship ‘supercorp’, played a muslim character in islamophobic film, patriots day

melanie martinez - accusation of rape, problematic lyrical content

michael fassbender - abuser

momoland - culture appropriated in their baam video, nancy made jokes about eating disorders

naya rivera - domestic battery assault charge

nct - jaehyun sang along/mouthed the n word

neels visser - trump supporter

nicki minaj - shamed sex workers, culture appropriation/fetishization of kimino, racist stereotypes in song and snl performance of chun li

nicola peltz - dated a minor (anwar hadid)

nina dobrev - johnny depp supporter, culture appropriation

noah centineo - claims to be latino and took a latinx role when he is in fact white, supports logan paul,

rihanna - multiple instances of culture appropriation

ronni hawk - trump supporter

sabrina claudio - n word, racist remarks

sara sampaio - n word

selena gomez - all lives matter, woody allen supporter, wore a bindi multiple times despite being called out and more

shay mitchell - n word

sophia turner - made a joke about coming out as pansexual on instagram, n word

tana mongeau - filmed dead body and later deleted the video

taylor hill - made fun of indian accents, made fun of a muslim man with her bf, culture appropiation

taylor swift - cultural appropriation, romanticized imperialism, victimized herself at the expense of a black man, white feminist, posed w someone wearing a swastika on their shirt, more culture appropiation, slut shames constantly in her music, said in a song, picture to burn, she would tell her friends her ex was gay as if it were an insult

thomas doherty - said depression is a choice

timothee chalemet - worked with woody allen, in a movie that glorifies pedophilia adapted from a novel written by a straight man, lied about his contract forbidding him from speaking out on woody allen

tyler posey - came out as a joke on social media

uriah shelton - alm, abuse allegations

vanessa hudgens - countless instances of culture appropiation

wendy (red velvet) - made fun / stereotyped black girls

wjsn (cosmic girls) - appropiated indian culture

zayn - alm, racism, fat shamed, appropriated black culture and more

#rpt #rph #rpc #appless rp #twitter rp #a parting gift from our family to yours xoxo

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trickstersantana · 6 years ago

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[Para] Vertedero de ilusiones

Who: Santana Location: Santana’s mind, Sciron Square 207 Time: 24 October 2018 Summary: Santana sleeps next to Quinn and something UNEXPECTED happens no one knew this was going to happend guys no one. Triggers/Notes: Ok GUYS there are so parts in spanish so hover for the translation. Thanks to @gotmattitude for checking it’s proper mexican sounding spanish instead of spain sounding spanish bless u. TW: Violence, blood, dead, animal harm, dead animal

Santana has always been the Mistress of her own dreams. The Goddess of Lucid Dreams. She has her ways of knowing what’s a dream and what’s not. She just checked the time and battery of her phone and it’s not there. She illusions a book and checks the writing shifts around the page, blurry around the corners.

A dream she can’t control, shaped like a dream.

“Queenie, I’m trapped on a trickster deal. I can’t hear you or anything. Make me a favor and try to not let me go out of my room.” She says out loud, looking at a discolored door of an old red car in front of her. She assumed if she tried to open the door of the car, she would just get out of her room and do weird shit in front of people. She looks where the car is headed upon, a huge downhill, like a huge ass slide for cars who finished on a sea of spikes. But above the sea of spikes there was a giant ring of blue fire, and then a huge open door written EXIT HERE above. So you are trying to tell me that for ‘exiting’ I have to get in the car, go super fast for the slide so it jumps through the circle of fire and gets in the door. God damn it that’s so fucking extra. Who designed this bullshit. Like, she loved it as much as she knew it was super over the top, but she wasn’t going to fall for that crap.

She looked around, searching for clues or the style of the illusion, to know who did this. At first glance it looked like a dump full of...things. But it wasn’t garbage. It was just disorganized illusions. An illusion dump. She could recognize most of those things where stuff she illusioned. There was a lot of blue fire around, spears and other weapons. The scene was a mix of her past illusions too, overlapping on each other, sky included, being day or night or completely white in some parts. There was no people, animals or monster around. Geez, I know deals can leave something to the imagination of the creator, but this is too much, too specifically me. I can see shit from before NYADA that anyone who wasn’t my ‘family’ won’t know, and shit from NYADA my ‘family’ couldn’t possibly know with so many detail. Maybe they reached High Level Trickster power. God I bet it’s Darling. Darling, also know as her ‘mom’, just got her fucking Hamlet book. She probably was mendling in her life over that. God, what if the Hamlet book had the keys to do this level on illusion but I didn’t read that part yet because I was reading the other parts? That book had a lot on info on it, but she wanted even more information on it before reading it all. And now, she didn’t have access to it. What if the exit is actually the exit but Darling knew I wouldn’t go for such an obvious exit? what if THAT’S WHAT SHE WANTS ME TO THINK? Oh, maybe it’s a Darling and Zombie collab. Then it should be a solvable puzzle.

“Nah, fuck it. I’m just going to lay in the floor and binge watch illusion Xena while waiting 24 hours until this pass.” She said out loud for Quinn to hear, and lied on the floor, carefully, and illusioned a TV floating in the air, for her to see.

Many episode later, Santana stands up. “What the fuck? Where am I? Why am I watching Xena?” She groans. She saw the clear exit trap and ignored it, trying to search in illusion world, walking far away from the car. “Geez there is so much garbage in here” She says, kicking some huge chainsaw (the part that doesn’t cut, obviously). She keeps on walking until she ends up seeing a wishing well. She doesn’t remember illusioning this particular wishing well, so she runs too look at it. She looks down the well, in search of clues in the bottom of it. There is something that looks like the corpse of a woman. “Ew.” Santana said. “What the fuck. Creepy.” She keep looking, though. There was what looked like if you skinned a human alive and left it there like a fucked up costume. When she tried to look what the other things in there were, the corpse started to move. Crawling through the well. As Santana stepped down searching for a weapon, the corpse was already out the well. Long black hair, a weird decorated knife stuck on a side of her abdomen, full of blood. “¡Hola, Capi Tana!The corpse says, cheerfully, taking the knife out and throwing it away. “Ya tiene mucho tiempo que ni me llamas ni nada.” She says, fake pouting. Santana recognized the woman in front of her. Someone she didn’t see on a long time.

“Fuck. Elise.”

“But also fuck Elise ¿no?” Elise said, playfully winking. “Pero ya sabes, cogiendo. Sin stabity stab.”

Santana sighs. This wasn’t real, so whatever. “Geez, are you trying to teach me a lesson?”

“Why are you talking in english? El español se siente más personal.” Elise said, no blood on her anymore. “Oooh, es precisamente por eso.” Elise realizes. “¿Y cómo que Elise? ¿Qué pasa con tus millones de apodos?”

Santana sits on the well, looking down again. Maybe if she threw more things on it, it would be full. Then her wish comes true, right? Was that how wishing wells worked? She keeps thinking, touching her hair, straight and long. Wait, shouldn’t be an afro? I don’t have my hair like this anymore. “Elise am I looking like I always look to you?”

“Igualita.” It shouldn’t be like this. She should look different to Elise, right? She just took that stupid human potion like last week. Last week? Or months ago? Santana walks away from the well, stepping over guns and big lamps and cars and catapults. Elise follows her.

“I wasn’t planning to kill you.” She said, while walking. Not even looking at Elise’s direction.

“No. Teníamos un plan buenísimo para tu quedarte con uno de mis riñones sin matarme. En plan, me apuñalas, lo tomas, haces tu ritual y ¡boom! Adiós problemas. Ya eres humana. ”

“Alright. It was a shit plan! It would had probably kill you. But I was hoping it didn’t!!” She admits. She didn’t like to even think about this. But it was time. “Like, I was hoping as you trusted me, and I kind-of-trusted you, that in the moment I tried to stab you it’s like, test passed!! A light will appear and I will become human, no actual stabbing necessary you know? A la binding of Isaac.” She didn’t like to think about this because she knew it was fucking ridiculous. “But then I was like...well. You know, I thought you were a slayer, you said some...really weird shit suddenly and…” She steps on a big box that she doesn’t recognize. She opens it to find some nice decorated knives. “Alright, to be honest, deep down, I was hoping me freaking out and blowing the whole thing was the tiny part of me who… didn’t want to hurt you, in case I wasn’t stopped by magic, I rather stop myself and lie to myself too saying it was because I got paranoid.” She looked at the knives in the box, some knives had so many decorations, even in the blade, it would be super hard to cut anything with them. Like they had pins, if knives could have pins. She will have to cut the decorations on it too and it didn’t seem easy. She picked the most decorated ones, one raspberry pink, gentleman-thief like knife,with handcuffs, letters, hearts, and a lot of more shit Santana didn’t stop to look, and another porpoise grey shadow push knife, with handshakes, socks, and more shit. She didn’t usually like grey, but she liked this specific grey.

“But that’s not what really happened.” She left the decorated knives in the box, and picket other, merigold yellow handle, simple. No decorations, just a cat draw in the blade, but as soon as she picks it up, it turns into ashes. What a shame, it was a decent knife. It had to be sharpened more but it looked like it could be used. Gone. Unused. “I didn’t stop myself. Someone else stopped me. Someone called the Cardines. Someone… God. Someone made me...ugh” No. she wasn’t going to say it. She was just looking at knives now. She picks a dark plum purple with a gothic handle, and one light blue and taffy pink that opened like a lipstick, with a heel shoe in the blade. Both broken by the handle. Useless. But there is a simple one, with a little full moon carved on the blade, and a wolf on the end of the handle. Sharpened. Usable. She was going to carry this one. She sees there is a gap for a knife that isn’t there anymore. “Elise, was this your kni- oh FUCK!” She turns around but Elise isn’t there anymore. There is that old bastard man with his sunglasses on. “Ugh. ‘Dad’. Where is Elis-where is the… there was a girl here before.”

“Estamos aquí solos, Niebla, no tienes que hablar en inglés.” Her ‘dad’ says, with his annoying grin like he is planning something, and everything goes as he plans. She know it’s fake.

“Look, dad, I’m almost going to be an adult soon and I’m going to do whatever the fuck I wa- wait, no. I’m an adult.” She wasn’t 17. She was older. But she looks 17. “Fuck. I’m older than 17 and I’m still a fucking animal. I just have 3 years left. No, I have more years.” More years suffering. She stands up, confused at where the fuck she is. There is full of things that feels familiar but she just feels in the middle of nowhere. She runs. Somewhere.

“¿Dónde vas?” Her ‘dad’ asks, and she can hear him walking slowly behind her. She wasn’t going to wait for him.

“I’m fucking going backwards in the middle of nowhere. Fuck!”

“You never did a good thing in your life, and the world would be a better place without you.”

She steps on something and falls, she hears the sound of a recorded voice and tries to find where it comes from. She stands up and walk around, but she just hears more voices instead.

“You think everything is funny, and you answer me with irony just because you don't have anything real to say. I believed in you, I thought you were really trying to change things around.”

“Oh, shut up. Where does this come from?”

“I wouldn't have to fight you. I already know that I've won the most important part of living. And if you don't know what it is, well -- it shows.” Another voice. “You created the situation that caused you to be the victim!” She knew all of these different voices. “Who is doing this? Ugh, it doesn’t matter, I don’t give a single shit of what anyone dares to say about me!”“Do you feel that way too? Do you think you are just some kind of animal?”

But the recorded voices continued. “If you are what you are, and you are a trickster spirit, why do you never present as an animal? You are one, aren’t you. An animal.”

“You’re lucky some even refer to you as people, instead of Lusus.” She was getting annoyed. “But one day you´re going to realize that you´ll need friends by your side to back you up, and it´ll be sad when you turn around and realize there´s no one there.” She hears slow footsteps behind, clashing with the sound of stepping over metal. “I know what your most afraid of is never getting to be a real life girl ain’t it? Spoiler alert: You won’t. Ever.”

His ‘father’ gets closer to her, laughing. “Ugh, you’re the worst!” Santana says, pointing at him with her knife.

“You're seriously the worst trickster ever. Any trickster who scorns their birth is owned by humans. Go away, nothing.”

“I can’t be the worst if you are.” Her ‘dad’ answers.

“Your life is a series of seemingly unconnected episodes of deception for deception’s sake. In the end, your existence will be of no consequence.” Santana keeps searching where the record comes from. “I’m done bothering to try explaining anything to you.”She localizes the place where she hears it best. “It is not my fault that you got caught by the Cardines, Santana. Maybe the fact that you got caught means that you aren't as good as you think you are and do need to be here.” It’s buried behind a lot of illusory crap. Mostly weapons. “I don’t call you by your animal species, do I?” She starts to unbury and search. “Humans are capable of remorse. Do you feel remorse, Santana?” Her dad keeps laughing. “Remorse, you?” Like it was the funniest joke. “Evil for the sake of being evil. That's how I see a real monster to be.” A monster isn’t so bad, then. “You can sit there, and talk a big game about how my relationship is fake and all my friends are gone, and my parents don’t love me, but at the end of the day, Santana, I have my fake girlfriend and my cryptic parents and my fake friends, and you have nothing, and no one. Because you can’t. Ever. Not really. Not like the rest of us.” She keeps caving. “You’re following illogical sense. A fire witch isn’t a chimney. Just like your human form isn’t really a human body.” She sees an old tape recorder. “You are so full of shit. I find it funny that you are trying to be sarcastic with me right now when I'm actually one of the few who actually is trying to understand you around here.” She picks it up. “We wouldn't have been faced with the obligation to kick someone out if you hadn't acted the way you did.” And throws it to the ground. She steps on it, again and again.

“I'm sorry, Santana, but either way, you are still you, that's not gonna chang-” It’s the last thing the tape recorder says before being completely broken. She is satisfied. “I’m not even going to think about this ever again.” She says, while burying the old broken tape recorder back, putting even more things she founds around on top of it. But as she tries to bury something, she is getting things that weren’t on surface before. She isn’t looking what she picks, and sees she has in hand a dead rabbit. She throws it to the ground. It looks like a car hit it. “Ew ew ew ew” She complains, trying to clean her hands on her ‘dad’ shirt. “¡Mira!” Her dad laughs ”El conejo muerto que nos encontramos un día en la carretera y te dije, te dijee... que así estaríamos cuando nos muramos. Un animal muerto más, la gente nos mirará un segundo con cara de pena y luego seguirán con sus vidas sin volver a pensar en nosotros.” He says, like remembering a fond ‘father-daughter’ moment.

“Yeah, one of your depressive days when you don’t stop saying sad bullshit.” Where he complains about everything that also affects them all. She picks some joke t-shirt she founds on and hides the death rabbit with it. She tried to hide it with more things, but she will just find more creepy shit she didn’t want to find. So she just left the place, walking away, not knowing where she is going. She hears the sound of recorded voices.

“-the mighty and proud Santana Lopez.”

“Ugh, again?” She gets close to where the sounds come from, to destroy it too.

“I talk to you about shit because I want to. You’re a good friend, y'know” A voice she knows says.

“However what I've learned from all of our adventures, discussions, and friendship together is that when it comes to something important and serious, we have each other's backs and each other's stories.” She is getting closer. “You’re nice too, hah. Very surprisingly. More than that I guess if I had to be forced to compliment you by some sort of curse, I like that you’re real.” This one is not in the surface either. “Suffice it to say I know you care more than you let on. About us, about me. Don't go.” She tries to unbury it. “I have time for the people that matter.” She hears footsteps behind, over the sound of the recorder. “Santana you are a cool friend.” She keeps unburying. “I thought that mirror monster was beautiful and honest.” It’s buried deeper down than the other. “You aren't a condition that needs fixing. You've already proven to be fiercely loyal and a keeper of secrets without the aura potion. You’re super sweet when you’re nice, anyway. And same on the mutual respect thing. You’re my trusted friend.” She notices those phrases weren’t said at the same time, even when it was by the same person. But the order didn’t matter. “What do I think you are? You are my friend, and I love you and I care about you. There are things I'm afraid of, there are things that affect me more than others, but that's not a judgment towards you. Those are things I have to work out myself.” She is getting closer. “You challenge me, which I appreciate.” She sees the recorder. “They care about you, too. We might not die, but we'll be sad. We'll miss you. More so if you go off and get yourself killed.” She keeps staring at it, in silence. “We can be so much more than that. We shouldn't have to be just ‘monsters’ or not even that just a label that they want to put on us.” She takes the recorder with her. “Thanks for this, inviting me over. Not being weird. I've missed you.” Still knife in hand. “She told me that she thought I was always thoughtful, even though I thought you were a monster. Santana, I don't believe that you are anymore. You've shown me there is more to you than tricks and illusions.” She gets out of the hole where the recorder was buried in. “However I don't want to leave you behind if that's what turning my back means.”

She throws it to the ground. And stabs it with the kife. “Shut up shut up shut up shut up!” She shouts, crying, still stabbing the recorder. “Shut up! This just makes me feel worse! Shut up! I would leave everyone of you behind. I’m just tricks and illusions. I was using you! Monster is the highest status I can fucking reach!” She keeps stabbing the recorder even when it stopped working already. “No one will miss me. Shut up! I thought I wanted this, but the more they care, the more far away I fucking feel. The closer they are, the easiest is to notice there is nothing here.” She grabs her own tshirt and keeps crying. “I fucking hate it... I can’t… I can’t pretend anymore to be a person. People are telling me they care about me? And I fucking feel so empty when they do.” Someone sits next to her.

“¿Que hay debajo de toda esta basura, niña?” Her mom asks.

“Nothing! There’s nothing!” She feels so little. She looks up to her mom and she is not even going to use the quotation marks. “Mom, help me! When is this over? When do I start enjoying life?”

“¿Por qué estás aqui?”

“I don’t need a fucking reason to be here, in the world! What? I don’t have to contribute ANYTHING to a world that only give me pain! Fucking answer me! I’m just like 10 and I’m already so fucking tired of everything” No. She is not 10. She looks like a 10 year old but she is 24. “No, no, no, fuck. 14 years more of this? When am I going to become human, mom? Mom, please, I just want to enjoy life and I can’t as a trickster!”

“¿Tienes miedo? ¿De que tampoco podrás como humana?” Her mom asks. Santana blinks and she is alone again. She keeps crying. “It’s ok, it’s ok. Soon I will be human and happy.” She never was, but she could be. Right? “And I will connect with my friends for real, and I will care for real. I will be real.” She stands up, and walks alone, trying to remember the way back to where she was at the start. She is going back in age too. She is getting younger and younger. “Oh, no.” She will reach the moment when she couldn’t even turn into a human. She sees herself as the unglamoured kid, hidding her monstrous features under gloves, coats, hat and sunglasses. “No no no no.” She runs, she runs until she sees the red car. “I can’t end as I started! Without accomplishing anything!” She stops running when she reaches the car, she tries to open the door. It’s locked. “I don’t want to die as an animal! What was all the effort I did for? Nothing?” She keeps crying, desperately trying to open the door. If she was older, she could had open it. She knew how to unlock cars locks when she was older. She didn’t knew it now. “No! Help me!” The little girl uses the knife in her hand to try to open the car, as if stabbing the lock would work.

“Someone! Anyone! Please!”

#tw: violence #tw: blood #tw: dead #tw: animal harm #tw: dead animals #nimshadows #//also TO BE CONTINUED

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wpanews · 3 years ago

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Jayana Tanae Webb charged in I-95 accident in Philadelphia that killed state troopers, man

Pennsylvania State Troopers on Tuesday announced the arrest of the 21-year-old driver who authorities say fatally struck and killed two state troopers and a civilian on I-95 early Monday. Authorities have charged Jayana Tanae Webb, of Eagleville, with three counts of third-degree murder, homicide by vehicle, and a battery of DUI-related charges for her role in the three deaths, state police…

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tanalogyosc · 6 months ago

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A Monkey Paw

When James suddenly remember a conversation

#object show community #object shows #osc oc #object show oc #object oc #osc art #tana #travel around n about #tana - mug #tana - battery #Mugterry

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cohentoplaywithmagic · 7 years ago

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getting experimental| tinchel

WHO→ Rachel Berry & Tina Cohen-Chang WHERE→ Zephyrus Quarters Room #202 WHEN→ Wednesday 31st January 2018. WHAT→ Rachel gets experimental with Tina. WARNING→ Death mention, Fire mention. NSFP

Rachel had only left her room the past couple days to go to class. Other than that, she'd been in her room, not really wanting to face anyone other than Tina, who was acting a little bit strange, though Rachel knew better than to ask her. What had been on Rachel's mind the most over the past few days was those cards from Asterismos and her fathers' silence. She'd tried calling them but had received no answer, which was unusual for her over-protective parents. Something was up, but she didn't know what. Or she was afraid she did know it, but she didn't want to. She couldn't be a Bloodline. Her mind went back to what Sam had told her. Her magic didn't mess up technology. She had a tech witch as a roommate. She would know by now if her magic affected anything like that. She looked over at Tina and sighed. She had to test the theory. It wouldn't stop bothering her. But she couldn't just outright ask Tina about it. That would be too suspicious. So instead she summoned her magic circle and started singing <<Elastic Heart>> and began growing a sound bubble between her hands. All the while, she kept her gaze fixed on Tina's tech station to notice if anything changed.

Tina hates the way that the virus was making her more blurty and gabby than she normally was with everything. That fact that she was even effected was annoying when she did not even finish the aether damn spell, thanks to a lot Cid. Still, Tana- NO- Santana had a point that she was the only one to blame for the whole thing because so easily she could have said it was hard and urghhh, no she was not going to let her get under her skin. Carefully, she rolls up her sleeve to check on the marking on her own but that would make Rachel question and aether Tina did not want her roomie to question. Though it seems like Rachel was going through her own things, they had not really spoken about the fire and what they went through but that was their thing now. When they went through something they don't talk but keep watch on one another, the best silence they could have. Speaking of silence, it didn't seem to last long when Rachel started singing, Tina thinks nothing of it, going back to the Linguistic notes Blaine got for her.

Rachel watched Tina's tech and didn't notice anything, but her sound bubble was still pretty small. She willed her magic to grow it bigger, starting to sing a little bit louder. That's when she noticed something. There was a slight flicker on the screen of Tina's laptop. Rachel's voice faultered for a second, and she noticed the flicker go away immediately. She started singing again and made her sound bubble grow larger, hoping it had just been a coincidence. That's all it was, right?

Tina is getting herself lost in her notes, rewriting them in her own shorthand as Blaine tend to write pages and pages of things, that boy sometimes. Her attention on the notes, but something makes her blink as she swears that she saw something flicker, she side-eyes her own laptop turning her head away, she must have knocked it with her arm or something. No big deal. Rachel continued to make her sound bubble bigger. Tina's laptop screen kept flickering and Rachel almost couldn't believe it. It has to be a mistake. She has to prove it. Her voice cracks since she wasn't really focusing on her magic and the bubble popped, letting out a loud shatter of sound in the room. "Oh my gosh, I'm sorry," Rachel said, sitting up straight on her bed and hoping to god the darkness on Tina's laptop screen is because the computer put itself to sleep and not because of her magic.

Tina first doesn't take it as much when it comes to the first flicker on her laptop, it was just an accidental nudge on her part but aether when it happens again, she watches her laptop from the corner of her eyes. A panic surges over her as she watches her laptop flicker from on to off, as the flashes start to become quicker before a blackness starts to take over. "Gasp emoji," Tina calls as she starts to tap away at the keyboard, entering codes to just banging buttons for her laptop to flicker back on, but aether it was like it was flat out dead. Her first thoughts were about her virus but wait that was on her phone. When Rachel apologies she snaps back to look at her roommate confused as anything. "Like aether, why are you soz for, like Rae-Rae, question mark emojis?" She raised an eyebrow at her before her attention is slightly drawn to a flickering in her pocket.

Rachel frowned when Tina spoke. Was she speaking in... chatspeak? That didn't seem like Tina. She cleared her throat. She couldn't be too suspicious. "Just... about the loud noise," she said. "Are you okay? Why are you talking like that?" she asked. Tina is frantic about her laptop, the virus? The tech bitch playing a game on her? Though she tries to stay as calm as she can."Totes kk Rae-Rae, star emoji," she tries to laugh awkwardly but motions to her blacked laptop. "Like my laptop is like blacked out, fizzled, fizzled, cry emoji," she purses her lip together,"Oh like this is totally just like a glitch from something, sweat on forehead emoji." Rachel went to sit beside Tina and put a hand on her shoulder. "I'm sorry. Did the battery just die?" she asked. That had to be it, right? "Wait, a glitch? How did you get a glitch in your speech pattern?" she asked with a frown. Out of all the tech stuff she'd seen surrounding Tina, this was one of the weirdest. Tina is trying her best to understand her laptop,"Like don't be like soz rae-rae, but like aether it was like fully charged battery emoji." She could have sworn that her battery was fully charged that's why she unplugged it before studying. "Yeah, totally a glitch, smile emoji. Tech magic full of wonders, like, right, smile bright emoji."

Rachel nodded and squeezed Tina's shoulder. "Ok. It'll get fixed, I'm sure," she said, conjuring up a small sound bubble with one of Tina's favourite songs to get her to smile. "What about this speech thing? How can I help you fix this?" She asked.

Tina does the simple thing of plugging in her charger but watches it flicker off again. "This totes can't be like happening again, crying dramatically emoji," she is frustrated, placing Plue on her desk, trying to figure it out though is also soothed but Rachel playing one of her favorite songs. She smiles at her friend before shaking her head,"Like no one can help, like me, like no one even gets tech magic, lightning emoji, like get me?"

Rachel rubbed Tina's back and made another sound bubble, liking seeing Tina happy. She doesn't notice the screen of Tina's phone turn on and off rapidly. "Well, we'll figure it out. Have you talked to any of your tech witch friends? I'm sure there's someone who understands tech magic who can help you," she told her. "What about one of the tech witch teachers here?"

Tina feels like a little child having her back rubbed but the comfort was nice from her best friend with the music playing, she even shuts her eyes to enjoy it. A chuckle breaks her lips,"Oh no, no no, like this is something like you or no one else can like figure out yeah? Laugh emoji, for real none of you, can and like hashtag tech witch pride and alls, but no, like they can't even try. This will like fade like I hope and wish it will start emoji, star emoji."

Rachel nodded. "I hope it'll fade soon," she said, hugging Tina tightly. "You let me know if there's anything I can do to help, okay? I want to help you," she told her. She activated her magic circle and summoned one of her scarves to wrap around Tina's shoulders. "Want to go get some dinner together?" she asked. Tina hugs Rache back tightly as this seemed the most backed off she had been about her issue and truthfully this is what she needed for her best friend. "Like tots thanks, you Rae-Rae," she felt the warmth as wraps it around her shoulder. "Yes girllll yessss," her tone excited. But her phone was flickering brighter than before then a dullness comes over her phone, slight error messages vibrating like crazy from her phone.

Rachel hugged Tina tightly and couldn't help but chuckle at Tina's excited tone. Despite this curse, or whatever it was, it was kind of adorable to hear Tina speak like this. She pulled back from the hug and stood to get her wallet when she noticed the flickering on Tina's phone. "Um, Tee... I think something's going on with Plue? Or is it supposed to do that?" she asked with a frown. Tina broke away from the hug the moment she heard the distressed vibration and alerts leaving her phone. Rache was pointing it out but Tina already could see that something or someone was clearly messing with her phone. Her mind rushes to two possibilities, the aether damn virus or the tech bitch but aether those didn't feel like the reason why they fell off. "Panic emoji, panic emoji, oma oma oma," she is hovering over her phone. "Aether no, distressed emoji, like error. Error!!!! Cry emoji." The message flickers and Tina tries to fix it but the phone freezes on the screen.

Rachel frowns as Tina's phone continues to give the error message. No, no, no, this couldn't be her. It had to be something else. She can't have just broken Tina's phone. "I... what can we do to fix it? Maybe plug it into the charger? Is there a spell we can use?" she asked Tina.

Tina is in distress just like Plue seems to be. She was sure she could feel tears in the corner of her eyes. No way could her fun be errored like this now, after all she had been through with Plue. Her phone had been there from the very start when she began casting from it, the number of times she has saved Plue, now couldn't be the very last, could it? She looks at Rachel,"Like, maybe....like something simple, broken heart emoji, cry emoji." She tries plugging it into her charger but the battery only seems to let off a screeching sound, the error message dancing between smaller and larger letters. There was no hope. Rachel bit her lip as she watched Tina's phone flicker. She didn't know as much about technology as Tina did, but she knew that this meant the phone was... gone. Rachel felt guilty. She knew this had to be something beyond her control but... something in the back of her mind told her that she did this. Because she was a... no. no. That wasn't it. This had something to do with Tina's curse or something. She could tell that seeing the phone flicker was hurting Tina, so she activated her magic circle again to will the phone to flip over, but in doing so Rachel accidentally shot out a small, barely perceptible fireball from her hand, and Tina's phone immediately started smoking up. That's what happened when she did magic and didn't focus on it. "Oh my gosh!" she said. "What's... what just happened?" she asked, hoping Tina's hadn't seen. Tina felt her mind racing that Plue was not working. It was not like she could even verbal cast a spell to restore this so easily, her speech was beyond her control. She feels her heart pounding against her chest, without her phone she was powerless, she knew this. If something else were to happen, then what the aether was she going to do, she was no use to anyone. Her hand clings to her chest, as she slightly feels the heart pen drive around her neck, at least everything autosaved to there, aether that was something lucky for a change, a slight reassurance. A little scream leaves her lips at the sight of the fireball suddenly in the room as Tina watches in horror...Plue going down in flames. "OMA OMA OMA EXCLAMATION MARK EMOJI , EXCLAMATION MARK EMOJI , PANIC EMOJI, PERCEIVING EMOJI. CRY EMOJI. FLAME EMOJI, FLAME EMOJI." Her hands failing in the error, her voice like a corrupt message, eyes streaming with tears.

Rachel's eyes widened as the flames grew wider and she stood up to run to their washroom to fill a cup full of water. She went back and dumped the cup on the phone to put out the fire. "Tina... I'm so sorry," she said quietly, putting a hand on her friend's shoulder. Tina feels numb, as her eyes watch the dancing flames on her phone. For once the virus allows her to fall silent, as she watches Rachel douce her phone in water. She pulls a smile looking at Rachel,"Rae-Rae it is totes not okay, but like okay. Smiley face emoji."

Rachel sighed. "Come on. Let's go eat and we can figure this out later, okay? You need to eat something, I think," she told her. "I can go with you to get a new phone. It'll be okay."

Tina's head is already running trying to work out how Plue ends this way but how she was going to fix this all. A new phone. Screw her touching an iPhone. "Like tots let's go eat, hungry emoji. Knife and fork emoji." Would it be okay?

#para:getting experimental #social:rachel

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s-e-v-e-n-24 · 4 years ago

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Hlchkdkhf agender DC. No gender only coffee-

To add to this:

FTM Trans + Pan New Jersey

Transphobes no longer have kneecap privileges

Dresses in the baggiest clothes he can find

Before transition tried many different ways to bind and regrets most of it

Bigender + Demi Montana

He/she

In Denial

Refuses to get close to people (it happens anyways and yes Tana did fall for his best friend)

Dresses are iffy but skirts are great

She dresses up in her room with the more femme things, but hasn't yet tried elsewhere

Agender + Aromantic Asexual Rhode

He/him

Would call himself a triple A battery

Give me a qpr with Delaware and New Jersey please-

It would be cute

The platonic flirting-

CisM + Gay Asexual Alaska

It just v i b e s

Has "while you were busy being horny, I studied the blade" vibes

Kansas

????

Very confused

Low-key wants to go by neo pronouns like vi/vem and it/its

Too anxious to do that cause what if it's wrong

He'd rather not put a label on anything

CisM? + Pan Polyamous Indiana

Figuring out his sexuality was hard enough

He's fine enough with the he/him pronouns

A hopeless romantic really, but doesn't have the guts to really ask anyone out. Has tried, forgot to sign the letter

Genderqueer Washington

All pronouns

All of them. It's theirs now

Demiboy + Bi Oregon

I don't have any thoughts for this right now but it just makes sense

Harold, They’re Lesbians (LGBTQ+ states hc list)

Will be adding to this throughout pride month till we’ve got everyone on it

FTM trans + Bi CDC

He has the vibes

I want the science boy to deck someone who says gender identities aren’t real

He would’ve only gotten top surgery because he’s Busy and doesn’t care enough to fully transition

But all trans people don’t have to get all their surgeries, he’s happy where he is and that’s all that matters

Genderfluid + Gay Wisconsin

Poor cheesehead has no idea what’s happening

They’ll think they’ve figured out what they’re identifying as but then-

ope no never mind, she feels better at a girl

Fuck- wait no he’s a dude

Someone help the boi, he’s Midwestern with limited knowledge on this, he doesn’t understand-

Florida.

He (they? She? Xe?) doesn’t know what his gender is and he doesn’t care

All he knows is that he’s not cis but? Kinda still fine with he/him?

He’s attracted to,, humans? But specific? But not?

He likes People and has a Body, and isn’t gonna bother looking into it further

Is he bi? Pan? Omni? Trans? Genderfluid? Enby? W h o knows? Definitely not him, and he won’t know any time soon because he doesn’t care to find out

And that’s okay

Florida doesn’t have to know, he’s happy where he is

Was this projection? Mayhaps but I’m a rare actually-born-here Floridian so it’s practically canon

Demiboy + Ace Biromantic California

Because he has the vibes

You can’t tell me he doesn’t

Agender + Demi DC

Xe/xem specifically because @s-e-v-e-n-24 has spoiled me

Xe just need to have a good sturdy connection and then maybe xe’ll do somthing

But that would require the person to take the time to build a relationship with DC

So xyr alone

For now

CisF + Aromantic Pansexual IDC

She would like to pass on the romance thing

It’s a vibe tho

The non-ace aro representation that we need ™

Watch her have a QPR and it be so wholesome

Best friends

I vote Canada

Nonbianary + Gay Wyoming

They/them

But they’re closeted because they don’t like the others all in their business

They might tell One important person to them (best friend? A love interest? Who knows)

Genderflux + Pan New Hampshire

They are here to do whatever the hell they feel like

And you can’t stop them

#pride month #queer headcanons #ben brainard #welcome to the statehouse #welcome to the table #wttt #wttsh #reblogs

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jangany-missione2019 · 5 years ago

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le prime riflessioni

Venerdì 2 agosto

[09:47 – Roberta] Oh, ad Ambalavao il mio cell. prende, dopo più di due ore !

Niente di grave [gli uomini]: affezioni alle vie respiratorie, che dire: sono cagionevoli... sono over 54.... sono uomini..... 😍😘🤗

[11:08 – Roberta] Siamo a Fianarantsoa, ma qui le città sono formicai e la strada è ben scassata .Oltre che sale e scende e gira e rigira... 😳😅

Arrivati per oggi !

[12:00 – padre Tonino] Ciao, Roberta. Sono partito alle 9 da Ihosy e arrivato alle 12 a Jangany: 3 ore, come previsto. Ringraziamo il Signore che tutto è andato bene. Spero che anche voi siate arrivati bene a Fianarantsoa. Ancora mille ringraziamenti e un affettuoso saluto a tutti. P. Tonino.

[12:00 – Roberta] Cosa vuol dire?? Che la connessione... serve!!!

[12:02 - Cinzia Tasso] 🤗🤗🤗

[12:06 - Silvia Emanuel] Grande soddisfazione!!! Bravissimi 👏🏼👏🏼👏🏼

[12:10 – Roberta] Sì infatti. Non solo serve - che lo sapevamo già - ma funziona - che lo speravamo. Abbiamo anche sentito Timo che ce lo ha confermato e Memi da Torino dove ne ha il controllo a distanza... Il punto adesso è far sì che tengano il cell acceso....!!! Baci ...Ora riposo e poi bucato...

[12:13 - Renato Gava] Era l'ottobre del 2017 quando dissi che se non mettevano la parabola avrei abbandonato tutto. Quel testone di padre Tonino non voleva metterla perché era un lusso. Voglio vedere l'importanza di questa parabola nei prossimi anni... questa è solo il primo passo del progetto Comunicare sotto sopra l'equatore. Ora vediamo se siamo capaci del secondo: comunicare davvero, usarla, estendere le comunicazioni non solo con padre Tonino ma con il dispensario, la scuola, i professori... Sarà più difficile ancora di averla installata temo... ma è un passo nel futuro in mille sensi: provare a garantire la continuità grazie a più relazioni, sostenere il controllo remoto del fotovoltaico, aprire la conoscenza di internet benché transitando da chiavette USB sui PC della scuola... Sarà un percorso lungo se ci sarà. Lo speriamo e abbiamo appena aperto la porta per imboccare questa strada.

Cellulare acceso lui, le suore... santa pazienza. Anche noi in questi ultimi anni con la possibilità del WIKO suo e di suor Marcelline e di padre Fahamaro siamo stati molto lenti e distratti nel comunicare. Il coordinamento degli amici di Jangany dovrà impegnarsi molto di più in questo.

[12:33 – Roberta] Beh... Non c'era quasi mai connessione! Tieni conto che loro fanno una vita pazzesca. Non hanno molto tempo per guardare il cellulare e per cultura fanno le cose quando serve farle. Per loro il comunicare così è proprio qualcosa di nuovo. Loro vivono in comunità, quella è la famiglia, i loro cari li sentono o vedono una volta l'anno forse. Non è come per noi e, oserei dire, anche il legame affettivo con noi, prima che di collaborazione per i progetti, non è usuale per loro. Il preoccuparsi per l'altro nel senso di "starà bene?", "Sarà arrivato?", "Starà facendo fatica?", "Voglio dare mie notizie così non si preoccupano". Non è proprio nella cultura, loro vanno da soli da che sanno camminare o poco più e le difficoltà ognuno le risolve con chi ha vicino sul momento o da solo. Dobbiamo regolamentarci con loro in realtà per non esagerare e fare confusione. Ripeto, non hanno la nostra disponibilità di tempo e di comodità... Sono in giro in mille posti non sanno dove metterselo un altro telefono... Penso che potrà essere più facile stabilire giorni fissi... In ogni caso vi giro cosa ho scritto a Marcelline da Ihosy.

Abbiamo anche il cell. di tre prof. in ogni caso e con loro sarà più facile.

[12:34 Roberta a suor Marcelline]: J'espère que vous aimez Marcelline, allons à Fianarantsoa pendant que le père Tonino retourne à Jangany. Regarde mon message sur wiko 2 Ecole St. Marie. Vous devriez essayer de demander à Renato et à moi-même d'écrire un courrier électronique à partir de l'ordinateur du dispensaire. Enfin, si possible, écrivez-nous une fois par semaine pour chacune des 3 connexions (Vous, École et Dispensaire) afin que nous vérifiions la connexion et que vous appreniez bien. Pourriez-vous trouver du matériel pour les examens scolaires ? Comment voulez-vous le signal de la nouvelle sirène ? Un signal sonore unique et long ou type d'école pour les cours ? Au revoir avec affection. Roberta

[12:42 – Roberta] Non lo ha ancora ricevuto perché finché le serviva comunicare ha perfettamente usato... poi come dicevo... fino ad altra necessità...

Non è abituata a tenerlo acceso e guardarlo...ma avendo visto capisco. Sono abituati da sempre ad arrangiarsi. Per loro siamo una Grazia della quale sono ancora stupiti nel ringraziamento. Per altri versi non sono proprio abituati e dovremo saper gestire bene, con ordine e serietà la cosa...Sono anche un po' preoccupati che qualcuno (anche di loro!!) possa (alla malgascia) prendere tutto ciò come gran bella possibilità di richieste. A più tardi !

[13:54 – Silvio] Vicenda batteri: i batteri maschi sono stati generati da un batterio femmina... Ad ognuno le sue responsabilità!

Vicenda parabola: concordo con Roberta. Dobbiamo tener conto di una cultura che viaggia su altre lunghezze d'onda. Credo che servirà più a noi che a loro questa nuova risorsa.

[13:58 - Anna Perno] Perfettamente d'accordo, anche se non si può mai dire, avremo sicuramente dalla nostra le generazioni più giovani e gli insegnanti

[13:58 - Manuela Puppo] Tempo e pazienza , pazienza e tempo , ma intanto che ci sia connessione é un grande passo, avete fatto miracoli!

[14:18 – Roberta] Servirà moltissimo anche a loro (scuola, dispensario, missione) come tutto ciò che abbiamo costruito INSIEME senza imporci (noi viviamo quasi dietro uno schermo di smartphone o pc e facciamo quasi tutto con quello !! anche troppo in certi casi...), senza disperarci, senza arrenderci, ma regolandoci reciprocamente...ognuno come è, per un bene comune. Come ci ha detto Padre Mombelli ieri sera siamo tutti tutti partecipazione una sola Missione che deve passare attraverso le persone, nel tempo. La connessione aveva per noi proprio anche l'intenzione di permetterci di continuare nel tempo.

Ora l'esserci (nessuno escluso che abbia anche solo dato un piccolo euro o anche niente ma preghi e segua come può, attraverso noi e chi ci ha preceduto) incontrati e riconosciuti fratelli e amici, della stessa famiglia. Questo lo renderà davvero possibile. Vado a cercare il sole... In casa come all'ombra fa freddo!!!...

ps. Tana' è a 1800 mt !!!

[14:27 - Renato Gava] Brava Roberta: avevo dimenticato di dire tra gli utilizzi importanti quello di poter comunicare con l'ospedale di Sakalalina. Sul tempo e la pazienza, la diversità culturale, il mora mora.... tutte cose già note la cui difficoltà sperimentiamo ogni giorno (pensiamo alla scuola agraria e al progetto sanitario) che mi infastidisce risentire, ma pazienza... sono giochi di parole.... mora mora proviamo a esserci.

[15:29 – Roberta] Ah...Tra l'altro padre Tonino era curioso di leggere la Newsletter ma non era ancora riuscito a scaricarla con il telefono... Così gli abbiamo detto «Benissimo! compito ieri quando rientri a Jangany è scaricartela sul nuovo PC e dirci che l'hai letta!!!». 🤩😁

Ah... Notiziona!!! Fahamaro si comprato due gomme nuove per il Toyota. Ha detto "per ora due"... ma gli ho detto che per la stagione delle piogge dovrà aver preso le altre due! Ha riso parecchio quando gli abbiamo riferito del nostro intento di giustizia notturna!

Domani il tiro più arduo la strada è disastrosa e in realtà ogni mezzo circolante è un potenziale pericolo... All'andata se non fossimo riusciti a passare con un TIR rotto e fermo in curva... arrivavano forse il giorno o più, dormendo in macchina!!

Quindi: sveglia alle 5.30, messa alle 6, colazione e partenza alle 7 max.

Cielo tempestato di stelle sembra che siano le 22 e invece sono le 20. Noi stiamo per andate a dormire... e voi non sarete neanche a cena! La vita dei "pellegrini" è così. In fondo... Ad ora siamo in piedi da 14 ore e 15 minuti... scriverò un po' per recuperare... cercheremo di tirare alle 21.30! 🤗😴 Baci per tutti, Vahini di Andafy!

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