#and the image ID is poetic

[adjective-noun-uhhhhh-3]

[Image description: A very long canvas. The silhouettes of trees and a squarish building are pale blue, with fragments of lightly printed text. They are stark against dark, snowy sky. Inside the building, a figure stands in a bright square, head tilted. Beneath him, the pale blue of the trees continues, swamping the canvas, darkening the further it goes. The printed text grows comparatively brighter. It is the compunction statement. Forgive me, it says, for the harm I have caused this world, over and over. Far below the first figure is a second bright square. The bottom of the elevator. The figure inside matches the first, but his pose is more rigid. Alert. The background, once the pale blue of the trees, has darkened to navy. Forgive me, it begs. End ID.]

[mishy-mashy]

What point is there in ruling the world, if the people you want in it are already gone?

The goal to rule the world is hollow now. All For One wanted a world where everyone existed for his sake.

Yet, the one person (possession) he wanted most by his side, as the one whose dreams inspired him to find his own, and the first person AFO declared them to, is already gone.

[77ngiez-archive]

21 / 15

closeups under cut

some closeups

[spoiledsunflowers]

The Lament for Icarus, Herbert James Draper // The Prodigal Son, John Macallan Swan // The Fight Between Icarus and The Prodigal Son, Cameron Beck.

[hotcinnamonsunset]

The Housekeeper and the Professor

— Yoko Ogawa

[vernalloy]

[ID: A drawing of Enoch Emery from Wise Blood. He is a young man with a thin face, blonde hair, a long upturned nose, and foxlike brown eyes. His front two teeth stick out, and he has a small, thin mustache. He wears a yellowish white suit over a pinkish white collared shirt and pea green tie. To the right is a small lineless drawing of his head, his face blue from suffocation. End ID.]

[uas-art]

Based on a comment by DJSuperQueenXD on reddit!

I finished this a week ago or so, but didn't post it until playing through the new DCL and reading the interactive comic to make sure the one old god I choose wasn't given some new lore lol

Image IDs:

A 6 page comic, shaded in black and white and Grey screen tones.

Page 1:

Kallamar is posing with his arms out. He wears a necklace, arm bands, and bracelets with pearls and gems on them. He proclaims, "TA-DA! The Lambs newest attempt to gain my favor was gifting me crystals from my lovely Anchordeep! I made jewelry from them! What do you think?"

Panel 2 has follower form Shamura staring forward with a question mark over their head. Narinder is walking by in the background looking sideways at the scene.

Panel 3: Shamura says "It's--" but is cut off by Narinder leaning in panel saying"*Gawdy*".

Panel 4: Kallamar crossed his arms and says "Tch! I wasn't showing you! I was showing Shamura!" while Shamura turns towards Narinder.

Page 2

Panel 1 narender lens forward with his hand on his chest and says oh I am so sorry Elder brother! Please allow me to try again. Panel too narender has his arms held out and cheerfully says "wow Kallamar I thought we killed the old god of beauty and removed 'true beauty' from the world but you have proven me wrong! amazing! "

panel 3 Narinder has his hand on his hip and looks smug he says "there. happy? that was sarcasm by the way"

Panel 4 Kallamar looking angry saying "you are such an as--" while tomorrow tilt their head looking Confused

Panel 5 Shamura, looking more confused and upset says "old god of beauty... who?" To which Kallamar reaches out and replies "theyre no one don't worry about it" Shamura repeats in a shaky speech bubble "Old God... Of Beauty... Who?"

Panel 6 shamura has one hand at their bandaged head and one at their shirt. They are upset and panting. They say "the old god of beauty? Who? Who? I... I knew them. I know them. We met many times, didn't we? Uuh... Err..."

Panel 7, Shamura grabs at their bandages and shirt collar. Their eyes are wide and teary. Black blood oozes down the middle of their face. The line art in this panel is scratchy.

Shamura says "but what was their name? I... I can't...I can't remember their... Um... No... They were... Who?"

Page 3

Shamura is slumped to their knees on the grass while Kallamar has his hand on their back and on their arm, soothing them with "there, there. It's alright. Deep breathes Shamura."

Panel 2, Narinder looks on guilty.

Panel 3: Narinder looks to the side with a sigh.

Panel 4: Narinder sits next to his siblings, rubbing his neck. Kallamar glares while Shamura looks at their hands with eyewides.

Narinder says. "Aetherile. Their name was Aetherile. In their vanity, they called themself the god or beauty. Really they were the good of something else. But it doesn't exist anymore, so it doesn't matter."

Page 4

Panel 1 in the foreground, Narinder rubs is arm, looking up and to the side. In the background, a younger bishop Shamura holds their arms out behind a younger Narinder, holding an axe, and younger Kallamar, holding a sword. The screen tone on them is offset to show this is a memory

Narinder says "They were the first of the gods you declared war on after we met and you, Kallamar, and I became siblings. They were the first I got to help fight."

Panel 2 in the foreground Narinder holds up his hand. This time he looks down and two the side as he speaks.

In the background, a younger Narinder holds up a Hertics Heart. He has blood on his chest and chin and his shirt is cut. A younger Shamura looks on please while a younger Kallamar pouts behind them. Their toning is also offset.

Narinder continues, "you let me take their heart, even though Kallamar dealt the final blow. You thought 'Death Devouring Beauty' was a poetic end and I should take it instead."

Page 5

Panel 1, Narinder looks down and says "I know now you only gave it to me out of pity for my youth and to motivate me." Kallamar, a hand still on Shamura's arm, looks to the side and mumbles "that and you got yourself cleaved in two at the shoulder." Shamura is bend over with their face shadowed.

Panel 2: Shamuras face is zoomed in on. Their upper face is still in shadows. They say "... No..."

Panel 3 Shamura wipes the blood from the middle of their face with their shirt, looking much calmer, as they say "I remember now. That's not what happened, well, not exactly"

Panel 4: Kallamar and Narinder are shocked and both cry "WHAT?!"

Panel 5 the upper quarter of Shamuras face is in the corner. They are looking down. A younger Narinder is behind them. Leaning on his axe and looking idly at his claws. The toning of offset on him, and a copy of the line art offset as well. A noise layer is applied over the memory.

Shamura says "We only defeated Aetherile because Narinder made them angry--too angry to think clearly."

In a soft edge speech bubble Narinder says "A god of beauty? Ha! I guess you'll make a pretty enough corpse--for a hag anyway!" the text is faded and has an offset copy over it.

Shamura continues "Is what he said. They were so upset that they only attacked him, leaving an opening for Kallamar to deal the fatal attack"

Page 6

Panel 1 Shamura beans, holding up their hands. They chuckle and say "What a nice memory!"

Panel 2 Shamura pets Narinders head by his ear. He is Suprised.

Panel 3: Shamura puts a hand on Kallamar's shoulder. Kallamar smiles with a sign and has his hand on their arm.

Panel 4: the three are sitting side by side in the grass. Shamura with their hand on Narinders head and Kallamar's shoulder. Thwir shadows extend behind them, with smiles draw on each on as Shamura repeats "...A nice memory..."

[scatterbrainedbot]

I AM SPINNING I AM PACING I AM FULL ON FROLICKING IM SO EXCITED

@d1sc0rd1a THANK U FOR THESE TAGS

okayokayokayokay so pretty much all of these questions will be Officially Answered properly in the character design/intro pages im working on but also i am physically vibrating with excitement about the fact that you noticed all these details and i have very little self control so! lore dump time!!!

(minor tw for mentions of leos self-harm/self-destructive anxious behaviors and unhealthy coping skills)

- mikey does indeed have curly fur! i believe he would be considered a 'rex' rat (pictured on the left) for this trait? though the curls can be more easily seen on mice (pictured on the right). or, at least it seems that way. have not delved too deeply into the details of rodent genes and husbandry, but id assume its the same sort of mutation considering curly haired mice are also referred to as rex sometimes? either way hes a extra floofy bby 🧡

-as for raphie, unfortunately being more fluff and less shell than the average rapheal comes with its downsides. especially if you and your brothers occasionally encounter things like territorial dogs, hungry cats, or sewer crocodiles while exploring places ur dad said not supposed to go. (most of his scars will have more ninja related stories, but his ear i think got messed up from something very animal. probably around age 11 ish? old enough to sneak out from dads protection but young enough to not fully know how to handle himself alone against real danger. thankfully his ear injury looks worse than it actually is for the most part, as the damage was largely to the outer ear. his hearing wasnt super affected, except that he now has a bit of a harder time being able to track/pinpoint noises origins if its on his right side.)

-also yep! dons got some glasses that just clip/rest on the bridge of his nose! theyre mostly just for home use, as they do fall off if hes knocked around. in the field he has some goggles he tends to use (theyre helpful as they have multiple additional functions like heat-imaging, extra zoom/telescoping, and recording capabilities. but also theyll give him headaches if he wears them for too long without breaks). contacts are theoretically also an option but he absolutely hates the sensation of putting them in. so sometimes when hes tired he'll just not bother with either clips or goggles and just squint and struggle. leo hates when he does that lol.

-speaking of leo, he is def an anxious baby :) he has a few patches of fur missing on his hand cos he has the tendency to tug on it while hes thinking. he yanked and chewed on his own tail a lot when he was younger too, which is why when hes older he usually wears some wraps to cover the scars left from that behavior. he finds those scars specifically to be kinda embarrassing and shameful because they werent from any battle or life-lesson, just his own 'inability to control himself'. all of his brothers have repeatedly called him out on the fact that that is not a healthy way to think about his anxiety or mental health, but leo insists hes fine. hes kinda convinced himself that a proper warrior always has control over his own body* and his own thoughts, thus he should be able to just like willpower-brute-force his way into 'being better'. (this line of thinking pisses raph off so much he has to leave and go hit something)

Splinter also tries to talk him through some of that internalized guilt/shame/everything, but splinters very metaphorical, poetic, and indirect when it comes to talking about Big Things, which combined with how much leo gets caught in his own head, makes it kinda hard to gauge how much these talks actually help

*this is made extra fun considering leos also ftm trans, so he is faced with a body that fundamentally disobeys him perhaps more than the average rat-man.

-and im still going back and forth between a few species for splinter, but im leaning mostly towards an African Spurred Tortoise! they have these beautiful if kinda subtle geometric shell patterns and are the third largest species of tortoise in the world. the only thing that doesnt fit perfectly with Splints is that (allegedly) their lifespan in captivity is around 50ish years, whereas im p sure Tortoise Splinter is well over 75, probably closer to 90 when the boys are born and hes mutated into Old Man Papa.

but maybe hes just a particularly long lasting African Spurred Tortoise.

the Hamato family has taken very good care of him for many decades after all. :)

(well. until everything all fell apart, that is.....)

[sageandscorpiongrass]

hello <3 could you please do a webweaving on losing someone you love? thank you!

Either way, you're not coming back.

For whatever reason, I really struggled with this one. I wasn't sure if you meant loss as in dying or loss as in leaving, so I tried to make it applicable to both.

tender is not a bad word, K.C Cramm | Planet of Love, Richard Siken | A Self-Portrait in Letters, Anne Sexton | Count the Almonds, Paul Celan | Come Over (Again), Crawlers | A Valentine That Can’t Be Sent, Rosmarie Waldrop | Poetic Regulations, Mahmoud Darwish | Intimacy, Hanif Kureishi | @/small-planets | The Torn-Up Road, Richard Siken | Instructions for the End, Jen Benka | Norwegian Woods, Haruki Murakami

[transcriptions and image ID in alt text]

[schizosupport]

Psychosis and Schizo Spec Flag Time!

My dear friends of the community! For a community in which so many of us have been called a freak at some point in life, we've had a distinct lack of a coherent freak flag to fly!

Well, no more. There's a new flag in town, and she's a beauty!

The flag is preceded by a number of other flags. @psychotic-pisces collected a number of them, and proposed yet more, here, and there have been other versions and attempts through the years. There can be many flags, and no flag is more right than another, but we did feel that our community might be in need of a simple yet recognisable flag, that would still be rich with symbolism. This is our proposal!

I shall refrain from waxing poetic about the elements of the flag, but the references are as follows:

The symbol used in this flag was proposed by @actuallyschizophrenic here, and has seen fair use in the psychotic and schizo spec communities around these parts.

The colour stripes in the background match the current flag most commonly used for disability pride.

The background is purple, because 70% of all previous proposed flags were purple, suggesting a cultural connection to the colour in our community.

The symbol sits upon a waxing silver-lavender moon, referencing not only tales of lunacy, but also the dichotomous nature of our illnesses, negative/positive symptoms and more.

Finally, the moon acts as a prism on the stripes, creating a disjointed feeling, that we associate with psychosis and disorganization, among other things.

The flag doesn't have a name, I think anyone in the community can call it what feels right. Schizotypy flag, psychosis flag, lunacy flag - you name it! I call it the lunacy flag, but I have provenly bad taste, so call it what feels right!

This flag was a collaborative effort in a community discord for schizo spec folk and psychotic people. There's no way I could have arrived at this design on my lonesome, and I'm forever grateful to our loving, creative, smart and awesome communities!!

Special thanks to a very cool, kind and talented person who goes by 'Orange' in the server, who created the vector file of the finalized flag, which can be found (on Google drive via tumblr) here!

And a userbox template bc why not..

Let's go fly our freak flag! 🧠🔥🎉

(License CCO 1.0 Universal - this flag can be used anywhere, credit is nice but it's not a requirement!)

Other formats, color annotated version and image description under the cut

Long format:

Square:

Version of the flag with names of each colour for accessibility:

Image ID of flag: A rectangular flag. The background is purple, and in the middle there's a circle. The circle looks like the moon, with one side in darkness. The moon is dark grey and light silver-grey lavender. On the moon is a symbol commonly associated with psychosis and the schizo spectrum in white. A beam of stripes cross behind the moon from each corner. The stripes are light green, light blue, light grey, yellow and light red. They are similar to the stripes on the disability flag. The beam shifts position behind the moon, so it is parallel above and below the moon, but not directly connected. End ID.

[soledadcatalina]

[id: two digital sketches of sir damien from the penumbra podcast. he's an Afro-Filipino man with brown skin, curly dark brown hair and a prominent mustache. the first sketch is damien pressing a hand to his chest, beaming a smile with a small speech bubble with a heart and exclamation marks beside him. the second image is a full body sketch of him kneeling on the ground, wearing his archery harness and quiver while gently admiring over his bow in hand.]

my ex-knight in poetic armor

[xiaoaetherposts]

Aether helps Xiao in his grief.

Xiao wrote a poem because of Aether, in which he and his friends, the Yakshas appear in poetic images.

Xiao said his heart feels much calmer for which he could express his feelings of grief.

And Aether has commemorated by lighting incense in Pervases's shrine, and he said before he is always willing to be by Xiao's side.🥺

Another kind gesture of Aether towards Xiao, with which he preserves the memory of the Yaksha named Pervases.❤

Zhongli to Xiao: "You can find the way with the Traveler's help." 🥺

The manga panels are from the Genshin Impact Comic Anthology (japanese manga book, miHoYo games comic, ID Comics/DNA Media Comics).

It's officially licensed by miHoYo in 2021.❤

Twitter(X): @xiaoaetherposts

[greenhorn-art]

to catch a sunbeam with white moonlight

Author: orphan_account [this work has been orphaned and is no longer associated with it's author]

Fandom: 全职高手 | The King's Avatar

Rating: General Audiences

Category: F/M, Gen, M/M

Words: 55,720

At a Glory convention, Dai Yanqi meets Ye Xiu who is helping Su Mucheng buy her favorite doujinshi. They surprisingly hit it off as they browse through all the doujinshi about their peers and talk about Glory.

About the book

FONTS: EB Garamond (body text, title), Roboto (body text - electronic), Bebas Neue (title, headings), Alfie (title), Segoe UI Symbol (scene breaks - 'gear without hub')

IMAGES: Sunflower (Rawpixel, ID: 2687359), lightning (Rawpixel, ID:10200699)

MATERIALS: Domtar Earthchoice (textblock - 20lb, cream, 11x17 cut down to 8.5x11), Recollections paper pad (endpapers - Dark Watercolor Florals), Iris bookcloth (covers - Eggplant), Verona bookcloth (covers - Hot Toffee), Ribbon (covers - 1/4", shell grey), embroidery floss (endbands - 209 Very Dark Lavender), leather cording (endbands - 1.4mm), Ceramcoat acrylic paint (painted edges - metallic silver), Anita's acrylic paint (painted edges - 11038 Purple), Reeves acrylic paint (painted edges - Violet & Crimson & Blue Lake, Payne's Gray), waxed linen thread (sewing textblock - 30/3, white), Books by Hand (glue - pH neutral PVA)

PROGRAMS USED: Affinity Publisher (typesetting), Affinity Designer and Affinity Photo, LibreOffice Writer (QR codes), Bookbinder-JS (PDF imposer)

BINDING STYLE: Split-board binding, French double-core endbands

(Belated) Binderary Book 2024

My first year participating in Binderary and I'm 2/2 with my goals, albeit slightly late (even with the added leap day).

Goal No. 1: Bind a book!

This fic is an orphaned work, with no author available for me to reach out to. Convenient, since it was a last-minute decision.

Goal No. 2: Finish typesetting the fic that got me into this whole bookbinding/fanbinding hobby!

Bad Boys JEDI Style is a 217 chapter, 908k word "comedy of errors: in which our heroes are recruited to film a reality holo-drama". Much to my despair, the fic I loved had been deleted from every site it was uploaded to, and I was left kicking myself for not having downloaded a copy from AO3.

Shout out to Kam and Lofe, whose wonderful Binderary demos were put to use in the making of this book! Kam's French Double-Core endbands demo was super helpful, sizing up the 'textblock' and components made it easy to actually see what's happening with the sewing. Loffe's demo introduced me to the split-board binding technique and, sleep-deprived hiccup notwithstanding, I think I might find it easier then bradel style binding! Need to bind more books to know for sure (such a hardship 😔).

In other new-s, I took my dad's recent workshop baby for a spin. The bookbinding plough works like a dream! I tried a hidden fore-edge painting for the first time (just a solid colour), but the purple is lost under the Payne's Gray basecoat I applied to the silver painted edges. Adding ribbon to the cover was also new (mostly due to the fact that I never remember until the endpapers are already pasted down).

On the Design

Cover

This is a Team Thunderclap!Ye Xiu AU, so the cover was based on Team Thunderclap's uniforms from the donghua (from the one screencap of the team I found, see below): purple across the shoulders and forearms of their jackets with a yellow stripe down the centre. I added silver ribbon as a nod to the white of the jackets as well as the grey gear of the team's logo. Also in reference to the title: yellow=sunlight, silver=moonlight.

Title Page

The title page stumped me for a while. While brainstorming title page design ideas, I thought about what the title means. In English it's poetic but nonsensical, so I wondered if maybe it held some meaning in Chinese?

As it turns out, it does. Kind of. Maybe. (If I stretch and reach for it, it makes sense). According to a quick search of one webpage for each query, "'White Moonlight' usually refers to a person or thing that is elusive in the heart, has always been loved, but cannot be touched" or "an 'unforgettable first love'." The sunbeam itself might be Ye Xiu, the figurative ray of light, the hero, the gaming idol. Or 'catching a sunbeam' could refer to how "sunflowers turn their heads to catch every sunbeam."

The potential meaning I have cobbled together is how Dai Yanqi turns Ye Xiu's head and captures his heart by sharing the (SanXiu-ified) story of Su Muqiu, the aforementioned white moonlight. Is this what the author intended? Who knows. But it does seem plausible enough to inspire me.

I ended up using both the idea of sunflowers and Thunderclap's uniforms (again). Lightning referencing the team's logo, and also the white colour of a flash of lightning which is kind of like moonlight. The logo's background is blue, as is the uniform as seen on the cover of the manhua featuring the captain Xiao Shiqin (see below), so I made the background blue-purple.

Endpapers

The (not-actually-)sunflowers carried over to the endpapers, as well as the grey colour from the gear in Thunderclap's logo.

Endbands

Kept these simple. A solid purple, as close as I could get to the bookcloth. I didn't want to draw attention away from the stripes on the covers or the silver edges.

Probably could've gone for thicker cores.

The text

For the scene breaks I used a special character of a gear. The cog also looks like a sun. Which is fun because it can reference Thunderclap, the title (sunbeam), and my design choice of sunflowers.

I reused the lightning image at 50% opacity as a background to set apart the backmatter.

Misc.

Recently, I've begun to increase my efforts of preseving fanfiction and safeguarding the stories I love from purges and takedowns. (Sparked by the December 2023 scandal about Sony announcing an upcoming removal of content including the movies and TV shows that people have purchased).

This fic has been archived via the Wayback Machine at https://web.archive.org/web/20240215155152/https://archiveofourown.org/works/37414021?view_full_work=true.

Also, curses be upon Rawpixel. Since the time that I had downloaded the images, they have now be placed behind the premium user paywall (along with a number of other graphics and elements that used to be free).

[elfdyke]

ROE AND PEWTER 20!!!!!

20. What is their best memory together?

well id definitely need to consult adri on this one BUUUUUT <3 one of my favorite ‘memories’ they share is when they visit pewter’s family in act 2. we’ve talked about it being during wintertime, and maybe its the first time roe ever experiences snow (where the sun elves are from is very warm to temperate year round). so its this brand new rather whimsical thing for roe to enjoy, pewter gets the comfort of being back around her family for the first time in presumably over a year at this point, and they kind of just get to take a little bit of a breather before things get intense (thinking this is happening towards the end of act 2, which results in some crazy shit and roe and pewter breaking up). BUT IDKKKK ITS JUST SO SWEET FOR ME TO THINK ABOUT <3

roe getting bundled up in pewters winter clothes from when she was a child bc they would fit roe 😭 so cute… roe getting to see pewters childhood room, her beloved stuffed toy that is so freaking old and decrepit and roe is kind of stunned by, maybe roe reading some of pewters childhood diaries. LMFAO SO FUNNY TO ME. waxing poetic about her struggles in the orphanage right next to her battling with puberty induced lust. roe like i. maybe i shouldnt be reading this. pewter taking them both into town and idk.. DOING A LITTLE SHOPPINGG <3 RAHH SORRY I FEEL SO SILLY THINKING ABOUT THIS AT ALL it makes me so happeee.

take some doodles from this moment, they make me feel like im gona explode into gore

(2nd image by @wiisnorkeling2006 ofc <333)

[olreid]

[ID 1: I will limit myself to a discussion of the plethora of allusions to the conjunction of femininity and death — dead mothers, Dante’s idealized Beatrice, Bürger’s vampire-beloved Lendore, Mérimee’s fickle Carmen and Poe’s dead wife Virginia Clemm, recreated as Annabel Lee. This excessive citation, as well as the enmeshment of seemingly disparate topoi, paradoxically uses the strategy of ironic distance to disclose the implied effacement of any reference to a world outside the image repertoire of the narrator. In this narrative an excessively figural rendition of the beloved ‘killed’ into the trope of muse (with this gesture supported by references to other texts undertaking the same figure), inevitably also articulates the real subject position of the effaced child-bride Dolores Haze, though only uncannily, as presence in absence. As Appel suggests, the novel is ‘a parody of death with real suffering in it.’

ID 2: More crucially, perhaps, by having his infatuated poet explicitly designate her death as the condition for a reading of his text, her actual death completes his figural killing. Their final scene of meeting in fact works on the basis of a transposition of the actual into the imaginary. When H.H., invoking Carmen one last time, asks Dolores to come with him and she replies ‘No,’ he writes ‘Then I pulled out my automatic — I mean, this is the kind of fool thing a reader might suppose I did. It never even occurred to me to do it.’ Yet in the next sentence, the parody of a murder fantasy is undone, for the girl waving goodbye is described as ‘my American sweet immortal dead love; for she is dead and immortal if you are reading this’ (278).

The movement of signifiers is from a literary death (Carmen’s) to its parodic disruption, to a metaphor where the girl stands for his dead love, to its literalization by virtue of a reference to an anticipated real death. This movement from death fantasy, through banalization, to literalization of the trope also occurs in respect to her maternity. Upon seeing Dolores again, H.H. admits, ‘the death I had kept conjuring up for three years was as simple as a bit of dried wood. She was frankly and hugely pregnant’ (267). Yet reality catches up and confirms this fantasy in the sense that, if figurally a nymphet dies once she turns mother, Lolita dies giving birth. What the narrative frame states on the surface, then, is that while for H.H. Lolita merely dies figurally into irretrievable absence (her smiling ‘no’) and into a trope (‘immortal dead love’), she actually dies as Dolly Schiller for Nabokov; her corpse feeds the text not the narrator. Yet by implications, H.H. invokes her actual death even as he also invokes her eternal survival as a signifier. He can accept her rebuttal, the loss of this desired object, because in his narrative representation he immediately exchanges the actual girl chanting ‘Good-by-aye’ with a premonition of the text he will have written about her. As in the ‘fort-da’ game, he translates her forced absence into his symbolic representation where he has seeming control over her death and her immortality; the one being the condition, the other the result of his poetic activity.

In the last sentence of his memoirs, anticipating his own death and invoking that of his lost beloved, H.H. in a sense places himself and his Lolita between the absent and the double, when he claims that his finished fiction is ‘the only immortality you and I may share, my Lolita’ (307). From the perspective of the poet, this is a gesture defying death, for he eternalizes not only his image of her, ‘my Lolita,’ and concomitant the fiction of their love (their shared immortality), but above all his signature. In respect to the represented woman, however, this gesture commemorates the absence of Dolores in the text. Invisible beneath the tropes and allusions to feminine figures of death, she marks the site where absence inscribes itself rhetorically into the text only to be recuperated on one side by death and on the other by the poet’s recourse to symbolic immortality — to ‘prophetic sonnets, the refuge of art’.

Framed within the context of the event leading up to its writing — namely Dolores Schiller’s refusal to leave her husband — the first paragraph of H.H.’s memoirs can be read as an apostrophe in a dual sense. He not only addresses a beloved who is by implication dead but also one who is decontextualized: ‘Lolita, light of my life, fire of my loins… She was Lo… She was Lola… She was Dolly… She was Dolores… But in my arms she was always Lolita’ (9). This list of names in part serves to show the various roles she could be associated with as well as the chain of supplementary signifiers attached to her body. Above all, however, by addressing her without a patronymic, the narrator weakens her representation as a historical person and emphasizes her function as a freely floating signifier, an empty sign he possesses and on to which he can impose anterior meanings to produce a supplementary textual matrix. By privileging language over the body, restructuring Dolores Haze into the sign Lolita (‘My sin, my soul’), H.H. undertakes a figural ‘murder of the soma’, a blindness toward this girl’s irrreducible alterity, so as to make her signify his desire. He can master her material absence (the fort of the mother-to-be), by virtue of a symbolic control over her presence.

Because the real beloved is absent she must be represented and because the woman’s body is missing, stereotypes of femininity that seem to assure the narrator are possible. Yet, in this recreation, the perturbing difference she marked throughout in a somatic and a semiotic sense — because she eventually succeeded in running away from him even as his designations repeatedly missed their mark — is only imperfectly elided. Like a fetishist, H.H. commemorates with this narrative the castrative wound to his narcissism it is meant to negate, namely that Dolores successfully eludes his grasp because his love is a non-reciprocated fiction. end ID]

elisabeth bronfen on lolita, from over her dead body: death, femininity, and the aesthetic

[accessible-art]

I am not asking for an art to be translated, but how do you write well done IDs? Is there a resource for this?

hi mod luna here! for me it helped just looking at other peoples IDs. some general rules i follow are:

contain your ID in a set of (square) brackets

start your ID with 'ID:' or 'Image:'

end your ID with 'end ID.'

use correct grammar and spelling! a screen reader might not be able to interpret 'dont' as 'don't'

i'm also not a native english speaker so i just run my IDs through a spellcheck, no shame about that!

use short and clear sentences: 'there is a green tree. behind it, the sun is rising.' instead of 'we see the rising sun behind a green tree.' your ID has to be understandable not poetic

use punctuation between sentences. a screen reader will not know when to pause otherwise.

don't use emojis etc.

in general be aware screen readers might have problems reading certain symbols - keep it as simple as possible!

most importantly: don't be afraid to try or ask for help!