#it’s useless talking to you i guess

[enrapture]

I somewhat wish I were in my home state rn. :( I tried talking to someone about what I’ve got going on/how I’ve been feeling about things and all they fucking care about is their game and start getting agitated with me and it’s so upsetting feeling like you don’t have them or anyone else in your corner. ESP with that treatment when you’re feeling down and stressed and shit. :( like it doesn’t help. all I wanted was someone to understand how I’ve been feeling…. Maybe not fix it but maybe help me come up with possible solutions together… I wasn’t asking for much and now I’m like crying in my room while they continue to play their game. :( this shit sucks.

[jadegiantess]

I am once again begging people to tag the destiel meme as #destiel meme (or #destiel confession meme). Stop clogging the Dean Winchester and Jensen Ackles tags with a billion versions of it.

[sciderman]

[gideonisms]

Every time I read one of those tradwife articles I'm so happy and excited to get up and work my boring manual job that pays me just enough to live and then go back to my own apartment which I rent and sleep in my own bed alone. Yet another satisfying day of pushing 30 with a career that is going nowhere 👌

[edennill-archived]

we are frost upon the window, we shan't pass this way again (443 words, G, Andreth)

Without a doubt, Andreth was proud. How could she not be? She was whip-smart and had known that since childhood. At four she read both alphabets, at seven she taught herself Haladin with only the aid of one woman who married into the House of Bëor, and was known to ask around slyly about the Forbidden Tongue. Adanel soon found teaching her often meant little more than asking the right questions, and she remembered everything. She was quick  and sharp-sighted, and beautiful in a striking way, the fitting child of a lordly house in more than just bearing. Her cousins complained no one should have as much of a good thing

Is it so strange then, that at fifteen she thought herself a marvel, that at sixteen the common illness of all youth that leads one think one has discovered everything worth knowing for the first time struck her with extraordinary might? For a while, if she had not been witty, she might have become insufferable.

Then she was seventeen and she saw the Eldar at near for the first time in five years.

When a child, she had been overawed in their company. They were bright, they were tall and great, their voices were fair, and their swords kept the enemy at bay. She had decided it must have been the glamour of youth in her eyes, later.

It had not.

She could hardly hold the gaze of those whose eyes held the light of Valinor, and it seemed at times as if it shone through their very skin. Her people had called her singing voice strong and clear, but there was power in theirs even as they spoke the simplest greetings. She could have listened enraptured for hours if not for envy.

But all this she could have borne, once the newness wore off. No, it was that at the age of seventeen, Andreth realised she was young, and that she would always be, in comparison. If she devoted her entire life to a single subject, she would never master it in a way that could compare. To them, all her thoughts, works, writings, would never be anything more than a child's clumsy art.

Maybe it is for this, that she threw herself headfirst into mystery, into the things no one knew, into the matter of Men and their fate, and cursed the curse upon mortals bitterly.

At seventeen, Andreth realised that the war would never be won in her lifetime, and she would never live long enough to find all the answers.

...Finrod once said that maybe they did not exist within the world... but then, that was just the sort of thing Finrod would say.

[straycalamities]

i got a couple of asks asking about specific things in camp entre, but uhh...the situation concerning some of the characters in your asks is shaky. at best. so i'm gonna answer them here and hopefully you guys find them

merry early xmas anon:

not sure what you mean by time mark of second season because i dont think any of us kept track of time in-universe and id have to go over entre's blog again to even give you a guesstimate soo uhh i dont know! sorry

that guy was there to add conflict back to camp given that arc was about smoothing over past conflicts with established members of the camp

i dont have a list of their birthdays. i can only tell you for sure rn that Entre's is May 1st

there was a storyboard made for prisma's death but i dont remember where to find it nowadays. the story goes something like ted wandered off like usual into some building, prisma finds him while the rest are looking, they get surrounded, prisma gets him out of there then...i think it was a gas station? idk thre was a lot of flammable things around so prisma set fire to all of it, including the horde, sacrificing prisma in the process as well <- definitely misremembering details but yea

nom nom anon:

he ate him because he's a cannibal and he was hungry idk

[totheidiot]

death note is super unrealistic in the fact that everyone who even as much as glimpses at light's direction appears to be completely obsessed with him like L, takada, mikami, misa, all of his past girlfriends, on and on and yeah, like he is literally not anything special. he isn't even that hot but like. personally, though, this part of me knows deep down that i myself would have folded for him immediately. he is an ugly rat but if he showed up, his usual facade of this charming and smart man, there is not much i could do. i am no better than any of them.

[itsseriouslyridiculous]

I really hate how my physical body looks so so so much. unfortunately there isn't much I can do about it.

[cuteniarose]

Me: *creates an OC*

Me: *heavily implies OC will meet a bad fate*

OC: *meets bad fate*

Me:

(Alternatively, I may have started it, but @katkastrofa enabled me and now I’m losing my mind)

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[heroes-never-discourse]

so annoyed whenever i see a youtube video longer than 10 minutes about an extreme horror/splatterpunk book and hoping i'll get someone who's actually willing to engage with the material to talk about the themes and symbolism and stuff, and they feel the need to punctuate every third sentence with some kind of disgusted noise or a "ugh, why is this in here" "why would you write this" "who thinks of this".

even worse when they cap it with a vague comment that clearly indicates they think whoever wrote it must be a grotesque and awful person IRL because clearly only an actual depraved person could ever even conceive of writing disgusting subject matter.

like it's actually so annoying to me because like, you didn't have to read or talk about this book. you and I both already know, by virtue of knowing what extreme horror and especially splatterpunk tend to be, that this book will probably have some disgusting shit in it, so the constant reaffirming that you think the gross shit being written about is gross just always comes off to me like, "i'm continuing to remind you that i think this is gross because i need you to know i am a Good and Normal person and i Do Not Approve of These Things".

it's just annoying. i wanna know about the book and your thoughts on why the disgusting thing is being written. it's gross but it's still a scene in a story, and that doesn't mean there's always a Thematic Symbolic reason why the scene exists (the genre always has scenes and sometimes stories that solely exist to be disgusting and transgressive for the sake of it), but i'm so much more interested in you trying to piece that reason together over you just telling me what happens and going "gross" before moving on.

[kulliare]

.

[sensitivegoblin]

Vent

Tw: SH and su!c!de

[the-golden-dragoness]

Not crying and being guilt ridden again :))))))

[gilbirda]

love when people panic and change their url on a whim and/or delete their blog and break my links in a resources post (sarcasm)

[kcdodger]

Leftists posting about why you shouldn't vote for whoever the DNC Z puts on the ballot but not talking about Trump's activities at all has got to be the most centrist shit.