#emile hay

[snowbellecity]

oh thats new...

[ozkesra]

❛ ¡Cuidado con eso! ❜ @emviles​​     @arigg​​

advertencia masculina es suficiente para que logre agacharse a tiempo para que el balón no le pegue en la cabeza, se queda así un par de segundos hasta que considera prudente enderezarse. “ok… definitivamente no estoy hecha para los deportes” menciona dejando salir una especie de risita. “gracias, de lo contrario estaría desmayada en el suelo”

[hotvintagepoll]

Propaganda

Deborah Kerr (Bonjour Tristesse, An Affair to Remember, The King and I)— For several decades she held the record for most Oscar nominations without a win (6 in total), and she was a prolific leading lady throughout the 40s and 50s. She's best known today for the romance An Affair to Remember with Cary Grant, and as the governess in The King and I. Many people have this erroneous perception of her as extremely prim, proper, and virginal, but this could not be further from the truth. When she first came to Hollywood under MGM she was typecast into boring decorative roles, but broke sexual boundaries for herself and Hollywood generally in From Here to Eternity, when she made out (horizontally!) with Burt Lancaster (on top of him!) in the famous Beach Scene. She went on to play many sexually conflicted women, a character type that would define most of her post- Eternity work. She continued to break Hays Code boundaries with Tea and Sympathy, which addresses homosexuality/homophobia head-on, and even did a topless scene in The Gypsy Moths 1969!! One of the only classic stars to do so. She deserves a more nuanced and frankly a hotter legacy than she currently has!!!

Devika Rani (Achhut Kanya)—She was grandniece of Rabindranath Tagore (laureate). She was sent to boarding school in England at age nine and grew up there. After completing her schooling, she joined the Royal Academy of Dramatic Art (RADA) and the Royal Academy of Music to study acting and music, at a time when aristocratic women did not enter showbiz. She studied filmmaking in Berlin. It is well known that she underwent training at the UFA Studios in the art and technique of acting under Eric Pommer, and other aspects of film production including costume and set designing and make-up, under eminent directors like GW Pabst, Fritz Lang, Emil Jannings and Josef von Sternberg. She is also reported to have worked with Marlene Dietrich. She had a multi-faceted personality and took on many responsibilities of film production at Bombay Talkies, a studio that she co-founded with Himanshu Rai in Mumbai in 1934. She often took care of hair and make up, supervised set design and editing, scouted for new talent and mentored them. She was the face of Bombay Talkies, and also the reason behind the political and financial backing the studio received, at a time when even women from red light districts refused to work as actresses. She was the first recipient of the Dadasaheb Phalke Award, when it was instituted in 1970.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Deborah Kerr:

I think she was one of my first crushes before I realised I was bi in The King and I when I watched it as a kid honestly. The kissing scene in From Here to Eternity is iconic for a reason. Actually tried to learn the accents for the characters she was playing if they weren't English which is more than pretty much anyone else was doing then. Played very restrained characters who frequently seemed to be desperate not to be so restrained. Did horror movies without venturing into hagsploitation tropes. Gave Marni Nixon the credit she deserved for her share of the singing in The King and I.

Anne Larsen is a peak late 1950s bisexual with big MILF energy. Have you seen the behind the scenes pics of her wearing a suit?? Have you????? Vote Deb as Anne Larsen.

Nominated for an Oscar six (6) times and never won, but besides her having actual talent (hot), and besides her looking Like That (very hot, also beautiful), she was always playing women who are, like, crazy repressed. Which makes it fun and easy for me to read these characters as queer. Icon!!!! You know what's hot? Playing ambiguously gay in vintage Hollywood.

Her face and talent and body, yes, ofc, duh. But also!!! Her HANDS!!!! I may be but a simple lesbian, but she is the best hactor (hand actor) that ever lived and that's HOT! For propriety's sake I feel I must redact a large portion of my commentary on this subject. Anyway. She's hot in her most famous roles (mentioned above), and also some of her sexiest hacting is on display in An Affair to Remember (her hand on the bannister when Cary Grant kisses her off-screen??? HELLO???), Tea and Sympathy (when she's trying to persuade Tom not to go out and she keeps flexing her hands like she wants to reach out to him but can't??? ALLY BEHAVIOR! WE STAN!), and The Innocents (which opens and closes with extended shots of her hands bc director Jack Clayton was also an ally and he did that for ME). Much of her appeal also lies in the fact that she often played deeply repressed characters and you know what's hot? When those uptight characters finally unravel. It's sexy. It's cathartic. It's erotic. Plus, she's beautiful to look at in both black & white and technicolor, and the more of her films you see, the more you can't help but fall in love!

Literally is in thee most famously sexy scene of all time (or maybe just during the hays code era which is what we're talking about HELLO), which is the beach scene with Burt Lancaster in from here to eternity. To quote a tumblr post of a screen capture of a tweet of a video of joy behar on the view: "y'know, there used to be movies where they were kissing on the beach... From Here to Eternity. They're kissing-- Burt Lancaster and Deborah Kerr are Kissing on the Beach and then the WAVES crash!! You know exactly what they did!"

She might have a reputation of being chaste and virginal or whatever, but we all know it's the quiet ones who are certifiable FREAKS

Devika Rani:

Achhut Kanya (1936) is the only one of hers I've seen but hot DAMN

[suomiplorpoturnaus]

Suomiplorpoturnaus: Kierros 5 • Äänestys 2

Propaganda leikkauksen alla...

x

Berenike (Hui Hai Hiisi)

"Maailman kaunein keijuolento <3” – @lunar-system

"#berenike rakastettuni" – @hehkuvamyyhapero

"#jumalauta berenike for the win #ei hyvä tavaton olin niin ihastunu siihen lapsena" – @dadaistinenmanifesti

"#berenike my beloved #kaunis kanelipulla" – @koyhaopiskelija

"#kattokaa ny berenikee ja väittäkää ettei se ollu teidän queer awakening" – @siveydensipuli

"#noh kyllähän kauneus vie voiton #Berenike on varmasti queer ikoni #ja tyyli ikoni #suomen legolas" – @seksilelulaatikko

"#Berenike on mommy #pistäis tälläsen hulttion ojennukseen" – @seksilelulaatikko

"Kun olin lapsi, Berenike oli mielestäni jostain selittämättömästä syystä hengästyttävän kiehtova. Muistan, että kysyin joskus sukulaisiltani yksi kerrallaan, tietävätkö he, miten Berenike tervehtii ohjelmassa katsojia, ja kuiskasin heidän korvaansa, kuin jonkinlaisena pyhänä siunauksena, 'hei, minä olen Berenike'. Sukulaiseni eivät tainneet ymmärtää, varsinkaan minun lapsen tulkintani kautta, kuinka lumoavilta Berenike sai nuo yksinkertaiset sanat kuulostamaan..." – @neroushalvaus

x

x

Lyhdynkantajat (Suunnittelija Emil Wikström)

– @naapurinkissa

– @lunar-system

"#Kaikista Suomalaisista kuvanveistäjistä Wickström on toisiksi suosikki Emilini #ehkä jopa kakkosijalla kuvanveistäjistä muutenkin #olisimpa suuri kivimies" – @seksilelulaatikko

[anneapocalypse]

On the actual significance of the "Grand Game"

In the three Dragon Age games thus far we have seen Orlesians from three perspectives. In Origins we get the Fereldan view, Orlesians Are Evil, this from a nation occupied and oppressed by the empire and not yet over it. In DA2 we get the Marcher view, or you could call it specifically the Tethras view, Orlesians Are Stupid, a view no doubt cultivated by the fact that the only Orlesians you meet in Kirkwall are rich expats wealthy enough to have a second home in the Free Marches but not important enough to actually need to be in Orlais. And in Inquisition we get I think the closest thing to the Orlesian view of Orlais, which is: we're very powerful and you should want to have us on your side; please ignore all the chaos and civil war and how expendable we consider the lower classes.

Throughout all of this I think it is worth noting that the only people who think Orlesians are so subtle and clever are Orlesians, and mostly it's just the nobles and their hangers-on who think that about themselves. We're introduced to the concept of the Grand Game through Leliana, who romanticizes the whole thing due to her life as a bard. Varric by contrast has very little in the way of romantic notions about Orlesian nobles and mostly portrays them as comical buffoons, from Emile de Launcet to Duke Prosper de Montfort; not one of Varric's Orlesian characters is ever meant to be taken seriously by the audience. In Inquisition, a lot of hay is made about the Game and the need for favor and so forth but it pretty much all boils down to "Nobles have money and troops. We need those. Make them like you."

To me, the interesting thing about the Game is not that it's actually deeply complex or intricate, but how central it is to Orlesian identity. Of course there are intricacies to court politics, but most of it comes down to knowing whose interests and connections lie where, and how those interests may be successfully manipulated. That's not "Orlesian politics," that's just politics, and it's not meaningfully different from politics elsewhere. What sets the Orlesian aristocracy apart from Ferelden, when you look past the cultural trappings and the aesthetics, is mainly that Orlais has much stronger barriers to upward mobility in place (freeholds, or land owned by commoners, are practically unheard of in Orlais, whereas the freehold is the backbone of Fereldan culture).

But where I think the cultural significance of the Game truly matters to Orlesians is in the way it's meant to set them apart as the Good Empire. The empire that is cultured, sophisticated, civilized--you know, not like that other, bad empire up north, the one with the blood magic and the legal slavery. Please pay no attention to the blood-soaked floors of the servants' quarters (or the illegal slave trade that flourished in occupied Ferelden and behind closed doors of remote estates). We negotiate power with subtle words and gestures, and definitely don't sustain it with the blood of the powerless just like the magisters do, but without the magic. It's the magic part that makes blood magic bad, not the murder part. (This is a big part of why I love The Masked Empire, so much, as it really has so much to say about the nature of power and empire and who truly suffers for the games the nobles play, but it's also why what we see in the servants' quarters in "Wicked Eyes and Wicked Hearts" is so important.)

And this all ties into Orlais as the seat of the southern Chantry as well, sitting in opposition to Tevinter politically, culturally, religiously, all of which are inexorably intertwined.

[classicalcanvas]

Hay stacks by Emile Claus (1849 - 1924)

[kieraelieson]

A Visit From the Farrier

Set after the main section of the Centaur AU

Thomas yawned, sitting up. 

Things were moving slower now. It’s still a lot, caring for six centaurs, but nothing especially bad has happened in a bit. 

Thomas looked up and a bit to the side. His ‘bed’ was in the empty stall next to Roman’s. Roman seemed to still be asleep, standing with his upper body flopped against the centaur bed attached to the wall. It was a little strange for Roman to still be asleep, usually when Thomas woke Roman was already awake. 

There were soft sounds from nearby, probably Emile working on breakfast. He had very generously stepped into the position of breakfast maker most mornings. 

Not that it took too much work to open the packets, add water, and microwave. The Authiers mostly had provided pre-packaged centaur food. It was supposed to be healthy, with all the vitamins and minerals needed by a centaur in a day. But there sure wasn’t a lot of variety. There were a couple ‘different flavors’ that smelled roughly the same to Thomas, and all of them had the same shredded wheat kind of texture. He’d been bringing in as much human food as he could, trying to let them have something that actually tasted good. But the stable was small, and didn’t have a whole lot of extra storage space, much less a stove or a fridge. 

Thomas stood up and brushed off some of the hay sticking to him. He was still wearing the same clothes he’d been wearing yesterday, though, so was everyone else mostly. The centaurs weren’t used to pajamas, so they generally only changed if they felt their clothes were dirty. The exceptions were Remy and Emile, who were used to a bit finer of a lifestyle while living with Thomas. 

It was honestly a bit of a downgrade for them here. This stable was about the same size as Thomas’s, but had twice as many stalls inside it, and now three times as many centaurs. There wasn’t anything like a kitchen, much less one that centaurs could easily use, only a single microwave and some banged up plastic plates. 

Thomas opened the stall as quietly as he could and walked out to where Emile was, indeed, making breakfast for the centaurs. Thomas leaned heavily against his side, silent in the calm early morning. 

“Good morning,” Emile said quietly. 

“I appreciate you so much,” Thomas said in return. 

Emile huffed out a quiet laugh, reaching back to ruffle up Thomas’s hair. 

“The farrier comes today,” Thomas said, a yawn making him pause before he could keep speaking. “You and Remy aren’t quite due, but do you want to go ahead and get reshod anyway?” 

Emile considered, and then shrugged. “Might as well. If we will be staying here for the foreseeable future, lining up with this farrier’s schedule seems a good idea.” 

“I wish I knew them before now and could know what they’d be like,” Thomas said thoughtfully. “I guess after today we’ll know.” 

“He doesn’t tend to be too bad,” Roman said, apparently awake now and listening to their conversation. “Your biggest problem is going to be with Panic at the Everywhere.”

Thomas had guessed as much. Logan would need a bit of extra care to be sure his legs weren’t jostled too much, but Virgil was who he was most concerned about. He was by far the flightiest of the centaurs, and did not like strangers. Especially strangers touching him. And the farrier would be touching his feet, while Virgil tended to kick when nervous. It all didn’t add up to a great time. 

But Thomas had been getting a bit worried about Virgil’s hooves. He certainly could get himself around well, but he wasn’t walking quite right, and Thomas worried he might have a problem that would only get worse with time. 

“Or he could just leave me alone again,” Virgil said, his tone tinged with defensiveness. 

Thomas pursed his lips. He went over to Virgil’s stall. 

“I’m supposed to keep you safe and healthy,” Thomas started. 

Virgil scowled immediately. 

“I’ve been noticing that you can’t step flat on your hooves, and I’m worried that they might hurt you if they aren’t cared for.” 

“I don’t care what kind of nice words you wrap it in, I’m not letting some stranger come in here and cut parts of me off.” Virgil crossed his arms and turned his back on Thomas. 

Thomas’s mouth dropped open. That was. A way. To see it. “I mean… technically that’s how it works, but your hooves are just like your hair, or your fingernails. It won’t hurt you.” 

“I don’t care, I don’t like it, and I won’t stand for it.”

“I’m almost certain you’ll feel better after it’s done,” Thomas tried coaxing. “It has to be awkward to walk and run like you have been.”

“I’m fine,” Virgil insisted, still with his back turned to Thomas. He stamped one hoof against the floor of his stall. 

“You don’t have to throw a tantrum,” Roman said snappishly. “Everyone gets their hooves trimmed and gets shoes at one point or another.” 

“I don’t want to!” Virgil yelled, officially breaking the calm morning atmosphere. “I’m fine without shoes, I never had to have them! I can still run, I can still carry someone, and I can give a smoother ride than just about any damn person without shoes.” 

“Virgil,” Logan says. Just his name, but Virgil seems to deflate slightly. 

“Could we compromise?” Thomas tries. “Will you let the farrier look at your feet, and trim them so you can walk properly, and unless it’s medically necessary you don’t have to wear shoes.” 

Virgil turns to look at him, suspicion clear in his eyes. He grimaces. “Fine. I’ll try. But no promises.”

Emile came by then, passing out plates. 

“I guess I’ll go get my own breakfast,” Thomas said. “I should be back before the farrier arrives.” 

••^*^••

The farrier drove up to the stable in a large truck, the back of which was covered in tools. Thomas went out to meet him and see if he needed any help. 

“Hey there,” the man said cheerfully. “I heard there was a new groom.” 

“Thomas,” he said, holding out a hand and smiling. Maybe this wouldn’t be so bad after all. The guy seemed nice. 

“Jerry,” the farrier responded, shaking his hand firmly. “Just let me set up a little and then bring them out one at a time. Shouldn’t take too long.” 

“There’s actually two more centaurs,” Thomas said. “They were shod last about three and a half weeks ago, but I figured I’d get them all done at once.” 

Jerry started doing some things with his tools, setting up. “Huh. Alright, I think I can manage that. Five of em shouldn’t run me out of time, so long as they’re well behaved.”

“Uh, six,” Thomas corrected. 

Jerry turned to look at him with a reluctant grimace. “I’m sure you’ve experienced that that little black one is fuckin crazy. Last time I managed to actually touch his feet we had to hold him down with about six men, and even then one of em went home with a nasty bruise.”

Thomas winced slightly. “Yeah… well, I’m worried about his hooves. I guess he hasn’t been getting very regular care for them.” 

Jerry laughed drily. “Not much ‘care’ you can give one as jumpy as that.” 

“I’d still like us to try today,” Thomas said. 

Jerry sighed. “I’ll tell you what. I’ll try. But I’ll be charging a fee for dangerous circumstances, and another for canceling on my other customer today. I certainly won’t be making it there in time.”

Thomas nodded firmly. “Thank you, Jerry. I appreciate it.” 

Jerry waved him off, continuing to set up. “You go ahead and make sure he’s got on a tight harness and blinders. Call over some more guys for when he flips his shit.” 

Thomas hesitated. 

Jerry scoffed. “What, unless you’re intending to sedate him for it?” 

“I’ll do my best to keep us safe,” Thomas promised. 

He started heading back to the stable, feeling the doubtful stare follow him. 

Once inside, he went to Logan first. Deal with the small problem, then all the (hopefully) easy ones, and finally tackle what seems like it’ll be a monster of a task. 

“Would you be ok with going first?” Thomas asked. 

“I don’t mind,” Logan said, straightening slightly. 

Thomas opened his stall. Of the centaurs that had been here before he showed up, only Virgil seemed willing to let himself in and out of his own stall. Patton would do it if he thought he had permission, but Roman and Logan always had to be let out by Thomas. It was odd, but Thomas didn’t want to push on something he could easily do for them. 

With a warning to the farrier, and Thomas standing beside watching, it actually goes quite smoothly. When he got back in the stable, Logan even said that it didn’t hurt his legs any more than they already hurt. Which, well, ideally Logan would be in no pain, but no increase in pain is pretty good too. 

The others go easily as well. Turns out Patton didn’t wear shoes very much, just kept up with trimming. It made sense, since he didn’t do much running around, and when he did it was on soft grass. 

A few hours later, everyone had been seen except for Virgil. Jerry was off taking a break for a bit while Thomas prepared Virgil for the shoeing. 

“It’s your turn next,” Thomas says gently. “Is there anything I can do to help you feel better?” 

Virgil was twitchy. Had been since Remy went, with Remy being the last one other than him. He shifted and flinched at every tiny sound or movement near him. 

Virgil looked at Thomas, fear, and the difficulty he was having fighting it, plain on his face. His hands grip around his arms. 

“I— I probably shouldn’t be able to see it,” Virgil rasped out. “But don’t put something over my whole head!” 

“It’s ok,” Thomas said soothingly. “I’m not gonna do something like that.” 

He considered for a long few seconds. He really didn’t like putting blinders on centaurs. It felt dehumanizing. Oh! 

“What if you put on one of the hoodies and pull the hood up and forward? It’ll cover the sides of your vision, and it’ll be hard for you to look back at your hooves, but there will still be the whole front open for you.” 

Virgil blinked, stilling momentarily as he thought about the suggestion. “You… really? Just a hood?” 

Thomas shrugged. “I mean, unless you want something different. The problem here is that you’re scared of what will happen, so forcing you isn’t going to help, I want to work with you, and make it less scary.” 

Virgil looked at him like he was insane. “What, so you aren’t going to harness and hobble me?” 

“Not if I can help it,” Thomas said with a small smile. 

Virgil gestured towards the wall of the barn, or rather, through it to where he knew the farrier was. “He’s never gonna go along with that!”

“I’ll handle him,” Thomas promised. “You just tell me what you need.” 

Virgil bit his lip, frowning doubtfully. He crossed his arms, turning half away. 

“It would help if I knew what he was doing. Like… like you did with the brushing.” Virgil mumbled, not looking back at Thomas. 

Thomas was glad for the confirmation that his rambling at them had been actually helpful. “I can explain what he’s doing, so you don’t have to look, and you’ll still know what’s happening.”

Virgil nodded stiffly, his hand coming up to his mouth. He chewed on his thumbnail, his gaze starting to look a bit distant. 

It wasn’t ideal that he was learning dissociation from Logan, but if it could get him through a rough thing, Thomas wasn’t going to protest. Yet. 

“Is there anything else that could help?” Thomas asked gently. 

Virgil shrugged, and shivers ran over his flanks. 

“Alright, let me get that hoodie and then we’ll go outside, ok?” 

Virgil just shrugged again, but he didn’t seem able to stop twitching. 

Once Virgil had on the hoodie with the hood pulled up, Thomas handed him a halter. He still had to have halters on the centaurs whenever he left the stable with them, which felt ridiculous. 

He led Virgil out, feeling the slightest tremble through the lead. 

“It’s alright,” he reassured, bringing Virgil over to the truck. “I’ll be right here the whole time. I won’t let anything bad happen. I promise.” 

Virgil gave a jerky nod, squeezing his crossed arms tighter around his chest. 

“Oh hell no!” Jerry said loudly, coming back from his break. 

Virgil flinched, his stance stiffening. 

“I am not working on that centaur with only a fucking halter! He slips right out of those! You may be new, but I’ve dealt with him before, and this will not work. One of us is going to get kicked in the face before he runs all the way to the end of the property before anyone can get a rope over him.”

“It’ll be ok,” Thomas said firmly. “I’ve been working with the centaurs and it will be fine.” 

Jerry scowled at him. “You think you’re a fucking centaur whisperer or some shit?” 

“Yes,” Thomas said intensely. 

The farrier’s face twisted unpleasantly. “Yeah, she would hire a delusional fool,” he muttered under his breath. “Look, if I try with this one and he starts flipping his shit, I’m leaving. And I’m still billing till the end of the day.” 

“Deal,” Thomas said immediately. It wasn’t exactly his money to promise, but at the same time, he hadn’t gotten in trouble for spending too much yet. 

“But I’m not going within a yard of him till you hobble the feet I don’t have to be touching.” 

“It’s fine…” Virgil whispered.

Thomas looked up to see Virgil’s face was red with shame. Well, there went any good feeling he had left for Jerry. Officially in the asshole book now. 

Reluctantly, he went to get a hobble. 

Virgil got even more stiff and trembly with his legs hobbled. It must be nerve-wracking, tied in place with someone doing something scary to him. 

Thomas stroked his hand along Virgil’s side. “It’s alright, you’ll be ok.” 

Jerry finally approached, pulling up one of Virgil’s back hooves and pinning it between his legs. Virgil’s leg twitched and moved, but not enough to pull it free from the farrier’s grasp. 

“There you go,” Thomas soothed. “You’re doing great. He’s just gonna take a pick and clean your hoof first. Just like normal.” 

The farrier picked out Virgil’s hoof very quickly, quicker than Thomas could. He motioned to Thomas to come closer and look. 

“Well, he’s obviously not wearing shoes right now,” Jerry said. He pointed around the wall of the hoof. “You can see it’s definitely overgrown, I’m surprised he isn’t limping around. But see here on the toe, he’s grinding his hooves against concrete. That’s the only way they’re relatively even. But that makes the sides way too overgrown, especially compared to the toe and the frog. I didn’t look too close as you brought him over, but he’s gotta be walking funny.” 

Thomas nodded seriously. “Will a trimming help?” 

“I mean, of course it’ll help. But what he needs is shoes. And he’ll have to get used to walking on hooves that are trimmed right. You’ll need to watch him to be sure he doesn’t sprain one of his legs while he adjusts.” 

“I will,” Thomas promised. 

The farrier reached for another tool. 

Thomas set a hand on Virgil’s flank, trying to give some other touch for him to focus on. “Alright, bud, he’s got his hoof knife and he’s going to start trimming the dead parts of the frog.” 

There was a strangled, distressed sound from Virgil, and his leg pulled in the farrier’s grip. 

“Don’t you dare try and kick me,” Jerry muttered darkly, trying to move as quickly as he could on Virgil’s hoof. 

“It’s alright, Virgil, you’re alright,” Thomas said soothingly, stroking along his side, which was beginning to feel damp with sweat. “It’s starting to look better already. Just getting the dead bits off. He’s working on cleaning up your sole now. He won’t cut any live parts, just the overgrown bits. Just like trimming fingernails.” 

Virgil was trembling beneath his hand. Thomas leaned heavily against his side. He seemed to feel better when Logan squished him, maybe the smaller pressure Thomas could provide would still be helpful. 

“You’re doing great, Virge,” Thomas praised. “Doing real well. He’s gonna take clippers now and trim the wall of your hoof. We’re getting close to done with this one. You’re doing so well.” 

And it was going well, until Thomas was too focused on Virgil to notice the farrier switching to the rasp. At the first movement, Virgil yanked his hoof back. 

“What’s that?!!” Virgil yelled, his voice high and stressed. 

“Shhh, shh, it’s ok,” Thomas said, trying to calm the suddenly much more tense atmosphere. “It’s a rasp, it’s alright, it just helps to smooth things out.” 

Jerry grumbled something as he picked up Virgil’s hoof again, gripping it right between his thighs as he tried again. 

A high, animalistic whine escaped Virgil’s throat. 

Thomas moved over to his front. “Hey, hey, look at me, ok? Everything’s fine. This is the last step of the trimming for this hoof. You’ve been doing so well. I’m so proud of you. It’ll all be ok.” 

“It feels weird, I don’t like it!” Virgil gritted out. 

“I know,” Thomas said sympathetically. “I know it doesn’t feel good. But it won’t take long. He’s almost done with that hoof already. And you’re doing so well.” 

Virgil’s face was screwed up, his eyes shut tight. If he wasn’t wearing a hoodie, his fingernails would surely be cutting into the skin of his arms with how tightly he was gripping them. As it was, Thomas was still worried about finger-shaped bruises. 

“There.” Jerry dropped Virgil’s hoof. 

Virgil’s eyes shot open, and he stomped that foot against the ground. His scowl didn’t leave. 

“I hate this.” 

“I know it doesn’t feel good,” Thomas said. “But it’s really important for you. I don’t want you to get hurt.” 

Virgil grumbled something Thomas couldn’t quite hear as Jerry picked up his other back leg. 

It was an achingly slow process, painful for all of them, to get the rest of Virgil’s hooves trimmed. But they did get through it. Eventually. 

“Alright, now he said you really do need shoes,” Thomas said gently, again coming to stand in front of Virgil and catch his gaze. “This bit should be easier. It’ll take a bit longer, but most of it will be him over there on the side of his truck getting the shoes ready. So he won’t have to touch you so much.” 

Virgil nodded miserably. His face was a blotchy mess now, with a few tear tracks he hadn’t yet swiped at. 

“Why don’t you talk to me?” Thomas offered. “Let’s talk about something and just focus on that and not the farrier.” 

Virgil shrugged. 

“Well, maybe let’s get to know each other a little better. I’m 25, um, I don’t have any siblings. I do have several aunts and uncles though, my parents didn’t really carry on the tradition of big families.” 

“I’m 8…” Virgil mumbled. “But I’m 9 in the fall, I’m not a colt anymore.” 

Thomas blinked, a bit confused. “Well, of course not.” 

Virgil nodded, justified. 

As far as Thomas knew, centaurs were adults at 5. Or at least counted as adults. Some five year old centaurs he’d seen seemed more like older teens. But he wasn’t the one whose opinion was important. 

“I don’t really know anything about siblings,” Virgil continued. “I was brought here a little before I turned 4, and I didn’t know of any before that.” 

“So you’ve been here for close to five years?” Thomas asked. “Wait, aren’t centaurs supposed to stay with their parents till age 5?” 

Virgil nodded. “There’s like, a lot of exceptions to that. Most people don’t get that lucky.” 

“Oh,” Thomas said, an odd twist in his stomach. But this wasn’t about him, this was about distracting Virgil. “So, how has it been growing up here?” 

Virgil gritted his teeth. “Awful. Some of the stories Patton and Logan tell are worse, but this sure isn’t a nice place to be.”

Thomas wasn’t sure if he was doing particularly well at distracting Virgil, or just being a particularly nosey and rude conversation partner. 

“I wish I could make it better,” Thomas said. 

Virgil shrugged. “You do your best.” 

Thomas frowned. “My best isn’t good enough when you’re still miserable.” 

“Well, what else are you supposed to do?” Virgil asked. “Not much you can. You may be human, but on the human social ladder you’re pretty much on the bottom. Uh… no offense.” 

“You’re fine,” Thomas said. He sighed heavily. “I feel like there’s something I can do, and should be doing, I just don’t know what.”

“Well… last time the farrier actually did anything to my hooves,” Virgil said. “I was in like three different harnesses, and hobbles, and a fucking bag over my head. And then when I freaked out they kept sticking ropes all over me, and a bunch of humans were yelling and sitting on me and pulling me around. So. What you’ve already done is a pretty big improvement.” 

Thomas grimaced at the story. “I just can’t believe it got that bad in the first place. You know, I have some experience with Remy and Emile, but like, they lived with my aunt for years, and as far as I know she was nice to them, and then they came to me when she passed away, and�� I guess I just didn’t think that people really treated centaurs as badly as some of the horror stories.” 

Virgil just shrugged. “This place is all I really know, so…” 

“What about when you were still with your parents? Do you remember much from back then?” 

“Well, a lot of the time I was just kinda in a stall. I think we lived on a farm, and my parents still had work and things. Sometimes I’d be let out into a field, and that was really nice. There were a couple other centaurs there, one or two foals and some old ones. I didn’t really see the humans there very much, or I don’t remember it anyway.” 

“Sounds like a pretty lonely childhood,” Thomas said sadly. 

Virgil just shrugged again. “Why don’t you tell me about yours instead then.”

Jerry was coming back with a ready shoe. 

“One of the shoes is ready,” Thomas said. “It should be fairly quick to put on. There will be a strange hissing sound when it first goes on, and he’s going to hammer in nails, but they won’t hurt, and you’ll be ok. I can tell you some more about me while it’s going on.” 

Virgil tensed up again, rigid and trembly. He scowled, but nodded. 

“So my parents both came from pretty big families, and I was the first grandchild, so I had a lot of adults around when I was little,” Thomas said. 

The muscles in Virgil’s leg bunched as the shoe was pressed against his hoof, and he winced hard. 

“Then when I started to get more cousins, the attention got more spread out. But Aunt Patty still came over to visit all the time. She was Mom’s sister, the one who first had Remy and Emile. I would visit sometimes when I got just a bit older, like 10 or something, and I would get to ride them around. I was… kind of an idiot back then, and I hadn’t really realized that they were people too. I’m not sure Aunt Patty did either.” 

Virgil slowly began to relax after Jerry let his hoof down again. 

“Or wait,” Thomas said. “Maybe it was only Emile back then. I know Remy’s younger. Sometimes childhood memories get just a little blurry together. I ended up getting to be kinda friends with them both by the time I was a teenager. When I moved out from my parents house I went to live with Aunt Patty actually. She always said I was her favorite nephew. That’s why she left me the house and all when she passed away.” 

Jerry seemed to have done extra prep work before bringing out the first shoe, because he was returning much sooner this time with the second. 

“Here comes the farrier again,” Thomas warned. “Just like last time. You’ll do great.” 

Virgil nodded shakily. “Keep talking? Please.”

“Yeah, of course,” Thomas said. “Let’s see, um, have I ever told you that Emile has a therapy license?” 

Virgil shook his head, biting down on his lip as the new shoe was placed against his hoof. 

“He does,” Thomas continued. “Aunt Patty had an anxiety disorder. I mean, I do too, but I’ve had an Emile around for longer to help me. Turns out centaurs can get therapy certifications. It’s a bit closer to like, a support dog as far as paperwork is concerned, but Emile really liked the idea, and he has a whole bookshelf back at home of psychology books and I bet if they allowed centaurs to do the same certification test for human therapists he’d pass. He’s really been a lifesaver. I don’t know what I’d do without him.” 

Thomas had to pause to switch the hobbles from Virgil’s front legs to his back ones. 

“When I was a younger teen,” Thomas said. “I used to think of him like he was another one of my uncles. He was always taking care of me whenever I visited, and we both really cared about each other. Just about anything I know about centaurs and what they like and what they don’t I learned from him. Remy was more standoffish until a few years ago. He’s not much of a fan of humans and the whole being owned thing, which like, of course not! But it made it a bit harder for us to become friends.” 

Jerry was back again with another shoe. 

“You’re getting real close to being done, Virgil. I’m real proud of how well you’re doing, especially since it’s so hard,” Thomas said earnestly. 

He chattered on about random things, interspersing praises for Virgil, until the farrier finally finished with the last shoe. 

Virgil lifted his legs awkwardly. “Ugh, they’re heavy and weird.” 

“I guess you took ‘centaur whisperer’ literally, huh?” Jerry said to Thomas. “I mean, I can’t deny it worked. You’ll never get that one to stand still without jitters, but still, that was damn impressive.” 

Thomas tried to smile. It was really all of Virgil’s effort making the difference. And like, not being rampantly abused the whole time. 

Jerry grinned mischievously. “Well, I’m outta here. Still gonna charge you through the end of the day.” 

Thomas rolled his eyes, but didn’t protest. His focus was on Virgil, not cost. 

“Can you walk?” Thomas asked as the truck started to pull away. 

Virgil stepped forward, frowning down at his hooves. “Yeah, it’s just weird.” 

Thomas unclipped the halter and laid it over his shoulder with the hobble, instead holding out a hand for Virgil to take if he chose. “I can help you inside, and then you can get brushed down if you want.” 

Virgil’s coat was rather wet now with nervous sweat, and it couldn’t be comfortable. 

“I can walk on my own,” Virgil said, not accepting the offered hand. He didn’t stumble, but he definitely was walking oddly, raising his hooves high between each step. “And I want to stay with Logan for a bit.” 

Thomas easily acquiesced. “Absolutely. Whatever you want. You deserve it, after all that.” 

Virgil offered him a small, tight smile. “Thanks, Thomas.” 

Thomas smiled back.

It had been a success. An exhausting success, but still a success. 

[eddy25960]

"Sólo he leído para buscar en las experiencias de los demás con qué explicar las mías. Hay que leer no para comprender al prójimo, sino para comprenderse uno a sí mismo".

— Emil Cioran - Cuadernos

[rogdona]

HAI

ok would you like to draw EMIL in any form of thiers that you like the most

so far they have three

HUGE FAN OF THE SNAKE HEADS!!!!!!

[dax-enfinity]

Omg tienes mucha razón sobre como fnafhs es el hellpark del fandom hispano de fnaf 🙏🙏🙏🙏 Sigue esparciendo verdades

Wtf primer ask anon que me llega en ESPAÑOL.

Bueno, es que es VERDAD FNAFHS es literalmente el HellPark del fandom hispano de FNaF y me sorprende que el 99.9% de los gringos fans de FNaF no tienen NI IDEA de la existencia de FNAFHS😭

Ósea es 2024 y FNAFHS ha existido desde el 2015 y me sorprende que todavía NADIE en el lado gringo ha hecho NINGÚN video sobre todo el fenómeno que es FNAFHS.

Nada tipo al video ese de 31 Minutos que hizo esta chica en inglés y hizo que los gringos supieran de 31 Minutos, ni alguien como SaberSpark o ColeyDoesThings saben de FNAFHS.

Ni la gente famosa en general del fandom de FNaF sabe sobre la existencia de FNAFHS, ni Dawko, ni MatPat, creo que la única persona del Fazbear Fanverse que sepa sobre la existencia de FNAFHS es Emil Macko (el creador de Candy’s) ya que me puse a buscar en Reddit a ver que decían de FNAFHS.

Lo único que he visto de gringos que saben de FNAFHS es un tweet de una chica explicándole FNAFHS a sus amigos gringos por Discord y se volvió en un hit tweet.

Y ese de tweet es de AGOSTO de ESTE AÑO.

Lo que si he visto es a los Japoneses y a los Rusos que son fans de FNAFHS y eso me confunde resto, ya que no entiendo.

¿¿¿Como es que hay gente RUSA y JAPONESA que conocen FNAFHS pero los gringos no tienen NI IDEA de la existencia de FNAFHS???

En fin, si los gringos conocen la existencia de FNAFHS me muero de la risa😭🙏

[tixdixl]

15 and 26 for Emil and Rene? :3c

Oooh thank you for this!!

15 - How much does your OC wrap up when they go outside? Hat, scarf, gloves and multilayers or is the cold anything to them?

Emil: He does in fact get cold in the winter. He is the type to bundle up- hay, gloves, scarf, the whole shebang. And like they will layer up too.

René: I think while they do layer up, its not to the same extent that Emil does? Jacket, gloves, hat is debatable. Scarf yeah.

26 - Is your OC the one who recieves the jacket or gives the jacket in their relationship?

Emil: I dont mean to overstep but if I understand @ramshacklerumble 's Bobbi well, I'm guessing Emil is getting Bobbi's jacket when he's around. When its Emil and Ruggie though, I think Emil is more inclined to give the jacket than Ruggie is.

René: Look me in the eye and tell me that Rook would let René give up their jacket LOL René absolutely is receiving the jacket.

Prompt List

Tag list: @cyanide-latte @simons-twsted-children @inmateofthemind @ramshacklerumble

@rainesol @elenauaurs @blithesrps @theleechyskrunkly

@thehollowwriter

Let me know if you want to be added or removed

[oviri7]

« Marcher dans une forêt entre deux haies de fougères transfigurées par l'automne, c'est cela un triomphe. Que sont à côté suffrages et ovations? 

Emil Cioran - De l’inconvénient d’être né

[canmom]

NieR Automata Anime episode 13-14

previously: [e1], [e2-3], [e4-5], [e6], [e7-8], [e9], [e10-12]

After a long hiatus to get the production back into some semblance of order, NieR Automata ver 1.1a came back a couple months ago! And a new cour means new OP/ED.

For the OP we have Black Box by LiSA:

The video does more for me than the song here, a cool montage of scenes from Route C. Kinda huge spoilers if you haven't played the game but maybe it's less so without context lol. We have images of the Tower, of 9S and A2 fighting (really cool sequence; Shinichi Kurita animated the flashiest shot), and a few other significant images from across the game.

The real highlight for me though is the ED, Hai to Inori by Gems Company arranged by Keiichi Okabe, which features some really cool multipart harmonies and distorted vocals. The ED itself is a nice sequence with some of the flower imagery the series is known for, but they also made a music video for the full song which involves a lot of stylish robes, ominous architecture, and glitch effects as a group of hooded women perform a mysterious ritual involving candles. It's DoD3 as hell and I'm so here for it...

What's the deal with Gems Company? They're actually a virtual idol group consisting of nine vtubers, produced by Squeenix. I believe this is their first time appearing in an anime ED, and the music style definitely seems like a departure from their other work. I suppose it makes sense, given NieR Automata began as an idol group (the original YoRHa, assembled to make the soundtrack to DoD3), to come back around this way!

Episode 13: reckless bra[V]ery

The first episode of the new season starts with an extended flashback episode, in which we get the reveal that 2B is actually 2E an Execution type unit, designed to destroy 9S every time he knows too much. In the game this is one of the final reveals, which you learn in the Tower sequence. But it's a subject so thoroughly covered by the side material (e.g. Memory Cage/Memory Thorn) that I guess they figured it was worth exploring now.

The frame story starts with one of the sidequests in the game, where you encounter an E type unit suffering a kind of guilt-induced breakdown. 9S figures out what 2E's deal is, and almost escapes his fate, only to be betrayed by his own Pod.

Notably, some of the action in this episode takes place in a location from the original NieR (Gestalt/Replicant), the temple near Façade where you have to do a bunch of 'clear the room without taking a certain action' puzzles. This doesn't really have bearing on the plot, but it's cool to see paintings of these zones.

It's all a setup for 2B to kill 9S, but she hesitates this time, allowing us to get a long delayed scene where they discover Emil inside a machine lifeform in the ruined department store. Emil is really adorably animated, scooting off in a very cartoony way.

Squash and stretch.

So, the 2E cat is out of the bag. Cutting to the present, we see Commander White declaring it's all finally over: she no longer has to order 2E to kill 9S, because it's time to end the war!

She's right, but not in the way she thinks.

Overall, good episode and a strong start to the new season. It may seem a little abrupt to reveal all this right after ending A, but it does a good job of rearranging material from the game and the side stories/concert dramas into a coherent arc, finally lets us see Emil, and sets up for the descent operation. There's also some really nice fight animation in the opening part of the episode, in which we see 2B and 9S really pulling out some moves to cut up the Machine Lifeforms together.

The puppet show is a skit about how 2B is finally saying 'Nines' now. I think they have some new sets as well.

Episode 14: Mission [F]ailed

We knew it was coming.

Commander White commits the whole of YoRHa into one massive attack on the machines. The Council of Humanity, for their own inscrutable reasons, let her hand out the YoRHa superweapons like candy and call in orbital strikes on the machine factories. The YoRHa put on their fashiest uniforms and line up.

The 3DCG on the flight units is massively improved in this episode: they're now using a cel-shaded style similar to the way the machines are rendered and it makes a world of difference. The descent scenes, compared to the first episode, are night and day. They even add a new variant of extra wings on top of the flight unit, in case this wasn't matryoshka enough.

Compared to the game, the anime increases the scale of the final descent operation, showing us 9S commanding the scanners in a complicated hacking operation as the Resistance use big YoRHa lasers to blow up a huge army of Engelses in a scene that is, well, very Nausicaa...

A magnificent mushroom cloud in the sky... No Anno to animate the explosions but they do a creditable job.

It definitely does a stronger job of selling the idea that this really is a planetary-scale battle with WMDs going to and fro; there's a bit of dialogue to explain why they didn't do this before (the machines would evolve to resist the weapons, but now they're trying for all out extermination).

But of course, it's going to follow the same arc as the game. There's some neat foreshadowing with 21O receiving visions of a red butterfly (also! we get to see 21O in battle! turns out the Operator units really have some moves!) before the Red Girls install the logic virus through the secret backdoor and all hell breaks loose.

If there's one thing this anime does rather well, it's evil grins. They really are doing the whole 'switch to a deeper voice to be evil' thing a lot now, pretty much every time the Red Girls are on screen.

To really drive home the 'YoRHa going berserk' angle, they have a subplot in this episode on the relationship between Scanner and Battler units. Early on, we're introduced to a series of scanners, whose Battler companions are being rather... affectionate:

The childish design of the Scanners is also underlined...

The lore is that there were originally male units of all types, but after the M02 trial unit all went berserk and killed each other, they decided male YoRHa would only be Scanner types (except in the alternate genderflipped universe anyway... look it's a deep well). Why they're all like, teenagers? Well you see, shotacons are 2% more efficient in battle... idk it's just part of the doll imagery right? boys represent a kind of vulnerability, and for the story to do its work, yorha have to be kind of have a certain naive affect. (we do see an adult member of the resistance get mercy killed by Lily)

Anyway, the point of all this is (apart from underlining 9S's feelings towards 2B, which are perhaps most explicitly romantic in this iteration) to set up the logic virus scenes where they all start murdering each other! This is NieR, after all. We start pulling on the imagery of lovers' suicides, a recurring motif in JP fiction, as the dialogue takes on a possessive turn...

Death death death! It definitely adds a dimension, even knowing the logic virus scenes are going to happen; another aspect is that 9S's scanner network is back-hacked and used to compromise the YoRHa, so we can add that to the stack of things that will drive 9S off the deep end.

More lore: the original prototype YoRHa No. 9 was the architect of the secret backdoor in YoRHa, after he discovered that the YoRHa androids are based on machine cores. He modified the plan so that the YoRHa would eventually be destroyed, to keep the secret that the humans are dead. So it really is all 9S's fault... sorta :p

All in all: a cool treatment. Next episode we'll presumably see how 2B dies. In the game this is an absolutely brutal sequence where you try to walk across the map as your systems slowly shut down and the screen glitches out harder and harder. Fascinated to see how they treat that in the anime!

The puppet show in this one is cute: it's based on the easter egg in the DLC where you fight the CEOs of Square Enix and Platinum Games in the arena.

This is what it looks like ingame:

Cute to see that acknowledged.

Next up, despair!

[jgmail]

LA NUEVA DERECHA Y ALAIN DE BENOIST: ¿UN MARX ACTUAL?

Pierre Le Vigan

Alain de Benoist es proteico. A veces sorprende, pero sobre todo desconcierta a los poco imaginativos (que son muchos). En una misma sala, puede dar la espalda a cuatro paredes a la vez. Pero también es capaz de estar en sintonía con gente de derechas, de izquierdas, cristianos, anticristianos, etc. Para él, es más importante la forma de ser que lo que uno es. El presupuesto del enfoque de Alain de Benoist es ver ante todo la cualidad humana que es la condición para pensar correctamente. La visión de Alain de Benoist es panorámica. Su curiosidad es inmensa. Alain de Benoist es un buscador de verdades. ¿De dónde venimos? Preocupación genealógica. Cómo vivir (más que «por qué vivir»: «la rosa no tiene por qué»). También es un enciclopedista. La obra de ADB es como la Souda, la enciclopedia griega del siglo X. Nos preguntamos si esta obra es individual o colectiva. Volveremos sobre ello, porque es una cuestión importante.

Todo intelectual es un compilador

Algunos refunfuñones han criticado a Alain de Benoist por ser ante todo un compilador. Un coleccionista de ideas, citas y análisis. ¿Por qué no? Si se trata de organizar una vasta colección y convertirla en algo coherente, ¿qué intelectual no es también ese compilador apasionado, exigente e inquieto? Busca el oro del sentido. Quiere encontrar la barca sagrada en la que embarcarse. ¿Qué intelectual no es un coleccionista de lo que se ha dicho antes? ¿Qué hace? Da forma, ordena, da sentido y un nuevo sentido a lo que ha encontrado, y lo que ha encontrado, lo ha encontrado porque ha tenido un método y una idea de dónde encontrarlo. Una previsión. En este sentido, ¿quién es Jesús? ¿Quiénes son los evangelistas? Los compiladores también. ¿Quién es Marx? Un compilador. Al principio, claro. Porque luego viene el inmenso trabajo de organizar las ideas, y ése es el trabajo de ponerlas en orden, de darles forma (lo he dicho antes, pero hay que repetirlo). Y luego está el trabajo de elucidar e inventar una forma original a partir de lo que has recopilado. Así que, sí, este reproche es estúpido: consiste en decir que cualquier intelectual honesto acepta depender de pensadores que le precedieron. Los cita, y eso es mejor que copiarlos sin citarlos. Siempre dependemos de pensadores y pensamientos que nos han precedido. Y menos mal: Alain de Benoist cree en la transmisión, él ha sido transmitido y transmite. Lógico.

Nuestra referencia a la Souda nos lleva a preguntarnos: ¿es Alain de Benoist un intelectual único o un colectivo? No basta con decir ambas cosas. Hay que decir cómo. Es colectivo en el sentido de que actualiza un patrimonio intelectual que revisita e interpreta, como hace un músico con una partitura. Pero Alain de Benoist es colectivo en un sentido más profundo y más raro: se ocupó (y se ocupa) de fundar un movimiento de pensamiento. Era el GRECE, era Eléments, y lo sigue siendo, pero también es un «movimiento», que incluso impregna a personas ajenas al medio institucional oficialmente vinculado a la Nueva Derecha, denominación, por no decir etiqueta, que Alain de Benoist nunca ha apreciado demasiado. Así pues, Alain de Benoist es un intelectual colectivo: en el sentido de que quiere estar en el corazón de, o al menos presente en los corazones (¡y las cabezas!) de los que piensan a su lado. Pero ADB es también un intelectual único: no existe un calco. Es original y es el original. Lo que significa que tiene sus afectos, que son los suyos, sus amistades, que trascienden las ideas, y sus paradojas (que no son pocas). ¿Se imaginan a Emil Cioran o a Clément Rosset sin paradojas? Por eso nos encantan.

Un intelectual único y colectivo, decimos. Esto significa que la comunidad (o comunidades) de pensamiento impregnada por la obra de Alain de Benoist puede alejarse del Alain de Benoist del momento y volver a otro Alain de Benoist más original. Nuestro ser humano es una esfera, y no podemos ocupar todos los puntos de la esfera a la vez y al mismo tiempo. Lo esencial es comprender que esta esfera, a diferencia del cielo de perfección supralunar de Platón, no es inmóvil. Alain de Benoist no busca la perfección, sino la perfección y el esfuerzo. No cree en un mundo ideal, pero sí cree que para vivir dignamente en el mundo hay que tener un ideal. No se trata de que ese ideal se vaya a alcanzar (rara vez se alcanza: no hay más que ver la efímera Comuna de París), se trata de que ese ideal nos habrá permitido alcanzarnos a nosotros mismos. «Concierten una cita con ustedes mismos», dice Henri Michaux.

La esfera y la espiral de Alain de Benoist

¿Una esfera, el universo mental de Alain de Benoist? Quizá también una espiral, porque la espiral es infinita y ascendente. Y aquí estamos. Nos encontramos ante una forma de pensar que aspira a la perfección y no a la perfección inmóvil. Se trata de movimiento, no de fijeza. Esto es fácil de explicar: el pensamiento de Alain de Benoist, su método (methodos o camino), su «encanto», su estilo, es la capacidad de autocrítica. No autodesprecio, no negación (aparte de algunas observaciones de juventud que el autor vio rápidamente que no eran el camino correcto. No olvidemos que a los 24 años, nuestro hombre abandonó todos los proyectos y escritos directamente políticos). La autocrítica no significa deconstruirse, y menos aún negarse a sí mismo, significa cuestionar todo lo que es fácil de analizar. Lo que es fácil es siempre demasiado fácil. ¿Qué podría elevarse más en la búsqueda de las condiciones de un pensamiento correcto o de una hipótesis fructífera? ¿Qué habitación de una caverna más profunda no podría explorarse? Un buen programa (¡en gran medida nietzscheano!), el de cualquier intelectual serio.

Ni progresista ni reaccionario, así es Alain de Benoist. Cuando nuestro hombre entra en una sala, no encuentra el asiento adecuado. Es porque las posiciones originales son desconcertantes (y su periodo más inclasificable fue, desde mediados de los años 80 hasta 2015, aquel en el que a menudo fue a contracorriente de los que se suponía que estaban cerca de él). Y sin embargo, entre los inconformistas de los años 30 e incluso de los años 40 (con el Manifiesto comunitario de 1943), los nacionalistas-revolucionarios alemanes, franceses, italianos, españoles y otros, los nacional-bolcheviques, los solidaristas franceses, los neobonapartistas, los gaullistas (verdaderamente) de izquierdas, los conservadores de izquierdas, los tradicionalistas de izquierdas (como Walter Benjamin) y el Círculo Proudhon, son los más originales los más interesantes.

En los años 70, cuando Alain de Benoist y Louis Pauwels alternaban sus columnas en Figaro Dimanche (1977-1978, precursor de la revista Figaro), Louis Pauwels, entonces en el apogeo de su forma pagana, politeísta y neoestoica, escribió de Alain de Benoist: «¿No es este anti-Marx un Nietzsche moderno?». Una frase elegante y pertinente, como siempre con Louis Pauwels, novelista de talento y gran periodista, uno de los mejores escritores de los años 70 junto con Jean-Gilles Malliarakis, polemista prodigioso y mente inmensamente culta, Maurice Bardèche, rigor clásico al servicio del romanticismo, y el propio Alain de Benoist. Pero menos de diez años después de las declaraciones de Pauwels, las cosas habían cambiado. ¿Podíamos conservar la fórmula de Louis Pauwels?

La Nueva Derecha de principios de los ochenta se había vuelto muy claramente antiliberal y antiburguesa, y había dejado de tener la menor esperanza de atraer el apoyo de personalidades de «derechas» como Michel Poniatowski y Philippe Malaud. Al mismo tiempo, el GRECE, incluso antes de su mediatización en 1979 (la campaña mediática sobre y contra la Nueva Derecha) rompió con el Club de l’Horloge, sobre la base de un desacuerdo sobre el liberalismo (para decirlo brevemente, el Club de l’Horloge cree que puede ser «nacional-liberal», mientras que el GRECE toma partido (y Michel Thibault está muy apegado a ello) por la causa popular y, por tanto, rechaza tanto el liberalismo societario (la cuestión aún no se ha planteado pero se planteará en el futuro) como el liberalismo económico y social). Un compromiso con el «espíritu del pueblo» y contra la modernidad horizontal que es el «espíritu de los tiempos modernos», un espíritu que lo arrastra todo hacia abajo.

Dar un paso al lado

Fue también en este punto cuando la jerarquía de los peligros fue modificada (o se vio modificada por la realidad) por Alain de Benoist y la nueva Derecha. ¿Es el «peligro» ruso y comunista el primero? ¿Es el principal? ¿No deberíamos luchar primero contra la americanización de nuestra cultura, nuestras costumbres y nuestra economía? Formular la pregunta es responderla. Y ND responde de la misma manera que Jean Cau: contra América. También significa estar en contra de la América que llevamos dentro (lo que no debería impedirnos admirar el cine americano, tan bien popularizado por Nicolas y Tetyana Bonnal). De ahí el antiliberalismo de la Nueva Derecha y la desconexión entre defender Europa y Occidente. Europa y Occidente no son lo mismo. Atarse a Occidente es, en última instancia, matar a Europa en su esencia europea. ¡Menudo diagnóstico! ¡Toda una revolución en las ideas de la «derecha»! Y aquí tenemos una Nueva Derecha que cada vez más quiere ser Nueva Izquierda (y sigo pensando que tiene razón). «Ni siquiera Alain de Benoist dará un paso al lado», escribió François Bousquet sobre la década de 1980 (que durará aproximadamente hasta 2015 para este «paso al lado»). ¡Por supuesto que lo hizo! Igual que el milonguero da un paso a un lado para reanudar la marcha hacia delante con su pareja. Del mismo modo que a veces es necesario dar un paso atrás para recuperar el impulso y volver a caminar con buen pie.

Así que mucho han cambiado las cosas desde que Louis Pauwels dijo: «¿Es este anti-Marx un Nietzsche moderno?». No se trata de una convulsión, sino de un cambio debido a a) la lógica de la elección de Alain de Benoist: «la riqueza del mundo es su diversidad», frase ya presente en Vu de droite (1977), y que se aleja inevitablemente del liberalismo homogeneizador. La observación de los cambios y tendencias que actúan en el mundo. Desde principios de los años ochenta, se plantea la cuestión: ¿el problema era el comunismo, o el auge ilimitado del derecho del individuo frente al derecho de los pueblos que se olvidan, o el derecho del hombre solo frente al derecho del ciudadano en medio de su pueblo? También en este caso, formular la pregunta da una indicación de la respuesta.

Así pues, menos de diez años después de la aventura de Figaro Magazine y de la observación de Pauwels, ¿no habría que invertir su fórmula sobre Alain de Benoist? ¿No es este postnietzscheano un nuevo Marx? Porque Alain de Benoist no ha querido quedarse con Nietzsche. Es un paso esencial para él, un hito en la noche, una luz que no deja de iluminarnos, pero no la única luz, y una luz que puede iluminar un paisaje distinto del dibujado por el propio Nietzsche. Alain de Benoist no se ha convertido en un extraño a Nietzsche, sino que piensa más allá de él (si eso es posible). O junto a él, si es necesario, recurriendo a otros recursos de la mente (como R. Abellio, A. Gehlen, Montherlant, cada uno en su campo…). Para aquellos, entre los que me incluyo, que sitúan la ética y la estética por encima de toda teoría, nada es más indispensable que Montherlant…

La inversión de la fórmula de Louis Pauwels nos pone en el buen camino. Marx y Alain de Benoist, pues. Es una hipótesis audaz compararlos. Sin embargo, no faltan puntos en común. Existe la ambición de pensar globalmente el mundo a partir de una raíz filosófica. Para Marx, el materialismo antiguo y luego Hegel, pero ampliamente corregido o incluso invertido. Para Alain de Benoist, el Círculo de Viena y Louis Rougier (positivismo lógico), el nominalismo, y luego, con cierta continuidad, la idea de la singularidad irreductible de las culturas. El politeísmo de las culturas. Y al mismo tiempo, la idea más universalista de rechazo de la metafísica de la subjetividad. Universalismo: ADB rechaza el término. Precisemos entonces que no es un universal que niegue las intermediaciones. Las valora sin absolutizarlas, de ahí el rechazo delos nacionalismos como extensión de los principios del individualismo a la escala de la nación, como paso de la idolatría del yo individual a la idolatría del yo colectivo, que se convierte en la idolatría de un «nosotros». Lo universal, según Alain de Benoist, es el acceso a la intersubjetividad en lugar del triunfo egoísta de las subjetividades individuales. Es un universal alimentado por la diversidad de los pueblos, y no reducido ni a moral (una moral universal), ni a derecho, un derecho abstracto de los derechos humanos que tiene la consecuencia concreta de ser el gran obstáculo al ejercicio del derecho de los pueblos (es bajo este título que propuse una genealogía del liberalismo como proceso de destrucción de los pueblos). Si queremos quedarnos con un «ismo», llamémoslo universalismo diferencialista. Porque hay que decirlo, cuando nos enteramos de que los últimos hablantes de una lengua han desaparecido al otro lado del planeta, sufrimos como si nos hubieran arrancado algo. Y lo mismo cuando vemos que un pueblo ha sido desarraigado de su tierra durante 80 años, con el apoyo de la primera hiperpotencia mundial.

El teórico y el perspectivista

Después de los puntos en común, que son la preocupación por pensar globalmente al hombre en el mundo, al hombre en su mundo, veamos esta vez las diferencias entre Marx y Alain de Benoist. No son insignificantes. Marx es un teórico. Es menos cauto a la hora de exponer sus ideas que Alain de Benoist, y está más dispuesto a ser polémico (y a veces violentamente polémico). Marx asumió más riesgos intelectuales y políticos. Era un militante, cosa que Alain de Benoist ya no era (porque no creía que pudiera llevar a ninguna parte). Marx teórico. ¿No lo sería Alain de Benoist? Ahí está eso. Marx era un teórico en el sentido de que buscaba desarrollar una teoría original. No una teoría que surgiera de la nada, pero sin embargo una teoría muy original. Por su parte, Alain de Benoist era ante todo un hombre de mayéutica. Es el portador de una visión del mundo (Weltsicht) o de una visión del mundo (Weltanshauung): este último término implica una mayor distancia en la visión, y la intermediación de una rejilla de lectura, noción menos presente en el término «visión del mundo» pero que, aunque oculta, existe. Dicho de otro modo, el perspectivismo nunca es neutro desde un punto de vista axiológico o estético.

Marx es ante todo un investigador, de ahí lo incompleto de su teoría (de sus teorías: económicas, antropológicas, epistemológicas, etc.). Alain de Benoist es un productor de estudios genealógicos sobre las ideas y descubridor de pensamientos olvidados. Inventa menos. Quizás descubre más, en el sentido literal de descubrir, de quitar una capa de polvo y de olvido. Esta es una diferencia importante entre Marx y Alain de Benoist. De ahí el carácter acabado de los libros de Alain de Benoist, aunque su obra misma aspire al enciclopedismo y sea, por tanto, en principio inacabada. De ahí el carácter inacabado, en comparación, de muchos de los libros de Marx (recordemos que el viejo luchador muere a los 65 años, mientras que Alain de Benoist, otro luchador a su manera, sigue escribiendo, y escribiendo sólidamente, a los 80 años). Así pues, tenemos dos formas de trabajar muy diferentes, pero con la misma exigencia. Exigencia con nosotros mismos, exigencia con el lector.

En cuanto a las diferencias, es sobre todo la relación con el colectivo lo que distingue a Alain de Benoist y a Marx. Para Marx, la colectividad no es ante todo intelectual (y, en cualquier caso, las ideas no son más que la traducción del movimiento de las fuerzas sociales), es un movimiento histórico, el movimiento obrero europeo. Esto es lo que vio en la encrucijada del socialismo francés, la economía política inglesa (Adam Smith y sobre todo David Ricardo) y la filosofía alemana. Y fue a la victoria de este movimiento obrero a lo que dedicó sus días y a menudo sus noches, para que finalmente fuera posible la emancipación general, la emancipación del proletariado que traería la reconciliación de la humanidad consigo misma (el fin de la alienación) a través, no del fin de todo conflicto, sino del fin de la explotación capitalista. Esto es lo que Marx llamó comunismo. El planteamiento de Alain de Benoist es muy diferente. No se trataba de echar una mano a un movimiento histórico que avanzaba por sí solo, sino de crear una corriente metapolítica, cultural, una «nueva cultura», como se la llamaba hacia 1979, para impulsar una Europa libre, independiente de Estados Unidos, verdaderamente europea, que permitiera vivir a sus pueblos, las naciones, pero también a los pequeños pueblos que son las etnia3.

Marx y Alain de Benoist: dos formas de pensar muy diferentes. Marx era el romántico, mientras que ADB era el controlado, el neocardenal de Retz (¡incluso en su simpatía por la Fronda!). Otro punto de diferencia: Alain de Benoist dice que desprecia pero no odia. Marx es mucho más ideológico y político. Lógicamente, da cabida al odio. Nunca se ha logrado nada grande sin pasión, y eso es lo que es. Es una constante humana. Tiene su lugar. Simplemente hay que mantenerla en su sitio. Chateaubriand decía: «Guarda tu desprecio para el gran número de necesitados». «Yo no desprecio casi nada», decía Leibniz. Lo mismo ocurre con el odio. Hay que guardar el odio, pero hay que odiar un poco, porque hay que aceptar que uno forma parte de la refriega y no creerse siempre por encima de ella. Además, Marx no tenía elección. Su problema no era «no ser suficientemente reconocido» por la comunidad académica de su época y de su país natal, sino el de librar una dura batalla política con sus camaradas. Y en este terreno, el desprecio no siempre es la respuesta adecuada. Los dominantes no siempre son despreciables; a menudo están lejos de ser estúpidos. No son dignos de desprecio. Las personas dañinas nunca son simplemente despreciables. ¿Es la vocación de un deportado, de un preso político, despreciar a sus carceleros y a sus patrocinadores, o más bien tratar de barrerlos?

Marx no se contuvo. Sus enemigos, y más aún sus rivales y competidores políticos como Ferdinand Lassalle, pagaron el precio, este último calificado maliciosamente de «negro judío» (parece sacado de un panfleto de Céline). El primer artículo de Marx para la Gaceta Renana fue censurado por «crítica irreverente e irrespetuosa de las instituciones gubernamentales». Cuando, en 1845, el gobierno prusiano le privó de su pasaporte, se jactó: «El gobierno me ha devuelto la libertad». Cáustico, sarcástico, extravagante en su odio a los mediocres (e incluso a los no tan mediocres como Proudhon), a Marx no le faltaba humor, ni siquiera consigo mismo. Es famosa su frase: «No creo que nadie haya escrito tanto sobre el dinero estando tan falto de él». ¡Qué diferencia de temperamento entre Alain de Benoist y Marx! Alain de Benoist en el control, Marx en la pasión: dos grandes pensadores, pero dos estilos diferentes. El más racional no es el que pensamos, con su «sentido de la historia», en el que él mismo sólo creía con muchas correcciones.

Karl Marx y Alain de Benoist, dos maneras de ser intelectual colectivo

Alain de Benoist: otro Marx, pues. Un nuevo Marx, un Marx contemporáneo. Pero de otra manera. Y una relación diferente con el colectivo. Alrededor de ADB y reivindicando ser sus seguidores, gente comprometida por supuesto, pero no revolucionarios. Nada de activistas clandestinos que cruzan fronteras y viven en la clandestinidad. Nada de parias expulsados de su país. Ningún Blanqui pasando treinta y seis años en la cárcel, él mismo apenas marxista, pero sí un obrero militante como los marxistas revolucionarios. Alrededor de Marx, él mismo un exiliado político, el paisaje era muy diferente. Proscritos. La Asociación Internacional de Trabajadores. ¿Sus herederos (legítimos o no)? Lenin, cuyo hermano antitzarista fue ejecutado porque se negó a pedir el indulto. Trotsky, exiliado a Siberia por sus actividades militantes. Por parte de Alain de Benoist: ¿cuántas divisiones blindadas? ¿Cuántos prisioneros? Esto nos remite a lo que nuestro propio autor dijo una vez: «Soy un observador. No indiferente a lo que veo. Pero sobre todo un observador. Un observador del mundo, pero un actor en el mundo de las ideas». Este es el límite del paralelismo con Marx, que se veía a sí mismo como actor en ambos mundos, que en cualquier caso, según él, eran uno y el mismo. De ahí la necesidad de volver a la cuestión de nuestra relación con lo colectivo. a la cuestión de la relación con lo colectivo.

Marx dijo que, por su parte, él… no era marxista. Decía: «Los experimentos científicos destinados a revolucionar una ciencia nunca pueden ser verdaderamente populares. Pero una vez sentadas las bases científicas, la popularización es posible». Pero es importante no precipitarse. Por su parte, ¿es Alain de Benoist todo Nueva Derecha y sólo Nueva Derecha? ¿Es reducible al GRECE y ahora al Institut Iliade, que ha saltado a la palestra afirmando también formar parte de la Nueva Derecha? Si Alain de Benoist era sin duda el líder de la Nueva Derecha (un antipapa que habría sido el papa de la Nueva Derecha, podríamos decir bromeando), ¿resume él a la Nueva Derecha? ¿Y Giorgio Locchi? y Guillaume Faye? (ambos divergentes de las posiciones de Alain de Benoist, me parecen menos ricos, pero su aparente radicalismo atrae a una juventud ávida de consignas sencillas). Y si Alain de Benoist no es todo Nueva Derecha, también va más allá. Una buena ilustración de la teoría de conjuntos, que se superponen pero no se fusionan.

François Bousquet aborda la cuestión. Plantea el tema de las influencias ejercidas por Alain de Benoist y recibidas por él. Se trata de la intersubjetividad necesaria, que corrige y supera la metafísica de la subjetividad mejor que la búsqueda imposible de la objetividad.Bousquet escribe: «Intelectual colectivo: la cuestión es más espinosa. Aunque no lo mencione, para él se trata sin duda de un dilema indecidible. Para nosotros, la cuestión está clara: la Nueva Derecha es, en el sentido más fuerte, un intelectual colectivo, y con razón: ¡somos el colectivo! Pero, ¿habla por sí mismo o por la Nueva Derecha? Firma lo que escribe, pero ¿tiene que refrendar todo lo que se publica bajo el sello de la Nouvelle Droite? Le guste o no, forma parte de ella». o creo que se puedan ver las cosas así. No veo por qué, cuando escribo un artículo publicado en la página web de Éléments, Alain de Benoist debería estar obligado por lo que digo. En primer lugar, puede tener otras cosas que hacer que leerlos. En segundo lugar, tanto si los encuentra buenos como si no (y me alegro si es la primera hipótesis), ¡son míos, no suyos! Es más, puede encontrar calidad en análisis que no comparte del todo. Puedo tener un punto de vista cercano al de Alain de Benoist, pero nunca será exactamente el mismo, por muchas razones: probablemente no dispongo de la misma información, no la he priorizado necesariamente de la misma manera, y… somos diferentes.

François Bousquet escribe a continuación: «Alain de Benoist ya no se reconoce en la Derecha (pero ¿y la Nueva Derecha, yo por ejemplo?)». Pero así son las cosas. Irreductiblemente complejas. «La complejidad es también un valor», dice Massimo Cacciari. Aquí no se trata de amistad. No necesito «reconocerme» en mis amigos (son mis amigos porque son diferentes de mí). Éste es también uno de los intereses de las relaciones con las mujeres: son fundamentalmente diferentes de los hombres) para estar seguro de la amistad que tengo con ellas, o incluso de la amistad que ellas tienen conmigo. No tengo que ser fiel a las ideas de mis amigas, ni apoyar sus ideas. Las ideas y las amistades son dos cosas completamente distintas. Por ejemplo, la mayor parte del tiempo me identifico con las posiciones internacionales del ex eurodiputado comunista Francis Wurtz. A veces he votado por él. No le conozco. No tengo el honor de ser su amigo. La simpatía que siento por sus ideas (al menos en cuestiones internacionales) es la mía propia (¡y desde luego no la suya!). A la inversa, tengo y he tenido amigos cuyas ideas no compartía en absoluto. A veces es difícil cuando uno se toma en serio las ideas (como es mi caso). Pero es una realidad humana. Y la amistad es preciosa. Si alguien piensa diferente a mí, pero de buena fe, le sigo la corriente. Supongo que lo mismo se aplica a Alain de Benoist. De hecho, es posible que nuestro autor se haya sentido cercano a las luchas libradas por otras personas distintas de la Nueva Derecha desde 1968. Por ejemplo, en la época de la guerra del Golfo, con Denis Langlois y la convergencia de dos llamamientos, uno del Partido Comunista, otro de la Liga Comunista Revolucionaria. Por eso Alain de Benoist no puede reducirse a la Nueva Derecha. Quiere que las ideas de Alain de Benoist se transmitan (¿quién no?). Que haya nombrado sucesores es simplemente una tontería. Y aquí, hagamos referencia a Marx. ¿Qué sucesores legítimos? ¿Wilhelm Liebknecht? ¿Bernstein? ¿Kautsky? ¿Plejanov? ¿Lenin? De 1883 a 1895, ¿no fue el propio Engels quien gestionó el legado de Marx de un modo inevitablemente subjetivo (¡y menos mal que Friedrich Engels no era un robot!).

El intelectual sólo es responsable ante la verdad (y eso ya es mucho)

«Hay muchas mansiones en la casa de mi Padre. Si no fuera así, os lo habría dicho. Voy a prepararos un lugar», Juan 14:2. Los elementos ocupan un lugar destacado en esta casa, pero no es el único lugar habitado por los allegados a Alain de Benoist. Su pensamiento (que continúa) es un legado sin testamento. Como en el caso de Marx. En el mundo de Alain de Benoist, en otros lugares (que los puntos de referencia oficiales de su pensamiento), existen otras afinidades, más subterráneas. Él mismo siempre se ha negado a ser su propio punto de referencia. La brecha entre el yo y el yo (otro nombre para el ser-echado-lejos) es la condición de todo pensamiento en movimiento. «Todos los hombres de bien son hermanos, cualquiera que sea su raza, su país o su época», decía Alain de Benoist (Les idées à l’endroit). En otras palabras, no es posible partir de un «nosotros» que etiquete un patrimonio cultural. Y esto es así cualquiera que sea la calidad de este «nosotros» (que en cualquier caso, como todos los «nosotros», evolucionará y se romperá, porque es ley de vida, y lo que ha pasado, pasará).

Entre la filosofía y la política, está la ideología. Sí, pero la experiencia muestra, con el marxismo-leninismo, los riesgos de popularizar una filosofía degradada, escolástica, convertida en mediocre ideología universitaria oficial. La transformación del pensamiento de Alain de Benoist en catecismo sería desastrosa. Nos recuerda el cuadro de Louis Janmot Le Mauvais sentier, en el que dos jovencitas pasan delante de unos maestros, filósofos, proponiéndoles el estudio de una triste filosofía académica y escolástica. Que Alain de Benoist no se convierta nunca en el filósofo oficial de ningún régimen. ¿Una vuelta a la gloria para Alain de Benoist? Creo que si hay algo que le importa un bledo es eso, ¡a quien nada le gusta más que una velada con amigos, o incluso una velada con gatos! Pero como con Marx, bajo el catecismo, siempre es posible redescubrir la playa de un pensamiento que llama a navegar en alta mar (¡o a caminar por las montañas!). El intelectual de altos vuelos (o el gran político) puede ser influyente, pero siempre está solo.

¿Acaso la Nueva Derecha no es suficientemente político, tal y como le dio vida Alain de Benoist? se pregunta François Bousquet. Por supuesto, no debemos rehuir el diálogo con los políticos. Pero la ideología no es «verdadera filosofía», ya que pasa de lo individual a lo colectivo. Es otra cosa, necesaria si es una visión del mundo, pesada si es una camisa de fuerza que nos obliga a pensar en términos de un corpus doctrinal preestablecido, sea cual sea el tema. Sossio Giametta escribe: «La cultura no se comunica directamente con la política. Por tanto, una ideología filosófica nunca puede traducirse directamente en una ideología política. (…) Sin embargo, las ideologías culturales mantienen relaciones subterráneas muy importantes con los acontecimientos sociales y políticos, tanto en sentido activo como pasivo, como partes de un mismo fenómeno global, y éste es sin duda también el caso de Nietzsche. (…) El filósofo no es éticamente responsable de sus actos como tal. Tampoco es responsable de las consecuencias políticas, sociales o de otro tipo de su filosofía. Sólo es responsable ante la verdad».

No nos encerremos en nosotros mismos

Hay una gran distancia entre una filosofía y una «ideología filosófica» (por ejemplo, la vulgata marxista-leninista de la Unión Soviética de los años treinta a los cincuenta, o El mito del siglo XX de Alfred Rosenberg, o la vulgata antiideológica del liberalismo, que pretende rechazar las ideologías que no sean la adhesión a «lo que funciona», sin preguntarse en beneficio de quién y sin ver que ya es una ideología, pero la más mediocre). Y sigue habiendo una gran distancia entre una «ideología filosófica» y una ideología política. Por ejemplo, hay una gran diferencia entre una impregnación ideológica liberal y la política de Guizot, o entre el libro de Alfred Rosenberg y la política de Hitler, que no tomó en serio a Rosenberg.

Por lo tanto, es necesario comprender la distinción entre estos tres niveles: filosofía, ideología y política propiamente dicha. La ideología es a menudo una forma degradada de la filosofía, y la política a veces utiliza la ideología pero rara vez cree plenamente en ella. Así que podemos hacernos la siguiente pregunta: ¿cuál será la cosecha después de Alain de Benoist? Tendrá su parte de imprevistos. Pero yo lo veo más como una actitud ante la vida que como una ideología, más como una preocupación que como una certeza. Y será una cosecha duradera y renovada, porque es una forma de enfrentarse al mundo de las ideas, y al mundo en general, con sus bellezas, con el cine, con la literatura. Y todo eso está muy bien. Un crítico dijo de Paul Cézanne que, como todos los genios, estaba lleno de contradicciones. Eso significa que tiene varios estilos, que combina varios enfoques. Es un signo de creatividad, o de lo que el filósofo Philippe Forget llama «productividad». Eso es lo que vemos en Alain de Benoist: su incesante capacidad para renovarse. (Michel Maffesoli no se equivoca al hablar de nuestro autor, aunque odie a Karl Marx, lo que no es en absoluto mi caso).

Paul Cézanne, nuestro hombre de las contradicciones, que en realidad son tensiones, también se preocupaba, en vísperas de su muerte, de que lo «recuperaran», de que lo embalsamaran, de que lo sacaran del flujo de la vida para convertirlo en un icono. En cuanto a Alain de Benoist, ¡ya veremos! En cualquier caso, incluso sitios (como eurosynergies) que no se acercan a de Benoist (por razones que me parecen perjudiciales y entristecedoras, como tuve ocasión de decirle a su talentoso anfitrión) se acercan sorprendentemente a sus ideas. Para no concluir, pienso en estos versos de Karl Liebknecht, y me pregunto si Alain de Benoist podría firmarlos: «No puedo precisarlo todo, sólo puedo arriesgar; no puedo cosechar, sólo sembrar y huir; no puedo sufrir la hora del mediodía: una aurora, una puesta de sol, ¡que éste sea mi día! Que éste sea mi día y que ésta sea mi vida»: entendemos lo que dice Karl Liebknecht. A menos que sea más estimulante terminar con este poema de Karl Marx (Emociones): «Y sobre todo, no nos repleguemos sobre nosotros mismos, doblegados bajo el vil yugo del miedo, pues los sueños, el deseo y la acción, sin embargo, permanecen con nosotros».

Fuente

Nota: Cortesía de Éléments

[izayoichan]

Vy: My little star! How!? Fannar: Arlo, together with Flynn, Emil, and Uncle River. I couldn’t miss my siblings' wedding after all. And no mom, Arlo is not here, Syra and his father promised to keep an eye on him. I couldn’t bring him here, there are too many people, too much everything and we are not quite there yet.

Vy just nodded, after the time Arlo had come panicked on his door telling him his son was sick and to please help, he had seen it that day, that love that his son had talked about, that desperate plea from Arlo had changed how he looked at the Arlo that existed now. It was like his beloved Hay-hay said, they were both broken, and they needed the other to have a chance to become whole.

Vy: I understand, I’m glad you could make it. Arlene: Uncle Flynn really wasn’t joking when he said he would get the invite to you! Fannar: Nope, he hand-delivered it. -he smiled- And I could not miss this like I said. 

They found themselves carefully hugged by their mom, before they found themselves equally carefully hugged by their little brother, then he suddenly found himself in the arms of his dad who had entered. 

Brooke: Oh wow. Did you grow a few inches? Fannar: It’s the horns -chuckling- Hi Brooke, and this is? Brooke: Oh, right, Fan meet Richard, and Richard, meet Fannar. Ric: Hi, I heard a lot about you, so it’s nice to finally meet you in person. Fannar: Nice to meet you, Ric. -they smiled softly, shaking the young man's hand- I heard a lot about you too, only good things though.

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[lahija-del-molinero]

"Triste está mi alma en el mundo en que los hombres viven para hacerse infelices los unos a los otros. ¿Cómo es que todavía hay hombres que pueden respirar después de haber hecho infelices a otros ? " —Emil Cioran