#hato yo!

[asnowperson]

A short Takemiya Keiko interview from 1998

My "All Things Takemiya" detective friend, Platypus, provided me with a two-page Takemiya Keiko interview scanned by @97tears from the now discontinued Hato yo! (鳩よ! - Oh, Pigeons!) magazine. It was a literary magazine published between 1983 and 2002—a publication you probably wouldn't look at if you were searching up on Takemiya, ig.

You can see the Japanese original taken from the 1998 April issue of the magazine, and my (poor) translation of it under the cut.

Takemiya Keiko Interview from issue #4 of Hato yo (1998) 

An interview with a master mangaka herself! 

I’ve always wanted to meet them! 1 – Takemiya Keiko 

“I wanted to draw real love” 

Takemiya Keiko. Born in Tokushima in 1950. Debuted with “Ringo no Tsumi” in 1968. Won the 25th Shogakukan Manga Award with “Kaze to Ki no Uta” and “Terra e.” Representative works include “Pharaoh no Haka” among others. “Tenma no Ketsuzoku” is currently being serialized in Asuka Magazine.  

I read “Kaze to Ki no Uta” during elementary school. It has left a very deep impression on me. I remember that when Ms. Takemiya is mentioned. It was like I was looking at something I was not supposed to look, and I still remember the thrill I felt.  Takemiya: Oh, is that so? (laughs) 

Thank you so much for being with me today.   Takemiya: And thank you for having me. 

Shall we start with what prompted you to become a shoujo manga artist?  Takemiya: Fundamentally, I was not suited for shoujo manga. I debuted in COM, and my dream was to draw manga that was neither shounen nor shoujo. But alas, the magazine in which I could draw my ideal manga was no more. My style didn’t have much “power” in it, so I inevitably had to choose a shoujo manga magazine. I think my art style was really uncommon at the time. But it was what it was, and I thought to myself, maybe capitalizing on that was the path I should take.  

Your works have an extraordinary depth as far shoujo manga goes... They have a unique art style...  Takemiya: It hasn’t always been like that. My shoujo manga technique was the fruit of what I have studied. It was not a result of my personal taste, nor my innate skills. Girls like that feathery, light touch. They like fine lines. But I didn’t have any of those. So, I figured drawing things girls would like a lot was my only choice. For instance, when I thought how they must like Europe at the end of the 19th century, I went on a trip as a result. I saw the real thing at its source, and did research on it.  

Then was Kaze to Ki no Uta born because you thought girls would like it?  Takemiya: That might have played into my choice of the time period the story’s set in. However, romance stories between a boy and a girl was the norm in shoujo manga at the time. You could only draw “And they lived happily ever after...” stories. And that happiness was only on the emotional level. It was normal to exclude all physical contact. But that is simply “affection.” I wanted to draw “real love.” I admit it was a little too sensational, but I thought doing it through same-sex love was the best way to go about it. That’s how I drew Kaze to Ki no Uta.  

The sex scenes between men were quite a shock for me as a little child. That’s how I learned homosexuality existed.   Takemiya: At the time, there was an official notice published by the Ministry of Education that stipulated that “You shall not draw a boy and a girl getting intimate!” However, if it was two boys, things were somehow fine... I thought I’d found a loophole! (laughs) 

These days, there are more extreme books labeled as “yaoi.” What do you think about them?  Takemiya: At the end of the day, doujinshi are doujinshi. They focus on personal enjoyment of a group. I consider myself a “craftsman,” and if I look at it from a craftsman's standpoint, I am not wholly satisfied with how they leave many things unexplained, or how they have no conclusion. At their level, I’d liked if those artists too felt more dissatisfied... If they aimed to be more conclusive. They have the talent to draw, so I’d love them to polish those skills. I’m sometimes told that it all started with “Kazeki,” and that I must take responsibility. And every time, I think to myself, “Oh... Re-really? Dit it?” (laughs) I wish someone drew something so awesome that it would blow Kazeki out of the water... 

I’d love that too! You called yourself a “craftsman,” but what exactly makes you think so?  Takemiya: I really love the word “craftsman.” I’m not interested in trying to reach an ideal of art that would not resonate with the public. I believe manga is something aimed at the general public. Otherwise, I would not consider it to have artistic value.  

Spoken like a real pro... Which brings me to Terra e... I think that’s the most widely-accepted manga of yours by the general public, and it was published in a shounen magazine. Why is it the outlier to be published in a shounen magazine?  Takemiya: I received an offer for it, but the truth is, I had always wanted to draw for a shounen magazine. That’s why accepted. But I needed to draw in the shoujo manga audience too, so I wanted the story to offer the best for both demographics. So I tried to have the concept to be that of shoujo manga, and the style to be that of shounen manga as much as possible.    

Is it different to draw for a shounen manga magazine, and a shoujo manga magazine?  Takemiya: You don’t have to hold back in shounen magazines. It fine to draw more hardcore stuff. But in shoujo magazines, that’s out of the question. There’s a trend that dictate that you should explain things in long-winded ways and spoil the reader, because girls like it when you reveal things to them through subterfuge, so don’t hit them directly with hard stuff. 

But after that, you’ve never drawn for shounen magazines which allowed you to draw as you wished.  Takemiya: Shounen magazines are mostly weekly. I cannot keep up with that. My art has fine details, so it takes me a lot of time to draw.  

Then will you be solely drawing for shoujo magazines in the future?  Takemiya: I can’t really say that I will. I’m currently working for a shoujo magazine with “Tenma no Ketsuzoku”, and with volume releases. I recently released an illustration book titled “Hermès no Michi.” I needed to base myself on documents and explain them in drawings. And they couldn’t be any kind of drawing, they needed to be interesting. Trying to come up with ways to do that was a very fun experience. So for starters, I’d like to undertake a work like that again. That kind of work I’m working on right now is a story about the fugitives of the Heike Clan in Tokushima.* 

*T/N: She is referring to “Heian Joururi Monogatari.”  

To finish our interview off, I’d like ask a question about the Year 24 Group (shoujo manga artists born around the 24th year of the Shouwa Era like Takemiya Keiko, Hagio Moto, and Ooshima Yumiko, who have influenced the shoujo manga world in the following years) which is still very prominent: Are you still conscious of it?  Takemiya: Year 24 is a thing of the past in the modern manga scene. I think it’s irrelevant now. Manga is evolving, becoming something else after being painted over continuously. I had fun when I was part of that group, but I don’t feel like dragging it out. I don’t want to cling to nice memories of the past as I work, and want to focus on how I currently think and feel. I want to do what I think is most fun at the moment.  

[fashion4standusers]

Candice Bergen in The Day the Fish Came Out (1967)

[justgreenfoothings]

no interest for anything of the sort

[fujoshimenacecw]

A conversation between Moto Hagio, Hideaki Anno, and Shimako Sato

In our first ever translation work we share a riveting conversation between Moto Hagio, Hideaki Anno, and Shimako Sato! Read on our wordpress or keep reading on tumblr under the readmore

For the 189th issue of the Magazine House publication Hato yo! published January 1st 2000, movie director and screenwriter Shimako Sato leads a three way conversation between herself and her acquaintances, the anime and live action movie director Hideaki Anno, and manga artist Moto Hagio. Together they discuss their respective admiration for each other’s work, Anno’s past statements on otaku, their takes on parent-child relations, how to escape puberty, and why Anno finds it scary to be around children. 

To Me, There is 5 Ways To End a Story

Hagio: I got really into Neon Genesis Evangelion after it finished airing (laughter). I had been told by an acquaintance that Eva was a work that had “fans who were looking forward to watching the series so enraged by the developments in the final episode that they broke their TVs” (laughter). I wondered what could a work that evokes such strong emotions be like? I was really interested, so I borrowed the VHS tapes from a friend of Shimako-san’s, then I started watching.

Anno: I’m a big fan of Hagio-san’s manga, so when Shimako-san first said she could introduce us and arrange this meeting I was truly happy. The fact that you took an interest in Eva is an honor but… When I first heard “to me, there are five ways to end a story” I thought “as expected; amazing!” So after several twists and turns I finally reached a conclusion

Sato: Anno-san, when did you first encounter Hagio-san’s work?

Anno: The first one I read was They Were 11! during its serialization. In elementary school I read it at the Ear-Nose-Throat Doctor. I generally read manga at the waiting room there or at the barbers, since I didn’t really get any manga to read at home. When I read They Were 11! back then I was blown away. After that I read Hyaku Oku no Hiru to Senoku no Yoru [trans: Ten Billion Days and One Hundred Billion Nights, original story by Ryu Mitsuse]. My favorite work is Half-god [Hanshin]. The fact that such a meaningful story could be told in only 16 pages is amazing. I think Hagio-san is a genius storyteller, but her art is amazing as well. In middle school I thought that if I copied Hagio-san’s art I’d become better at drawing.

Sato: If you had also imitated her storytelling would that perhaps have changed Eva’s final episode? (laughter)

Saving the world, love and hatred

Anno: You know, I don’t have much interest in concluding a story.

Sato: Do you hate wrapping a furoshiki? [trans note: a traditional wrapping cloth]

Anno: No, it’s that I think you can do more with a furoshiki than tie it up pretty. Like break it or tear it to shreds, all kinds of things.

Sato: If we include all that, isn’t that still doing the act of wrapping?

Hagio: In your case Anno-san, I find your way of grasping the world unique.

Sato: For both Anno-san and Hagio-san, even with the differences between manga and anime you’re making a serialized work, right. When you make a long-form work, is the ending something that is already decided? Or is it something that changes?

Anno: For me it’s something like a live performance, and ends up gradually changing as I create the work.

Hagio: I’m a bit too careful, so I can’t draw if I haven’t thought of the ending. An exception is when I made Star Red. Otherworld Barbara which I made later also ended up becoming an exception 

Anno: Star Red’s ending was magnificent. I was also influenced by Star Red. Actually, I’ve written some dialogue similar to the one in Star Red’s ending 

Sato: Which of the characters do you like?

Anno: Well, the protagonist.

Sato: I like Elg. At first I thought he was a rather unreliable person, but he gradually came to play an active role. By the end he revived a dead planet through love.

Hagio: I also like characters like that!

Sato: When I watch Anno’s works like Eva I feel like you are more the kind of person who saves the world through hatred, what do you think?

Anno: I don’t know 

Hagio: That feeling of uncertainty becomes the foundation of your storytelling doesn’t it? I come to think that that feeling is something so overflowing you can’t tie it all together. 

Sato: It seems you have some differences when it comes to making a story, but I think one thing your stories have in common is perhaps parent-child relations?

Anno: That is true, Hagio-san. Your relationship with your mother appears in your work…

Hagio: When I was a child, my older sister was my mother’s favorite, I was always compared to her. It seemed my mother thought that compared to my sister I was unreliable so she always worried about me, even when I was into my thirties she’d tell me to quit making manga.

Sato: And that was during The Poe Clan’s heyday wasn’t it?

Hagio: (laughter) When I was watching Eva, something that really caught my attention was Shinji-kun worrying about whether or not he was useful to his father. Yet there was a distance between them. During that time I was very interested in, to put it into words, “broken relations.” 

Otaku Are Generally Uncool

Sato: Anno-san, in your work I think father-son relations is something that makes an appearance. Are there any real experiences behind that?

Anno: My family was normal. If I have a complex it would be that we were a poor family rather than a just normal one, and my father has only one leg. Regardless, I think stories about parents are the simplest to make, it’s easy. 

Sato: So since Eva is a parent-child story it ended up like that?

Anno: What makes it easy is that we have some preconceived assumptions about [parent-child relations], “have you argued with your parents?” and such.

Sato: What appears in your work isn’t those things, but your own internalized problems don’t you think.

Anno: That appears to be it. As for my family we truly were the archetypical lower middle class household. My father was a good person. A sensible man. When you’re under circumstances like my father was you have to live sensibly or else you’re excluded.

Sato: So in opposition to that, you became an otaku.

Anno: That might be it. Your most important model for what normalcy is is your family. But I have a younger sister and she is exceedingly normal. She doesn’t read manga, there is nothing twisted about her at all.

Sato: And by twisted you mean?

Anno: That she’s not an otaku.

Sato: Anno-san, you’ve said that you hate otaku, haven’t you.

Anno: It’s not hate. It’s just that I think otaku are uncool. To otherwise not notice that you’re uncool or purposefully suppressing that fact makes me feel disgusted.

Sato: What about The Matrix? Isn’t that a cool otaku movie?

Anno: That one is also uncool.

Hagio: Even though Keanu Reeves is cool.

Anno: Keanu is cool. Because he is not an otaku. The otaku are the Wachowskis. They can’t get out of the confinements of their otaku-ism. So for example, even if they make something cool, part of it will for certain be otaku-like Even though I say this I don’t hate it. If I truly did I’d quit being an otaku.

Sato: Hagio-san, would you say your family was normal or was it perhaps affluent?

Joh (Hagio’s manager): Hagio-san and her mother actually have a similar biorhythm. It was perhaps due to that fact that Hagio rebelled by pursuing the path of becoming a manga artist. 

Hagio: I might have been running away by drawing. But, if I had rebelled by becoming a delinquent I think it perhaps might’ve been more enriching to me as a person.

Anno: To become a creator is not something I think is a happy path to go down. In order to not be unhappy you have to work for dear life. At the very least create works as if you’re going back to zero [from the negatives].

Hagio: Is it a negative? Because you are an otaku?

Anno: Being an otaku is a huge negative. You make up for it either by relying on others or by producing creative works. With that said, I think my generation has it easier than yours, Hagio-san. This is an era where even old men read manga. My parents even now have no issues with my line of work. I appear in Asahi Shimbun, I appear on NHK, they have nothing to worry about. That is also why I will try not to ever refuse any coverage from my hometown newspapers.

Hagio: But don’t you think parents don’t truly understand? Even if I become famous, my parents will say; can’t you quit drawing manga? And just appear in the newspaper? (laughter)

Sato: But if you quit drawing manga you won’t appear in the newspaper. (laughter)

Hagio: In that context, a part of me still expects too much affirmation from my parents. Not externally but internally. Even if I appear in Asahi Shimbun I still end up thinking it’s not good enough.

Sato: The fact that you still worry so much about what your parents think at your age Hagio-san, it’s so strange.

Hagio: Yes, I think so too

Anno: Could it be that you have to become a parent to change that part of you that worries so much about what your parents think?

Sato: I don’t worry at all about what my parents think.

Anno: I also don’t care even a little bit. As far as I’m concerned, I’m bored if I get my parents’ approval. When I did Nadia: The Secret Of Blue Water for NHK I felt that feeling.

Sato: Do you have a replacement parent figure?

Anno: Well, a man without imaginary enemies is no good. For me right now, I think I want to make works that have Hayao Miyazaki beat.

Sato: Hagio-san, your worries might also be what gives birth to your works.

Hagio: That might be the case.

Sato: Anno-san, earlier, you said “you have to become a parent to change.” I personally don’t think if you don’t have children you can’t become an adult. I think that being an adult is being independent in everything you do. That’s why I think marriage or having children doesn’t change anything.

Anno: You can become a parent without being an adult. At 17 or 18 you could become a parent. To become a parent without even being an adult, that is the problem I think. 

Sato: Do you consider yourself to be an adult, Anno-san?

Anno: I guess I’m a child. 

Sato: I don’t consider my parents to be adults.

Hagio: I’m very discontent with the fact that my parents aren’t adults.

Anno: I’m not discontent.

Sato: For me realizing that my parents aren’t absolute adults was a relief during my middle school years. Until then I had played the role of an exemplary student, but when I realized that fact I stopped playing that role. 

Hagio: So you’re a child who didn’t fit into your parents’ expectations. I was also a child who didn’t fit into my parents’ expectations, but the fact that they didn’t shrug their shoulders and say “that’s fine,” filled me with anxiety. I thought that if I become an adult I’d lose that anxiety. But I want recognition from people. I continue to request affirmation. 

Sato: Anno-san, in Eva you portrayed children like this, but are you like this yourself?

Anno: The affirmation? Hmmm. That kind of thing changes with the project.

Hagio & Sato: ?

Anno: I don’t believe in the supremacy of the director of a work, but rather the work itself. What would be best for the work, I only base my judgment on the total. Although I won’t hand over the executive decisions.

Hagio: Manga is a one-man job, but with a movie there’s the director, the scriptwriter, the actors, etc. Each of them sees themselves as a leading part. Furthermore as living beings the things we do will sometimes diverge from the plan we made in our heads. The fun of living is discovering what those differences will be.

Is Eva The Rite of Passage That Will Get Us Through Puberty?

Sato: The movie Love & Pop that you directed Anno-san, the original creator Ryuu Murakami-san and yourself are both men, yet the story is about high school girls. I found that interesting.

Hagio: I thought that both of you wanted to be very similar to an archetypical girl. You said you wanted to see a part of puberty, and girlhood that you couldn’t control. After all, men aren’t just made up of boys. I believe that femininity and masculinity is something we have combined within us. Sort of androgynous.

Sato: The boys you create not having that vivid true-to-life quality to them I think is a representation of that. Anno-san, as a man, what do you think of the boys in Hagio-san’s manga? 

Anno: I think they have empathy. I think what I like the most is that all the characters are smart. Because they have such a high intelligence it feels good to read.

Hagio: Like a washing machine right at the peak of its cycle, I want to leave my characters on the verge of that kind of critical point [of merger]. To be honest, the idea that once you’re past 30 you’ve become an old lady, that sense is something we’ve left behind.

Sato: I’ve found that when men become old they lose their ability to be nihilistic in their work, is it the same as that?

Anno: In the case of men, as you age, the world view [of your fiction] rather than your characters come to reflect your nihilism. You don’t aspire to be nihilistic, you yourself are becoming nihilistic. Your world view is what gradually utilizes nihilism. Isao Takahata, for example, is a nihilistic person. Nothing is born from being nihilistic. As nihilism is Plus-Minus-Zero, eventually your heart can’t be moved.

Hagio: A world that doesn’t change, isn’t that comfortable? 

Sato: Even though in order to grow you have to fight. By asking like this, Anno-san, did you not experience puberty?

Anno: That might be it.

Hagio: I thought you were right in the middle of puberty.

Anno: I thought I’m losing it, but it might be puberty. Generally speaking, otaku don’t go through puberty.

Hagio: I thought otaku went through a prolonged chronic puberty.

Anno: It’s not what society ordinarily calls puberty.

Hagio: A never ending puberty, in this age, could it perhaps be because there are no more rites of passage? 

Anno: Sure enough, you have to bungee jump. (laughter)

Hagio: A ritual to let your childhood die and then replay it, such a thing doesn’t exist now. Taking entrance exams may be the closest to [a rite of passage].

Sato: Don’t you feel like lately that around age 30 is when the coming of age ceremony actually happens?

Hagio: For that part, that’s when the stories takes on that role I think.

Sato: As a ritual?

Hagio: It’s not a ritual, but perhaps more intuitive? A trial run on a mock life. By that definition, I noticed Eva is just like that. I had an acquaintance who is a teacher from the Kyoto Steiner school. They saw the Eva movie in theaters. At that time they found the reactions of the people watching to be more interesting than the story. They had thought, isn’t it like we’ve all come to see the rite of passage which we all failed? I thought so as well “that’s right, that is interesting.” The rite of passage to become an adult after entering puberty, be it Gundam or Eva those stories put people in a position where they are observing the world, observing themselves, experiencing war and such.

Sato: Anno-san, were you considering all this…

Anno: I didn’t make it like that. But when I was making the movie I was thinking of this a little. 

Hagio: When I watched Eva it ended up overlapping with the book Childhood [by Jan Myrdal]. It’s a book about a mother who can’t love her child. She thinks “I have to take care of this child”, but even so she can’t love him. I wonder what happens to children raised like this. Children learn from their parents. In truth there will be consequences for the parent, but the question on my mind was children who can’t find their place with the parent, where can they find their place instead? Although I thought you were such a person when you were making Eva, Anno-san. (laughter) 

Sato: Speaking of, the other day you were on a TV show teaching grade schoolers about anime, Anno-san. What do you think of children?

Anno: I was scared of being in contact with children. I don’t understand the appropriate distance to take. I believe even the most casual thing an adult says mustn’t traumatize them, I end up becoming oversensitive. In grade school during still drawing class, I’d draw roof tiles and other detailed things, but humans moved around and I found it annoying, so I never drew people. Because of that my teacher said “this isn’t a child’s drawing,” which deeply hurt me. In the end, from that experience I think it was a part of the reason why I decided on working with drawing. Even though I opposed standardized education, I really felt the difficulty of dealing with not having a basic manual.

By the way, how much longer until Zankoku na Kami ga Shihai Suru [trans: A Cruel God Reigns] ends? I made a mistake. I wanted to read it all at once, right, so I refrained from buying it but… when volume 6 came out I ended up buying all of them. 

Hagio: Oh yes, right. July next year I think. 

Anno: Understood. Then the final collected volume will be out in the fall of next year. Hmm well that means I can enjoy it for another year. Understood. 

Sato: Isn’t that great.

------------------------------

Translated by mod Juli, with assistance from two financially compensated native speakers.

A scan of the full interview raws has now been added to the wordpress version!

[ahllohehn]

yo!! q from the ren/tango blogger :D

i do have a queztion abt tangoz character. zince the hermitcraft fandom zomehow agreed unaccordingly that tango'z a blazeborne and ztuff, would that mean tangoz able to control fire in the hato au? /gen not zaying tangerz a blazeborne in thiz au or anythin FHDBSH i juzt wanna zee if my dudez like fire rez or zmth :3

Tango is the only Hephaestus/Vulcan descendant who is able to manipulate fire, even be resistant to it. With the exception being Etho who can take a comparable amount of fire before burning up.

Not a lot of campers know of the abilities Tango inherited from Hephaestus other than the fact that he's really good at making and constructing stuff, except some of the older campers (Xisuma, Keralis, Etho, Bdubs, etc.) plus Mumbo who are faintly aware of his pyrokinesis abilities.

He's not exactly hiding it, but he's not keen on outright showing it off either. With how rare pyrokinesis is within the descendants of Hephaestus, Xisuma has long advised for him to be lowkey about it lest he get some unwarranted attention.

Tango had no problem with taking the advice. He didn't exactly need his pyrokinesis everyday either, only using it sparingly and when needed.

....

BUT ALSO HOW ARE ALL HEPHAESTUS KIDS NOT INNATELY FIREPROOF WHAT IS THIS.... (i was researching during this)

[ephemeral-gremlin]

Yo I am in the mood for a visual novel and you are like the visual novel guru to me. I've recently watched Steins Gate bc my roommate made me (even though I would have rather done the VN... but anime is sill good), and now I'm craving VNs. Do you have any recs for something like Stein's Gate/Hatoful Boyfriend with emotional elements along with something sinister happening in the background to make it exciting? Or a fun one that's just weird (cage world in Amnesia Memories LOL)

collar x malice! https://vndb.org/v18160/chars

or if you don't have a switch/vita, psychedelica of the black butterfly:

[hato-roleplay-representatives]

Front Desk

Hello, hello, welcome in! We are (some of) the admins for the HATO roleplay blogs! If you have any questions related to the lore and current events regarding the roleplay side of things, we are here to help!

What is HATO?

HATO (Hermits And The Olympians) is a Percy Jackson au made by the amazing @ahllohehn right here on Tumblr! It consists of Camp Hermitcraft; the Greek camp, and Camp Empires; the Roman one. And some more... we'll say secrets... that might be unlocked upon the way...

So, what's the deal with this blog?

We are here to answer any not in-character questions surrounding the au: specifically the roleplay blogs and the plots happening with them. Instead of asking Ichi (the creator), direct such questions to us instead! Goodness knows he doesn't know what's going on half the time, and we don't either :D but between all of us someone on the team should be able to help.

Mod Introductions

Ello! My name is Raven, I'm the admin of the Gem blog! Any pronouns are fine, with a preference towards neopronouns. (Tag: 💚Raven)

Yello!! I'm Mars, the admin of the Oli, Aphrodite, and Daphne blog! and aspiring Joey blog I use they/them pronouns!! (Tag: 🌕Mars)

Hey! My name is Sky, and I am the admin of the Cub and Wels blogs! I use mainly use he/she/they/it's pronouns, but any are fine. (Tag: ☁️ Sky)

haaaii im icarus!! :3 i run the ren, tango, sausage, and lityerses accounts!1!! i use any prns but would prefer if you mixed em around! (Tag: 🪽Icarus)

Hello!!! I’m Kate. I run Jimmy, Pearl and Hermes’ account (you may see me constantly spam ichi) I use She/Her. (Tag: Kate💖)

Heya! I'm Emma! I run Cleo, Scott, Artemis, and Apollo accounts. I use she/her or she/they, I don't really care either way! (Tag: Emma💙)

Hiiii! Violet here! I run the Xisuma, PIxlriffs, and Hyancithus blogs! I'm the writer behind the CHC recap, and I use she/they pronouns. (Tag: Violet ✒️)

Hiya I'm Linny! I run the Mumbo, Joel, Shelby and Athena blogs. Jeesh that's a lot. I use she/her pronouns. (Tag: Linny 🦄)

Yo, im Oz/Ozzie, I run the Etho and martyn blogs. I use he/they (tag: Ozzie ☠️)

(please note that this is not everyone that runs the rp blogs! just those of us running this one!)

What if I want to join?

Never fear! The amazing Icarus compiled a list of all blogs currently active, which will be available below 👇

TAKEN/OPEN CHARACTERS

With that all out of the way, welcome to the office! Inquiries are welcome 😁

[labitacoradelhombresolitario]

Del cuaderno... (XVIII)

BUEYES

Definí hace poco la poesía, en una de mis muchas cartas —«mensajes en botellas rotas»—, como un afterthought, un «se me ocurrió después» que a menudo no se manifiesta hasta pasado el hecho; y tiene su sentido: estábamos viviendo, estábamos inmersos en la dicha del puro momento no consciente, respirando en lo eterno del instante sin saber que lo echaríamos de menos. Y así esta mañana, fresca y batida por el viento, de comienzos de este mes de junio, viendo los vencejos recorrer el cielo como invisibles hilos de corriente eléctrica en movimiento, escuchando al mirlo en algún lejano huerto (imaginado, pues no hay en este barrio huertos; pero para algo ha de servirnos ser poetas) y dejando que el monótono metrónomo del terapéutico reloj hiciera resonar su pulso en la quietud de mi mañana, a solas con mi ser, con mi pasado, con mi «vislumbre de inminencia», que ahora fragua en la serena blancura de la página como el recuerdo de un hato de bueyes que lentamente hubieran desfilado por la angostura del camino.

[02/06/24]

Adolf Mackeprang: Bueyes en Italia (1871)

CARA Y CRUZ

Termina el día y es como la cara complementaria de la moneda que en mi mano tenía cuando la jornada empezó.

Esta mañana, temprano, surgió el impromptu que más arriba figura en verso, pues me vino en forma de poema. El temblor lírico me había estado rondando desde ayer; sentía espesarse dentro de mí el torrente de la llamada poética. A veces ocurre todavía que el anhelo de escribir llega con la dulce pureza inspirada de hace más de cuatro décadas, cuando empecé a componer poemas. Eran entonces breves y vaporosas las piezas que concebía, y se presentaban como ensoñaciones deshilachadas en la página, meros apuntes que recogía con mano inquieta en cualquier papel.

Transcurrido el tiempo, aquellos esbozos fueron a parar a mi volumen Diecisiete poemas, cuya versión más primitiva se tituló «Sur» (y también «El Sur y otros poemas») y llegó a contener unas treinta y cinco o cuarenta composiciones. Recuerdo que mandé el original a la editorial EDHASA, y que me contestaron con una amable carta mecanografiada en un elegante folio timbrado, de color blanco hueso, orillado con un hilo rectangular de color rojo. Me agradecían el envío con suma cortesía. Lo que no consigo recordar es si añadían alguna otra explicación. Mi libro no podían publicarlo, pero la misiva que me mandaban no era el burdo rechazo al uso. Era una carta gentil y respetuosa; nunca olvidaré —pese a la negativa que me comunicaba— la cálida impresión que me causó. Debo de conservar en alguna parte el documento; tal vez esté entre los ajados archivadores de cartón en los que guardo suvenires literarios diversos de aquellos años. La fecha era 1983; hace ya más de cuatro décadas.

A principios de los 80 vivía yo en Oviedo; acababa de trasladarme allí, para dedicarme a la enseñanza del inglés en una academia de idiomas ubicada en un callejón escalonado que descendía desde la calle Flórez Estrada hasta el estadio Carlos Tartiere (hoy desaparecido de ese lugar) y que se llamaba pasaje de los Nogales. Era bien bonito el nombre de la vía, aunque los nogales, como tantas veces ocurre con las múltiples especies arbóreas cuya denominación puebla la toponimia de nuestras ciudades, brillaran por su ausencia; tal vez los hubiera habido en alguna época anterior, cuando aquellos predios eran prados, pues toda esa zona de Oviedo, en los alrededores de la avenida del Cristo, subiendo hacia Buenavista, era en buena medida de reciente desarrollo urbano.

Aquella época de mi vida fue de emancipación y descubrimiento. Tenía yo veintiún años recién cumplidos, y hasta entonces, en mis escasos desplazamientos por la piel de toro, no había subido más allá de Madrid. Asturias era un mundo nuevo, muy diferente de la tierra levantina en la que me había criado; y hace cuarenta años, en un orbe todavía preglobalizado (y una España que ni siquiera formaba parte del Mercado Común), los contrastes eran más vivos y marcados que hoy.

Echo de menos la lluvia de Asturias, sus olores, los pinchos de las cafeterías de Oviedo en los ochenta —donde un cortado costaba treinta y cinco o cuarenta pesetas—, los amables camareros con su casaca azul y su pajarita negra, el aromático bullicio de la plaza del Fontán (lustros antes de su reforma), los paseos por el Campo de San Francisco, las visitas a la librería Ojanguren, la gente cantando en las sidrerías.

En Vetusta terminé mi ópera prima poética, y en Vetusta seguía residiendo cuando el libro vio por fin la luz, en 1986, en la imprenta malagueña de Ángel Caffarena. El poemario se había quedado en chasis: diecisiete breves piezas. ¡Si llego a seguir quitando poemas, me quedo sin libro! Eran tiempos en los que escribía ocasionales composiciones, cuando de tarde en tarde llegaban, sin ninguna prisa y sin expectativa alguna; pero con una especie de convencimiento espiritual absolutamente genuino, más intenso y verdadero —lo describiría como rimbaldiano— que el que jamás haya podido sentir después. Me pasaba largas noches leyendo, y días enteros callejeando («cuerpo solo tantas horas», como digo en una de las piezas de aquel volumen, titulada «Umbrales»). No era yo «poeta» todavía, ¡y es posible, sin embargo, que fuera más poeta que nunca!

Mandar un primer librito de versos a EDHASA (Editora y Distribuidora Hispanoamaericana, S. A.), la casa que a finales de los 70 sacó en España el Viaje al fin de la noche, de Céline, en la traducción de Carlos Manzano (que fue precisamente lo que a mí me dio pie para remitirles mi humilde manuscrito), es una ocurrencia cuya candidez deja pasmado. ¡Osada es la ingenuidad! Aunque se rige —la ingenuidad— por sus propias normas: no hay nada que en el fondo tenga más aplastante sentido innato de la lógica. Esa naïveté no la he perdido; no del todo, a Dios gracias. Sigue impregnando cuanto hago, en la literatura y en mi vida personal. La ingenuidad me mantiene joven y despierto; y es lo que conserva frescos mis escritos.

[02-03/06/24]

ROGER WOLFE

[ciaossu-imagines]

Personalization Prompt #2 – ShoheiAkagi

So, for the reader appreciation day of the event, I used the second personalization prompt for the lovely @shoheiakagi! As always, their blog is definitely a recommended K blog for any fans and the person themselves is wonderfully supportive! I hope they’ll enjoy 😊

BLACK: what face claim from an anime, comic book, or cartoon do I associate with you?

So, though you’re Lenalee Lee in The Ever Young, when it comes down to the image of you I have in my mind, the closest face claim I could come up with was Nana Komatsu. I don’t know much about the character themselves, I’ve mostly just seen the amazing artwork of the manga, but she has the colouring and the sort of elegant but sweet ‘good girl’ look to her I imagine you having.

WHITE: what flame type and box weapon do I think you’d have in the khr!verse?

Hmm, this was a fun one to think about for you, especially since KHR isn’t a universe I’ve pictured you in a lot, as it’s not one of the fandoms we share in common! I do think you’d be a Cloud Flame user though, with your box weapon animal being a pair of swans, one white and one black! I’m using both just imagery and the spiritual meaning behind swans and I think it’s a pretty cool box weapon for a cool person 😊

RED: what aesthetics do I associate with you?

High heels clicking along crowded city sidewalks. Head held high, confidence and elegance. Imagination and longing for something beyond just this one life. Pastels and sweetness combined with wicked grins. Angels and demons, the juxtaposition of good and wickedness. The draw of a danger. Remembered love. Freshly manicured fingernails. Cocktails. Velvet and steel, softness and strength. Concerts, packed full of people, the energy at an all time high.

BLUE: what are three songs I’d put on a playlist for you?

DATE WITH THE NIGHT, yeah yeah yeahs

BEST OF ME, morningwood

I LOVE MYSELF TODAY, bif naked

YELLOW: what fictional world out of all my fandoms would I picture you in?

Of course, the answer is really obvious here in that it’s K Project! Not only is it the fandom we share and talk most about, but before I even put it up on my fandom to write list, I was following your K blog.

GREEN: who would I pair you with out of all my fandoms?

For KHR, it’s Dino. For K Project, it’s Shouhei. For Nanbaka, it’s Uno. For Welcome to Demon School, Iruma-kun, it’s General Furfur. For Bungou Stray Dogs, it’s Tachihara. For Servamp, it’s Mikuni. For Saiyuki, it’s Gojyo. For Eyeshield 21, it’s Hiruma. For Ronin Warriors, it’s Sage. For Kekkaishi, it’s Makio. For GetBackers, it’s Kazuki. For Black Cat, it’s Jenos. For Karneval, it’s Tsukitachi. For Gangsta., it’s Worick. For Bleach, it’s Renji. For Naruto, it’s Kakashi. For Deadman Wonderland, it’s Yo Takami. For Ouran, it’s the twins, both of them. For Durarara, it’s Izaya. For Yu Yu Hakusho, it’s Yusuke. For Gintama, it’s Takasugi. For Mystic Messenger, it’s Saeyoung. For Ikemen Revolution, it’s Dalim. For Blush Blush, it’s Eli. For Date Warp, it’s Linds. For Hatoful Boyfriend, it’s Kazuaki. For The Outsiders, it’s Dally. For Class of the Titans, it’s Neil. For Ultimate Spider-Man, it’s Flash. For Gravity Falls, it’s Stan. For The Mighty Ducks, it’s Portman. For The Covenant, it’s Pogue. For Jungle Fury, it’s R.J. For Ninja Storm, it’s Hunter. For Mystic Force, it’s Xander.

PURPLE: what gif reminds me of you?

PINK: if you were an AU, what type of AU would you be?

Just because I have an AU inspired by your ideas on this, it’s definitely a delinquent! AU with strong bad boy meets good girl romance vibes.

RAINBOW: if i were to write a khr sequel, following Tsuna’s demise, and could only use my reader’s as characters, who would you be?

I see you as the next head of CEDEF. You stand apart from the family, but are a strong and supportive resource for them whenever you’re needed and your intelligence and good leadership skills allow you to supervise and recruit people into the division.

[thousxndpxths]

( @mirrorsoftheotherself )

After sending brief message in that other chat, Ben pushed his phone into his hoodie pocket and eyed the mirror he brought into his room. Some small part of him still wondered if this was going to work, but if it did, that’d be cool he guess. 

Either way, he made sure it was a mirror big enough that he could go through.Real or not, he decided it better to try with a bigger one than a small one. 

Ben pressed his hand against the mirror, before he pulled it back with a widen look to his eye. It’d gone through. He blinked, looked at his hand, then stuck it in again. Lo and behold, it was working as some kind of portal. With a puff of air at his bangs, Ben continued on through. 

And promptly had to cover his eyes once he was on the other side, letting out a small groan. Thanks to Hato’s warning, Ben did have some idea of what to expect, but still. He took a few moments to adjust, pulling his hood farther over his face to (hopefully) block out the sensory assault. Worse than back home, he swears.

Now, guy with a beanie and necklace. Guy with a beanie and necklace... Ben started to wander, glancing about for him. And when he does see Hato, he gives a half wave, showing off an unusal watch. “Yo. You really weren’t kidding, huh?”

[fortunetellersdilettante]

હું તમારી સલાહ લઈને બરબાદી કરવા આવ્યો છું મને મારા પર છોડી દો, મને મારા પર છોડી દો હું તમારી સલાહ લઈને બરબાદી કરવા આવ્યો છું મને મારા પર છોડી દો, મને મારા પર છોડી દો ઓહ, મને તમારા વગર જીવવા માટે બનાવવામાં આવ્યો હતો પરંતુ હું ક્યારેય નહીં સમજી શકું, ક્યારેય નહીં સમજી શકું ઓહ, હું તારા વગર જીવવા માટે જ જન્મ્યો છું. પરંતુ હું ક્યારેય નહીં સમજી શકું, ક્યારેય નહીં સમજી શકું મને તમારા કાયમી બાહુપાશમ���ં જકડી રાખો ઉપર જોયું, ભયથી ભરેલું, નીચે જતા ઝુમ્મરની નીચે ફસાયેલા મેં તેના પર વિચાર કર્યો અને પડદો દોર્યો મને મારા પર છોડી દો, મને મારા પર છોડી દો જ્યારે તમે હેલેલુજાહ રમ્યા ત્યારે મેં "ડાઇઝ ઇરે" ને ગણગણ્યું મને મારા સેલ પર છોડી દો, મને મારા સેલ પર જો તમને કોઈ માસ્ટરની સેવા માટે બનાવવામાં આવ્યા હોત તમે ખુલ્લા હાથથી ડરી જશો, હાથથી ડરી જશો શું મને માસ્ટરની સેવા કરવા માટે બનાવવામાં આવી શકે? ઠીક છે, હું ક્યારેય સમજીશ નહીં, ક્યારેય સમજી શકતો નથી મને તમારા કાયમી બાહુપાશમાં જકડી રાખો ઉપર જોયું, ભયથી ભરેલું, નીચે જતા ઝુમ્મરની નીચે ફસાયેલા મને તમારા કાયમી બાહુપાશમાં જકડી રાખો ઉપર જોયું, ભયથી ભરેલું, નીચે જતા ઝુમ્મરની નીચે ફસાયેલા

hu tamari salah laine barbadi karva avyo chu mane mara per chodi do, mane mara per chodi do hu tamari salah laine barbadi karva avyo chu mane mara per chodi do, mane mara per chodi do oh, mane tamara vagar jivava mate banavavaman avyo hato parantu hu kyarey nahin samaji saku, kyarey nahin samaji saku oh, hu tara vagar jivava mate j janmyo chu. parantu hu kyarey nahin samaji saku, kyarey nahin samaji saku mane tamara kayami bahupashaman jakadi rakho upar joyu, bhayathi bharelu, nice jata jhummarani nice phasayela men tena per vicar karyo ane padado doryo mane mara per chodi do, mane mara per chodi do jyaare tame heleluzah ramya tyare men "dies ire" ne ganaganyun mane mara sale per chodi do, mane mara sale per jo tamne koi mastarani seva mate banavavaman avya hot tame khulla hathathi durry jaso, hathathi durry jaso shu mane mastarani seva karva mate banavavaman avi shake? thik che, hu kyarey samjis nahin, kyarey samaji sakato nathi mane tamara kayami bahupashaman jakadi rakho upar joyu, bhayathi bharelu, nice jata jhummarani nice phasayela mane tamara kayami bahupashaman jakadi rakho upar joyu, bhayathi bharelu, nice jata jhummarani nice phasayela

m pran konsèy ou e m te vini pou m detwi kite m 'nan tèt mwen, kite m' nan tèt mwen m pran konsèy ou e m te vini pou m detwi kite m 'nan tèt mwen, kite m' nan tèt mwen O mwen te fè yo viv san ou Men, mwen pa janm pral konprann, pa janm konprann Oh mwen te fèt pou viv san ou Men, mwen pa janm pral konprann, pa janm konprann Kenbe m 'nan bra etènèl ou Gade, plen ak pè, kwense anba yon chandelye ki pral desann m te panse sa sou li e te rale rido a kite m 'nan tèt mwen, kite m' nan tèt mwen Mwen te imilye "Mouri Irae" jan ou te jwe Hallelujah la kite m nan selil mwen an, m al nan selil m nan Si ou te fèt pou sèvi yon mèt Ou ta dwe pè pa men an louvri, pè nan men an Èske mwen ta ka fèt pou sèvi yon mèt? Oke, mwen pa janm pral konprann, pa janm konprann Kenbe m 'nan bra etènèl ou Gade, plen ak pè, kwense anba yon chandelye ki pral desann Kenbe m 'nan bra etènèl ou Gade, plen ak pè, kwense anba yon chandelye ki pral desann

Na ɗauki shawararka kuma na halaka Ka bar ni, ka bar ni a kaina. Na ɗauki shawararka kuma na halaka Ka bar ni, ka bar ni a kaina. An sa na yi rayuwa ba tare da kai ba Amma ba zan taɓa fahimta ba, ba zan taɓa fahimta ba An haife ni don rayuwa ba tare da ku ba. Amma ba zan taɓa fahimta ba, ba zan taɓa fahimta ba Ka riƙe ni a hannuwanka na har abada Ka duba sama, cike da tsoro, a ƙarƙashin lu'ulu'u da ke ƙasa Na yi tunanin haka kuma na cire tafiyar Ka bar ni, ka bar ni a kaina. Na yi ƙarya ga "Dies Irae" yayin da kake yin wasan Wasan Ka bar ni a cikin cell na, ni zuwa cell na Da a ce an sa ka yi hidima ga wani mai iko Za ka ji tsoro da hannu mai buɗewa, ka ji tsoro da hannu Za a iya sa in yi hidima ga wani shugaban? Ba zan taɓa fahimta ba, ba zan taɓa fahimta ba Ka riƙe ni a hannuwanka na har abada Ka duba sama, cike da tsoro, a ƙarƙashin lu'ulu'u da ke ƙasa Ka riƙe ni a hannuwanka na har abada Ka duba sama, cike da tsoro, a ƙarƙashin lu'ulu'u da ke ƙasa

לקחתי את עצתך ובאתי להרוס תשאיר אותי לעצמי, תשאיר אותי לעצמי לקחתי את עצתך ובאתי להרוס תשאיר אותי לעצמי, תשאיר אותי לעצמי הו, נועדתי לחיות בלעדיך אבל אני לעולם לא אבין, לעולם לא אבין הו, נולדתי לחיות בלעדיך אבל אני לעולם לא אבין, לעולם לא אבין החזיקו אותי בזרועותיכם הנצחיות; הביט למ��לה, מלא פחד, לכוד מתחת לנברשת שיורדת חשבתי על זה ומשכתי את הווילון תשאיר אותי לעצמי, תשאיר אותי לעצמי זמזמתי את "Dies Irae" בזמן שניגנת את הללויה תשאיר אותי לתא שלי, אותי לתא שלי אם היו מכריחים אותך לשרת מאסטר היית נבהל מהיד הפתוחה, נבהל מהיד האם ניתן להכריח אותי לשרת מאסטר? ובכן, לעולם לא אבין, לעולם לא אבין החזיקו אותי בזרועותיכם הנצחיות; הביט למעלה, מלא פחד, לכוד מתחת לנברשת שיורדת החזיקו אותי בזרועותיכם הנצחיות; הביט למעלה, מלא פחד, לכוד מתחת לנברשת שיורדת

likahti at itzotech vevati laharos tashair shoot leatsmi, tashair shoot leatsmi likahti at itzotech vevati laharos tashair shoot leatsmi, tashair shoot leatsmi ho, noidati life bladich ebl ani laolam lo abin, laolam lo abin ho, noldeti life bladich ebl ani laolam lo abin, laolam lo abin hakhaziko shoot broeothicam wation; habite lamela, mela fear, lakud mithat lanverst xiardet heshbati al ze wamschati at havilon tashair shoot leatsmi, tashair shoot leatsmi zmazmati at "Dies Irae" bazman snigant at helloya tashair shoot lata slay, shoot lata slay em you makrihim youfor lashart master heyte naval mahid patuha, naval mahid ham nitan oocheric shoot lashart master? webechen, laolam lo abin, laolam lo abin hakhaziko shoot broeothicam wation; habite lamela, mela fear, lakud mithat lanverst xiardet hakhaziko shoot broeothicam wation; habite lamela, mela fear, lakud mithat lanverst xiardet

मैंने आपकी सलाह मानी और बर्बाद हो गया मुझे मेरे पास छोड़ दो, मुझे खुद पर छोड़ दो मैंने आपकी सलाह मानी और बर्बाद हो गया मुझे मेरे पास छोड़ दो, मुझे खुद पर छोड़ दो ओह, मुझे तुम्हारे बिना रहने के लिए बनाया गया था लेकिन मैं कभी नहीं समझूंगा, कभी नहीं समझूंगा ओह, मैं तुम्हारे बिना रहने के लिए पैदा हुआ था लेकिन मैं कभी नहीं समझूंगा, कभी नहीं समझूंगा मुझे अपनी चिरस्थायी बाहों में धारण करो ऊपर देखा, भय से भरा, एक झूमर के नीचे फंस गया जो नीचे जा रहा है मैंने इस पर विचार किया और पर्दा खींचा मुझे मेरे पास छोड़ दो, मुझे खुद पर छोड़ दो मैंने "डाइस इरा" गुनगुनाया क्योंकि आपने हलेलुजाह खेला था मुझे मेरी कोठरी में छोड़ दो, मुझे मेरी कोठरी में छोड़ दो यदि आपको एक स्वामी की सेवा करने के लिए बनाया गया था आप खुले हाथ से भयभीत होंगे, हाथ से भयभीत होंगे क्या मुझे एक स्वामी की सेवा करने के लिए बनाया जा सकता है? खैर, मैं कभी नहीं समझूंगा, कभी नहीं समझूंगा मुझे अपनी चिरस्थायी बाहों में धारण करो ऊपर देखा, भय से भरा, एक झूमर के नीचे फंस गया जो नीचे जा रहा है मुझे अपनी चिरस्थायी बाहों में धारण करो ऊपर देखा, भय से भरा, एक झूमर के नीचे फंस गया जो नीचे जा रहा है

maine aapki salah maani aur barbaad ho gaya mujhe mere paas chhod do, mujhe khud par chhod do maine aapki salah maani aur barbaad ho gaya mujhe mere paas chhod do, mujhe khud par chhod do oh, mujhe tumhare bina rehne ke liye banaya gaya tha lekin main kabhi nahi samjhunga, kabhi nahi samajhunga oh, main tumhare bina rehne ke liye paida hua tha lekin main kabhi nahi samjhunga, kabhi nahi samajhunga mujhe apni chirsthayi baahon mein dharan karo ooper dekha, bhay se bhara, ek jhoomar ke neeche phans gaya jo niche ja raha hai maine is par vichar kiya aur parda khincha mujhe mere paas chhod do, mujhe khud par chhod do maine "dies ira" gunagunaya kyonki aapne halelujah khela tha mujhe meri kothari mein chhod do, mujhe meri kothari mein chhod do yadi aapko ek svami ki seva karane ke lie banaya gaya tha aap khule haath se bhaybhit honge, haath se bhaybhit honge kya mujhe ek svami ki seva karane ke lie banaya ja sakta hai? khair, main kabhi nahi samjhunga, kabhi nahi samajhunga mujhe apni chirsthayi baahon mein dharan karo ooper dekha, bhay se bhara, ek jhoomar ke neeche phans gaya jo niche ja raha hai mujhe apni chirsthayi baahon mein dharan karo ooper dekha, bhay se bhara, ek jhoomar ke neeche phans gaya jo niche ja raha hai

[c67]

Y la enterró en el jardín que ella más amaba, en aquel siniestro lugar creció un rosal, las rosas rojas teñidas con su sangre tan pura e inocente esas rosas que bajo la luz de la luna parecían sangrar, el rojo se intensificaba, como si la sangre de la joven fluyera en sus pétalos y resbalaran por los espinos, los espinos eran afilados y puntiagudos, parecían moverse como garras, buscaba la piel del hombre que las cuidaba.

El cuidaba ese rosal de día y de noche ese es el precio que tuvo que pagar por haber cometido aquel repudiable crimen, no dormía en la noche por el peso de su conciencia, el macabro acto lo mantenía despierto y las pesadillas le mostraban cada momento de ese perverso día, recordaba cada episodio podía revivirlo en su mente y so lo hacía desvariar, quería ahogar su agonía en alcohol, necesitaba olvidar, pero su mente no lo permitía.

Una noche después de beber se levantó con una sensación extraña fue a la cocina tomo un poco de agua y mientras el agua caía por el grifo sintió como el tiempo se detuvo podía ver como la gota salía y bajaba lentamente, de pronto voz  suave, pero con un tono gélido le susurraba al oído "¿ porque me hiciste esto?" el sabia de quien era esa voz, era ella la joven dulce que un día descubrió en una biblioteca, sus ojos se llenaron de lágrimas, sentía como una de ellas rodaba por su mejilla y entre balbuceos respondió, “te ame pero nunca lo viste” dijo con una voz entre quebrada y continuo “Yo no te quería lastimar fue tu culpa” el grito retumbo en las paredes blancas de esa cocina, el silencio volvió el solo estaba esperando una respuesta ,al levantar la cara para ver aquel rosal a través de la ventana mi ro su reflejo y detrás de él pudo verla, ella estaba parada atrás del su color de piel era pálido tenia una herida abierta en la cabeza se podía ver la sangre derramarse, aquel hombre se asustó cerro sus ojos, pensando que sus ojos llenos de culpa y de dolor le fingían un escenario falso al abrirlos la vio una vez más así que intento girar su cuerpo pero al hacerlo no vio a nadie tras él, giro nuevamente y ella seguía tras él, el espíritu de la joven le dijo “como puedes vivir así” con un tono de voz melancólico e impotente dijo “me lastimaste rompiste mi alma y destruiste mi cuerpo, yo era muy joven quería vivir quería ir a la graduación sabes mi vestido era rosa mi color favorito quería casarme tener tres hijos y ponerle nombres de ancianos pero tu destruiste mis sueños solo tomaste lo que querías ahora estoy muerta y ahora es tu turno”. El comenzó a llorar sin parar y gritaba con un tono suplicante ¡lo siente! ¡lo siento Amelia! ¡perdón! ¡hare lo que me digas! ¡Ya no puedo seguir sin ti! Ella continuo ¡la muerte es la salida!, él ya había perdido el control ahora alguien más dominaba la situación, la voz no paraba de decirle que se ¡muere! indirectamente lo pensaba pero su cobardía no le permitía continuar estaba perdido no tenía otra salida, su vida no tenía sentido su obsesión había muerto y él fue su verdugo así que tomó la decisión de suicidarse el no debía mirar atrás solo tenía que tomar la soga hacer un nudo y lanzarse a los brazos de la muerte y lo hizo tomo la soga hato el nudo con fuerza lo amarró al árbol que fue testigo del asesinato y ahora formaría parte de un homicidio, aquel árbol se situaba exactamente debajo de aquel hermoso rosal, estando justo en ese momento un pensamiento de arrepentimiento invadió su cerebro y de pronto ella apareció a su lado y le dijo con un tono burlesco ¡que cobarde eres! ¡sabes que siempre te odiare verdad, te desprecie mientras vivía y ahora muerta lo hare mucho más! ¡ese será tu castigo sufrirás por la eternidad!, el sintió un leve empujón y cayó al vacío, en su mente solo revivió el día en que la conoció.

Estando allí sentía como el nudo ajustaba su cuello sin dejarlo respirar no podía pensar en nada más que en el dolor de la agonía su cuerpo temblaba ya al fin después de 2 minutos largos cerro sus ojos eso ojos llenos de culpa y remordimiento, así murió él junto a la mujer que amo y ella junto al hombre que tanto había despreciado.

[tomor4]

Yo. Soy hombre. Desinfamo. Lo que dicen de mi en Hato mayor... Está noche Merce de z no biene porque no quiere. Yo le tengo 100.

[elarchivodeariel]

EL LOCO Y SUS DOS VERSIONES

El #Tarot, compendio de #Arquetipos, tiene muchas versiones artísticas a lo largo de toda su historia, pero las más populares en la actualidad siguen siendo dos. Ambas son la inspiración para la interpretación que diseñadores y artistas nos acercan hoy.

El Tarot de Marsella es mucho más antiguo que el Rider Waite Colman Smith, pero el segundo pertenece a la corriente #Ocultista, que lo convierte en un mazo complejo y erudito, lleno de simbología que exije mayor conocimiento para los intérpretes.

Particularmente, prefiero el #Arte de #PamelaColmanSmith. Su diseño, de comienzos del Siglo XX, se mantiene fresco y vigente.

El primer #ArcanoMayor que inicia el #CaminoEvolutivo del Tarot es el que no tiene número. El Loco, seguido por su perro, comienza a caminar, casi sin mirar.

Pero hasta ahí el parecido entre cada versión. Les comparto las imágenes comparadas para que hagan su propia interpretación.

A la izquierda, #LeMat. Es el #TarotMarsellés.

¿Qué veo yo en él?

Un tanto desordenado su cuerpo. El tronco apunta a un lado, y el brazo para otro. La mirada, perdida. Creo que no sabe a dónde va. Tal vez, no vaya a lado alguno. Tal vez viva sin rumbo.

El palo en el que lleva su hato de ropa lo porta de manera innecesariamente incómoda. En ambas manos le falta un dedo. Se apoya con un bastón, mientras avanza sin dirección. Su perro lo sigue apuntando a sus genitales. Si no se cuida, puede ligar un mordiscón.

No me gusta este #Loco. Parece #Tonto o #Peligroso.

A la derecha, #TheFool del #TarotRiderWaite. Pamela pintó a un hombre joven, enamorado. Enamorado del #Amor, y por tanto de la #Vida. Camina mirando las estrellas sobre su cabeza, que sólo puede ver él. Con la derecha lleva sus pertenencias, y con la izquierda porta una rosa.

Con aspecto de príncipe despreocupado, avanza confiando. ¿Delante? Delante hay un precipicio. Su amigo fiel, el perro, lo sigue, medio jugando, medio alertando. "¡Cuidado, tenés frente tuyo un profundo abismo!", parece ladrarle. El Loco no se preocupa, confía en su #Destino. Parece creer que delante de él no hay un #abismo, delante está la #Oportunidad de dar un #SaltoDeFe.

El "Tonto" de Pamela Colman Smith es un "loquito lindo", un muchacho fino y enamorado, que cree en la #ProvidenciaDivina.

Este Loco sabe más de lo que aparenta, porque sabe que "admitir la propia ignorancia es la mayor sabiduría y la condición necesaria para todo aquel aprendizaje" que nos permita crecer.

Sabe también que no se puede ser estremadamente estructurado, porque "aquél que no tiene meta fija no puede perder nunca el camino".

El arquetipo del Loco, tan presente hoy en #Argentina con su nuevo presidente, tiene dos versiones muy diferentes.

Nuestro deseo es que la idea arquetípica representada en El Loco del Tarot sea una invitación para todos los argentinos para volver al #SiMismo y confiar en la #Intuición, un incentivo para arriesgarse, para reír, prestar atención a las señales, y saber jugar.

¿Qué Loco queremos ser? ¿El creativo o el psicótico? Es cuestión de escucharnos, decidir, y actuar confiando en el #porvenir.

Este es el deseo de CONSCIENCIA TORAH.

Lic. Flavia Vecellio Reane.

Entrenadora en Conocimiento Personal.

Intérprete de Códigos Herméticos.

Diciembre 10, 2023.

CONSCIENCIA TORAH

conscienciatorah@gmail.com

[lacolonia]

Justicia a la Criolla

HiClipart.com

La Jueza Tomey 2

Parte A

El asedio de Puerto Rico por mentira, trampa y corrupción se debe al sistema judicial, el cuerpo al que le toca combatir la corrupción, porque siempre ha sido avasallado por sinvergüenzas encopetados. Cinco siglos de justicia fraudulenta acarrea la ínsula, la existencia entera de su etnia y cultura. Ese pillaje, nos informa la historia de la colonia, se forjó en un ambiente de implacable perversión donde la justicia no intervenía si no había plata. Defiéndete como mejor puedas. El negocio judicial aumentó la iniquidad. Lo que la prole aprende entonces es cómo sobrevivir en una jungla psicótico-social donde impera no un derecho cabal y fidedigno sino la ley de la vida sucia del descarado estafador que propaga un salvajismo criminal, ya que engendra consecuencias viles, depravadas y brutales, como las que le tocó sufrir al noble e inocente Taíno.

Y eso a pesar de que la Reina Isabel la Católica de Castilla y otros dominios dispersos del Mediterráneo decretó que los nativos eran “vasallos libres de la corona” y prohibió la esclavitud y explotación de toda la población natural del Nuevo Mundo. ¿Dónde estaban los funcionarios de la justicia de la señora reina en las colonias? ¿Qué hacía esa partida de mamarrachos aquí, rascándose los cachetes?

El que tuvo los pantalones de alzar la voz en protesta no era juez o abogado sino un encomendero y luego fraile y sacerdote dominico, Bartolomé de las Casas, que procuró justicia para los indefensos.

Aprended, esmayaos. Que se le ven los salivados colmillos.

Para corregir el desastre de la corrupción cultural puertorriqueña (CCP) hay que eliminar el sistema judicial putrefacto existente y erigir otro basado en justicia, no en ley textual. Esto no lo resuelve todo, claro está, pero por ahí hay que comenzar. Porque sin justicia seria, honrada y límpida, no es posible batallar la corrupción.

Antes de hablar de lo que ocurrió en la Sala de Investigaciones del Centro Judicial de Hato Rey el 11 de abril de 2023 cuando salí de la vista presidida por la Jueza Alfrida Tomey Imbert, es oportuno traer a colación ciertos hechos relevantes que arrojan luz sobre la pésima condición del sistema judicial del país. Así se demuestra la dimensión enorme de la peste de la corrupción. Debemos tener en cuenta que los que rigen esta rama del gobierno son siempre todos abogados. El que ese gremio cerrado monopolice la administración de la justicia es, veremos, un fuerte agravante para la corrupción en cualquier sitio, ni se diga la CCP de la muy abusada colonia.

Cuando dos policías estatales adscritos al tribunal vinieron a casa a entregarme la citación para el caso tramado por Maribel Soto, yo me di cuenta que el carro de Lionel el mendaz, la relación que ella retiene para aparentar que son pareja, estaba estacionado frente a la casa de Maribel. Ambos agentes se portaron amables y corteses, aunque solo el mayor habló conmigo. Me notificó sobre la citación. Entonces yo comenté que cómo era posible que la querellante y su relación estuviesen al tanto de que la policía venía a citar, pues él no la visitaba por las mañanas. (En esos días, Lionel venía a ver a Maribel solamente tarde por las tardes. Ella le cambia el horario a su gusto y lo castiga expulsándolo por hasta meses. Él aguanta ese maltrato para no quedarse solo, pues ni aun sus propios familiares soportan su áspera imprudencia.) Quién, pregunté, le avisó a estos canallas que ustedes venían hoy por la mañana a citarme.

Nótese cómo contestó el agente: “¡No fui yo!” replicó en tono de voz más agudo, denotando cierto rasgo de nerviosismo. Para uno poder interpretar correctamente lo que dice otra persona, hay que tomar en cuenta su lenguaje corporal, las señales subliminales que emite al actuar y hablar. Están repletas de información complementaria.

O sea, el policía no cuestionó para nada el que yo pusiera en duda la integridad del sistema judicial. Su interés era dejar claro que él no tenía que ver con ese foco de corrupción, que inadvertidamente admitió existía por su reacción conductual. El agente joven miraba con cara de perplejidad el carro de Lionel atestado de basura.

Para mí, esto no era nada nuevo. Años antes, en un caso contra un arrendador ricachón que por ser vecino y publicista del gobernador se creía que podía hacer lo que le viniera en gana, incluyendo el no cumplir con su contrato de arrendamiento, descubrí que es posible conseguir información confidencial de casos si uno tiene los medios y contactos para comprar esa información de los oficinistas a cargo del papeleo. A fuerza de billetes opera este mecanismo ilegal. Pero en el caso de Maribel el servicio se tramitó por canales del partido político. El traspaso de billetes no es necesario. Se dan órdenes. El lector decidirá cuál de las dos formas ilegales es la más podrida.

Otro evento de importancia lo gestionó Maribel cuando puso una querella con la Policía de Puerto Rico el 2 de marzo para entonces solicitar la orden de protección con el tribunal. Esta es la misma policía (el precinto de Monte Hatillo) que rehusó atender mis cuatro reclamos para ponerle una querella a ella. O sea, el servicio al ciudadano que presta la policía no es igual para todo el mundo. Es asimétrico: los protegidos sacan mucho pero tú no logras nada. Eso lo discuto en mi primera carta al alcalde de San Juan, la cual él nunca se dignó a contestar, tratando así de tapar el inconveniente asuntito este de la corrupción institucional metastatizada, tema que el alcalde esquiva como la plaga.

Maribel hace todo un espectáculo con estas cosas. Trajo de testigos a su hermano, a su mamá, a Lionel, y a otra señora más que yo ni idea tengo que pito tocaba. No es necesaria la presencia de testigos para radicar una querella, pero Maribel sabe cómo es que se brega en esta jungla. Por separado describo la estructura neurocognitiva que define, ejecuta, y controla el comportamiento base de aquellos que se crían en esta cultura. Toda cultura tiene su paradigma de conducta típica, que por supuesto admite variaciones individuales. Pero la mancha de plátano la tiene impresa la persona al culminar la adolescencia: listo para bregar en la jungla. Pa' que tú lo sepas.

BrainstormingBox.com

Parte B pendiente

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