#but idk how to write it phonetically

[lxdyblackthorn]

friendly reminder that thais' name is pronounced tah-ish peh-droh-zu here in her country rio de janeiro

[angryjewishcockroach]

I have been thinking about this video nonstop since I first saw it on Instagram. I hope everybody has a very happy tuchus!

[Video ID: A Jewish woman (Rabbi Yael Buechler, @midrashmanicures on Instagram) speaks to the camera: We have reached a new low in holiday product fails. This treat box is for Sukkot. It's featured on Amazon and Sukkot is a holiday that doesn't get a lot of love so kudos for having a product for Sukkot. It says Happy Sukkot and in the Hebrew it says--wait for it--tuchus! Happy tuchus! Tuchus is Sukkot spelled backwards. The product clearly wasn't vetted in the Hebrew. This other treat box just says Tuchus. I'm thinking we should create some sort of governing body that "certifies" Jewish holiday products as being "kosher" because this is a new low. Anyway I want to wish you all a very happy Tuchus." The first box she shows is pale green decorated with images of apples, pomegranates, and branches and the words "happy sukkot" and תוכוס. The second treat box is pale orange with a similar motif and the word תוכוס. End ID]

[blaithnne]

Top five animals, Sadie. I trust you.

I can’t count

[galesdove]

“Bostonian yaoi” one of the funniest tags to ever do it

bostonian yaoi is everything to me <3 they are getting 2 iced regulahs and 1 strawberry frahsted. to shahe.

[predacon-carrion]

How is your name even pronounced?

That would be “care-ee-ehn”.

[bigtiddygothhusband]

You know its pretty fucked up that ADHD will not only make it hard for you to complete the cool interesting stuff you wanna do but also then make you forget about all the cool interesting stuff you have done as soon as you finish it.

[ineffable-gallimaufry]

now i just need to make the phonetics sound different when spoken or something

[clueless1995]

do any countries other than the us spell mum as mom ?? i feel like canada maybe does but i’m curious about it especially in countries where the word for mother is completely different like. if you learn english as a second language are you taught u or o ? and i think actually in ireland it’s sometimes mam ?

[newcakemix]

i’ve been binging fargo and the minnesota accent is driving me insane but my ear isn’t good enough to know if it’s actors with other accents butchering it or of it’s just. like that.

[surelysilly]

me, scribbling furiously in my sketchbook all of the answers to my plot problems: yes YES Y E S

[tater-pudding]

I love you all, you’ve done nothing wrong. But I’m begging you. The “kiri” in Kiriona is not pronounced like Siri on your phone. Kiriona is legit just how someone speaking te reo Māori would pronounce “Gideon”. You roll the R a little bit and it should sound a lot more like “Kee-dee-oh-nah” sorry idk how to properly write out phonetics but you get it

[unactive-shroom]

Haikyuu boys as tiktok pranks

CHARACTERS: Nishinoya & Kenma,

a.n. As always - requests are open! It's been so so long and I feel like I'm in lockdown again but the Haikyuu phase is strong as ever. Enjoy!

NISHINOYA YUU.

"Would you still love me as a worm?"

You shifted in his arms slightly. "Mm, yeah probably. Depends how long though."

You felt him nod, his chest rising and falling in time with his slight laughter. "Well, probably forever. It's kinda a permanent situation-"

"No, Noya, I mean how long the worm is."

A few moments of silence passed before you continued. "Well, I suppose you're on the short side anyways so you probably wont have to worry about it."

He sat up, almost knocking you off the couch. "Probably?! And what do you mean I won't have to worry about it?? I'll be the longest worm ever and you'll hate it."

Frowning, you maneuvered yourself off his legs and onto a more stable part of the couch. "Um, no, you'll be teeny tiny and I'll love you forever and keep you in a little bottle cap."

He mirrored your frown, and pointed at you. "You will not keep me in a bottle cap, you'll have to get a, like..." He faltered, making wild gestures with his hands. "...a jar or a skyscraper or something."

"Dont point at me! You're actually so wrong, you'll only be this size." you loomed toward him, showing him the tiny distance between your thumb and finger. He gasped dramatically and clutched his heart, before retaliating once more.

It was very likely that this quarrel would continue for at the very least, another half hour or so, but likely the worm references would continue for the next few weeks, confusing anyone who tried to understand what you were even arguing about anymore.

KENMA KOZUME

(Laughing like spongebob at him)

"So then Kuroo had to spike but completely missed, he slipped and fell just like-"

"blahahahhahahaha" (chat you know what i mean idk how to write spongebobs laugh phonetically)

Absoloute silence. Kenma turns to look at you with literal horror and fear etched across his face.

"....what was that?" he asked incredulously. "Did you just - was that a spongebob laugh? How do you even do that?"

"blahahahaha ! Stop, Kenma, you're so funny I don't know what you're talking about" At this point he was standing, head tilted and a look of pure shock and disbelief. "No. No, I'm not doing this."

You watch him get up and head for the door - "Wait, wait, Ken I'll stop, promise" you gasped between fits of laughter, in some attempt to bring back your terrified boyfriend.

After some coaxing, he sat down on the bed a good distance away from you.

"Promise you won't do that ever again."

"Aww, I promise."

"I'm serious, y/n! That was like, inhumane - no human should make that sound."

He flopped back onto the soft duvet, looking genuinely stressed. "I actually think you triggered my fight or flight response or something, that was messed up."

You sidled up beside him, wrapping a comforting arm aound him. "Don't worry, we're all afraid of something, Kenma."

"I am NOT scared of spongebob! I honestly think I'm scared of you now, though."

[pygmi-says-hi]

writing tips - dialects

By dialects I mean characters with a noticeable accent.

Unintentionally, you will assign a basic 'dialect' to all of your characters that they end up using in the story. British, American, Desi, Italian...idk, but it usually is about the same as the accent you speak with.

If you have a character that has an accent different from the others and you'd like to make it noticeable, here are some pointers!

Research! Listen to people talk with that accent, and maybe spell out a few words with the twang. In Southern USA, some people say 'boil' like 'bowl'. or 'pen' like 'peeyun'.

Understand where and how the vowel + consonant sounds change so you know where to switch. if you're just throwing in dropped t's and ing's like crazy then it'll be confusing.

for example, a Frenchman speaking English won't look like a Texan speaking English. "Vat is thees kind of perfumerie?" versus "What's this kinda perfume?" type shi

2. make it legible. If you try to edit every word to sound like an accent, it'll confuse readers who maybe aren't familiar. Edgar Allan Poe's "why the little frenchman wears his hand in a sling" is a perfect example of a kinda illegible accent. If you don't know what a thick brogue sounds like or how it might affect the words, it sounds like a bunch of craziness. pick a few words here and there and make sure that the edit is still legible.

example: (Mississippi character making mashed potatoes)

og: 'I take the potatoes and boil them for ten minutes, then I salt them and begin mashing until they're soft and fluffy."

overedited (phonetically accurate, but illegible): "Ah tayke the potaters an' bowl them fer tehn min'ts, then ah sawlt and begin mashin' 'till ther sawft an' fluhffy."

dialing it back (keeping the dialect but preserving the text): "I take the 'taters and boil them fer ten minutes. Then, I salt 'em an' begin mashin' 'til they're soft an' fluffy."

difference, eh?

3. keep it consistent! the character might have a personal affect as well as their home dialect. make sure you're remembering to use it when necessary. otherwise the accent will get lost, as well as the effect. keep a little excerpt of dialogue with the necessary reminders to make it easier on yourself.

writing dialects is tricky but not impossible. don't fry the readers' brains to try and add a bit of spice.

xox keep writing!

[necronatural]

What's Up With Dante's Name Anyway

It's fairly evident from the start Dante's name is not actually Dante. They express superficial "I've kind of heard of it, but idk what that is" reactions to a number of things, but make it clear that "Dante" is completely alien to them. Their own name!

Notable is that the sinners will write/embroider? their own names on their coats.

You can see Rodion uses her nickname, how she would like to be referred. DonQui's as the standard, a little uneven but clear and readable. Yi Sang wrote his in lowercase. Ishmael started writing hers, then before she finished tore the lower half of the coat off, preventing her from finishing her name. Gregor's is distorted; why that is is unclear, but the top 2 options are "he's right-handed and couldn't fix it once the mistake was made" and "he never learned to write to begin with". His profile seems to be the only one that's been typed out, so either way, he physically struggles to write, thus proving these are written by the Sinners personally.

Now look at Dante's.

They've interpreted the name phonetically. It's so alien to them they don't even know it's Italian. This is absolutely not their name.

Now, important to note Dante is a sinner too! They're in the lineup as #10, and they have a subtitle name just like the rest of them, "DURANTE". Durante is the poet Dante Alighieri's full name; "Dante" is a nickname, a term of familiarity.

Coincidentally, while their profile doubles down on "Dante", their jacket in that profile is written with...what's this??

DURANTE. The subtitle name.

Now, the subtitle names (purpose unknown) are also written out on the sinners, also clearly written by the sinner themselves, in their native language. On their weapons! (Mostly; Yi Sang's is on his bag, and as his knife is sheathed and obscured we can't tell if it's on there as well.)

Notable is Outis, of course;

Her subname is just her name. That's because she's based on Odysseus; "Outis" is a pseudonym, the written word's first John Doe.

This makes the reversal a little strange; going by a LC-assigned pseudonym, but your subtitle is your true name? That doesn't sound right. While it's obvious Dante can't go by their real name (their identity is being withheld for a reason, as mysterious as it may be), something is up!

My current theories are

Funniest possible option: They've been provided with a nickname as their alias, which is alien because absolutely no one has ever referred to them by nickname before

Durante is a surname; they would never be referred to as "Dante" because their first name (notably missing from their promo art's coat) is the one that would get a nickname. Notable that Durante is generally a surname nowadays.

Durante is just an alias, just like Outis', but can no longer be used due to the secrecy around Dante's previous identity

Durante is the name of D corporation (D-corp being where Dante was found, and the region that is soon to experience a mass-death-event of around 200,000 people in June of 985), which they are the CEO/Face of

Durante is the name of a specific role within the D Corporation that is self-evidently very high up, possibly tasked with being the interface for their Singularity (their Star?)

[eggtrolls]

haiku misinformation: a fact check

there's an post going around about haiku that has a lot of incorrect information about haiku, its terminology, history, etc. I will try to debunk some of the biggest inaccuracies here. everything in quotes is a direct statement from the original post. this is also really, really long.

"Haiku are made of 14 on, which are essentially the equivalent to Japanese syllabic structures, except the nature of how Japanese as a language is constructed versus English means that any given proper haiku could be translated in extremely and intensely different ways, each giving a subtle but distinctly different meaning."

Starting off strong - haiku are (usually) made of 17 on. It's the classic 5-7-5 pattern! 5+7+5=17! [possibly this is a mix-up with wakiku (脇(わき)句(く)) which is another type of Japanese poetry that does use 14 on but who knows.]

Definitions: an on is a phonetic unit, the equivalent to a mora (pl. morae) in English. this concept a) exists in English and b) like on, is related to syllables but distinctly different from them (i.e. ba is one mora but baa with a long vowel is two morae). On can be counted using the number of hiragana (phonetic syllabic characters) when the text is transliterated, so a word like Osaka that has the long O sound (made up of 4 kana) would be 4 morae or 4 on (o-o-sa-ka; おおさか). it's not really a syllabic structure at all, and more importantly has nothing to do with translation. idk where that last part comes from because that's really...not the point here. Yes, any given "proper" haiku could be translated in different ways with a subtle but distinctly different meaning but that's true of just...translation, period. check out Deborah Smith's translation of The Vegetarian by Han Kang for more on that.

Furthermore, haiku were/are not rigidly locked into the 5-7-5 on pattern. That's just not true, which is why I said usually above. Easy example: a 1676 haiku by Matsuo Basho that uses 18-on:

冨士の風や　扇にのせて 江戸土産; ふじのかぜや おうぎにのせて えどみやげ; the wind of Fuji /I've brought on my fan/a gift from Edo <- that first line is 6-on!

2. "The best way I can explain what I mean is that in English a good poem can be defined as a shallow river, whereas a good haiku is a deeply-dug well."

Not dignifying this with a response. Deeply incorrect and untrue. @bill-blake-fans-anonymous can handle this assertion.

3. "The presence of the kigu. There is a specific series of characters/words which are used to imply a season, and specifically a specific aspect of a season which the haiku revolves around. The creation of a haiku is often done as a meditative practice revolving around the kigu--you're essentially contemplating on this particular natural feature (nearly always the temporal aspect emphasizes either ephemerality or the opposite as well bc Buddhist ideas of enlightenment and beauty begin coming into play) and building an evocative and purposeful point that revolves around it like a hinge. It functions as both ground and anchor."

First (and largest) problem: the word. is. kigo. kigo. It's ki (季; season)-go (語; word) = 季語. Both the English and Japanese language Wikipedia, or a 3-second google search, will tell you this immediately. I have no idea where the term kigu comes from.

Second problem: plenty of haiku, both traditional and contemporary, do not use kigo. these are described as muki (無季; seasonless). Matsuo Basho, the haiku-writing poet non-Japanese people are most likely to know, wrote at least ten seasonless haiku that exist today. Masaoka Shiki, the Meiji-era haiku poet and reformist, wrote hundreds of kigo-free haiku and as an agnostic, tried to separate haiku from Buddhism and focus more on the shasei, the sketches from daily life. you can actually, today, buy what are called saijiki, which are lists of words and terms that refer to specific seasons (in the traditional Japanese calendar, so there are actually a lot of "micro" seasons as well). some saijiki include a whole section of "seasonles" words - here's an article about non-season kigo in a saijiki.

so the claim that English-language haiku are invalid or not "real" haiku because they lack a kigo doesn't hold up, unless you invalidate a whole bunch of Japanese haiku as well. the op also claimed they would categorize a lot of English "haiku" as senryū which is...an opinion. Yes, haiku tend to be focused around nature (more on that below) and senryū tend to be more comedic or about human foibles but...that's it! it's a tendency! it's not a hard and fast rule!

Third problem: the claim that a haiku is as meditative practice revolving around the kigu kigo...yeah, no. the earlier form of haiku, the hokku, were the introductory poems of the longer poetic form, the renga and the hokku gradually became a standalone poetic form known as haiku. the hokku had a lot of purposes and we have a historical record of them going back ~1000 years to Emperor Juntoku where they were declamatory poems tied to events (births, deaths, etc.) or social events (moon-viewing parties) - not really meditative. haiku, if a genre can focus on a single idea, focus on an experience and that can be real or imaginary, direct and personal or neither.

Here's another Basho poem for your consideration:

夏草や 兵どもが 夢の跡 (natsukusa ya tsuwamonodomo ga yume no ato; summer grasses--/traces of dreams/of ancient warriors)

both the dreams and the grasses are those of Basho (contemporary) and of the warriors (ancient); it's about travel, it's about connecting the present to the ancient past, it's not really so much about the summer.

(Fourth, minor problem that I'm not really going to get into: you'd have to take this 'Buddhist ideas of enlightenment and beauty' up with haiku scholar Haruo Shirane but he explicitly says in the Routledge Global Haiku Reader (2024) that "pioneers of English-language haiku [such as D.T. Suzuki, Alan Watts, and the Beats] mistakenly emphasized Zen Buddhism in Japanese haiku".....so.)

4. "The presence of the kireji...it's a concept borderline absent from English because it's an intersection of linguistics and philosophy that doesn't really exist outside of the context of Japanese."

Let's begin with clarification. What is kireji (lit. a 'cutting word')? It's a class of terms in Japanese poetry that can do a few things, depending on the specific kireji and its place in the poem. In the middle of the poem, it can mark a thematic break, a cut in the stream of thought highlighting the parallel(s) between the preceding and following phrases. At the end of the poem, it provides a sense of ending and closure - it helps mark rhythmic division, to say the least, and it is seen as the 'pivot' word.

Two problems with claims above:

a. there are haiku that do not use kireji. For the hat trick, here's a Matsuo Basho haiku from 1689 AD that is kireji-free: 初しぐれ猿も小蓑をほしげ也 (hatsu shigure saru mo komino wo hoshige nari; the first cold shower/even the monkey seems to want/a little coat of straw) <- NB: I love this haiku so much

b. the idea of a kireji, as in a pivot word that provides an inflection point with rhythmic division and structure, exist not just in English poetry but in multiple different types of poetry across time and space! The caesura in Latin and Ancient Greek! The volta in sonnets! Whatever is happening in the third line of the Korean sijo!

final thoughts:

the op included language, which I won't quote here because it was messy and tied into other rbs, about Orientalism and appropriation in English-language haiku, which is definitely a real thing. but this blanket statement ignores that the relationship between haiku and "the West", much like Japan and "the West", was and is not a one-way street. Western writers were influenced by haiku and, in turn, those writers influenced Japanese writers who wrote haiku inspired by these influences - this process has been going on for well over a century. Furthermore, English and Japanese are not the only languages in which haiku are written! Nobel Prize winner Rabindranath Tagore was writing haiku in Bengali; other Indian poets were and are writing them in Gujrati and Malayalam, particularly by the poet Ashitha. the Pakistani poet Omer Tarin has written haiku about Hiroshima! The Spanish poet Lorca published haiku in, get this, Spanish, in 1921 and the Mexican poet José Juan Tablada published more in 1922! Italian translations of Yosano Akiko were published in 1919! any discussion of the idea that English/non-Japanese-language haiku aren't really haiku because they don't hold to the "rules" (which Japanese authors have been revising, adapting, critiquing, and/or straight up flouting for centuries) or because English/non-Japanese poetry is "a shallow river whereas a good haiku is a deeply-dug well" just shows a lack of knowledge around traditions and depths of...well, poetry itself.

my god this is so long.

in summary: this is a complex topic. If anyone would like some actual information about haiku, its history, common themes and forms, or a collection of good poets, the Routledge Global Haiku Reader (2024) and Haiku Before Haiku : From the Renga Masters to Basho (2011) are great references and really accessible in their language! hmu if you're interested and I can send you some pdfs.

[the-irrelevant-trumpeter]

my highland goat-i-oat-i-oat-i-oat-i-oat

did everyone else learn the highland goat at primary school. does everyone else have that imprinted in their brains permanently. or is that just me.