#mordancy

[funnyao3]

“You have a terribly roguish accent.” His eyelashes flutter. He points accusingly at Oliver with his cigarette. “In your youth, did you slaughter chickens?”

“No.” It’s a terrible misconception he frequently encounters.

- Legerdemain by mordancy

[im-getting-help]

back at tumblr again to tell everyone that Mordancy uploaded a new fic!!!

Vampiric cattonquick

[mylovelookup]

ART DUMP

Hello! Dropping some art (sketches, doodles, etc etc) inspired by fics I recently read or I'm currently reading.

This modern love wastes away - by hellotte (@hellotte)

Mutually Assured Destruction - by Rhaegang (@rhaegang)

(inspired by The Shed.)

Mate - by Mordancy (@vamqira ily)

Come Sail Away - by whointheheck

No Man Can Take The Sea - by sad_pense_trop (@metropoliswhite)

Times New Roman Firing Squad - by whimsicalwaves (@whimsicalwavess)

(Ollie in a suit!)

New Chemistry - by lemoncaprisun

(the aftermath!)

divine, improvise by moi

I couldn't tag some of the authors because I couldn't find their urls on here, sorry! 😭 if anyone knows their urls you're welcome to tag them!

[baltsurn]

cattonquick fic recs

personal tracker turned rec list! will be continuously updating as there are many others i haven’t looked into yet.

these authors have other saltburn fics too (do check them out), however listed are only the ones i’ve read/i’m reading (i intend to exhaust their other stuff after, of course). teen/mature/explicit.

★ short and filthy:

quick bump to get your day started iykwim. they’re delicious. i loved them all.

- bring your hunger by sandpapersnowman

- why don’t you figure my heart out by quickcatton

- come into my bedroom by hellotte

- the way you use your body by enaidmora

- you get me so high by queerxqueen

★ masterful multi-chapters/also my current reads*:

- any fic from mordancy (rated T, M) + consider the hairpin turn* by rodentsofdisbelief

sly, artsy, disquieting. A24-coded stuff. movie-accurate characterization by these two authors, in my opinion.

edit: user mordancy removed their works from AO3 :(

- none tell us not by follieaune

if this isn’t one of the greatest GOT!verse fics then idk what is.

- you’re almost home/you’re home* by leiflitter

the go-to. my feel-good fic. this is required reading for bachelor of arts in cattonquick.

- enter night* by rhaegang

incubus oliver? INCUBUS OLIVER. tags made me jump in right away.

- what is past is prologue by justalilguyoops

horrific in the best way (positive). this is everything i initially looked for. gives me palpitations.

★ collections:

- oxford days by theythinktheyknow (rated M, E)

quaint and charming. underrated.

★ to-read (pls. reco to include):

- topographia oxonia by orestes

- dead doesn’t mean gone by island_in_the_shadows

- miserable by bonechocolate

- maneater by nythak

- carpe diem by counnt

[slashfuhrer]

Aaaand I've done an audio version of Season's Greetings by mordancy! Had great fun recording it (and a lot of grief editing it), so hope the Saltburn nerds will enjoy listening to it! (my accents are all over the place though don't mind them) Version on Google Drive: https://drive.google.com/file/d/1CnejFDBCcPSjsheqlmtJCxX6HlqkkCLY/view?usp=sharing Thanks to @im-getting-help for the fic rec Also thanks @thirstyvampyr for the quickstart rec, I checked it out and really enjoyed it but decided against recording it because it has a lot of dialogue from the film and I didn't want to ruin the famed sounds of "will you behave, Farleigh?" by redoing it in my own voice :D I am thinking about recording something else involving quickstart though

[kmesons]

one of the first instances in which we hear the inevitable leitmotif in the guy who didn't like musicals is during the scene where emma and paul are walking through the audience, commenting on how it is an "alleyway lined with tons of shrubs." but why is it playing here? emma and paul have a number of previous scenes together, including the beanies "think about the implications" scene, which would seem like a more fitting place to put it, at first glance.

to me, this is foreshadowing. the characters' ignorance of the audience is played for laughs in this scene, and it's evident that the audience isn't a part of the story at this point. emma and paul don't know about the audience, and this isn't anything abnormal; they're characters. they aren't supposed to know. but what happens when inevitable, the song, actually plays at the end of the show? emma becomes aware of the audience. she knows she's on a stage, being watched by people who will not and cannot help her. paul, too, is now aware of this previously imperceptible audience. he's part of the hive. he's performing for them. the inevitable motif plays as emma and paul walk through the audience in this scene, seemingly unable to perceive them, because the hive, or pokey, is emphasising the ironic nature of this scene.

and when you think further about it, this theme of the inevitable leitmotif's usage follows throughout the entirety of the guy who didn't like musicals. another scene in which it plays is when emma warns paul before he leaves: "if those things get you, they're gonna make you sing, and dance .... so don't you let 'em."—"emma? there comes a time in every man's life when he has to draw a line in the sand. and I? will never. be in a musical," (not exact quote). the inevitable leitmotif plays softly in the background as emma says her line because it is tragically ironic. emma is giving paul an ultimatum: don't die. don't give in. of course, this is the exact opposite of what happens. apotheosis is paul's inescapable fate. emma's words are accompanied by the inevitable leitmotif here as a way of the universe (pokey, maybe) laughing at her.

(it's important to note that inevitable cuts off as soon as paul says "never" in his line during this exchange. this is because, well, his line isn't ironic. he will never be in a musical. at this, this form of him won't.)

the inevitable leitmotif plays in the final moments of the exchange between paul and general john macnamara, beginning right after macnamara asks paul if he likes coffee and ending right after paul answers "no, sir," to macnamara's question about whether he likes musicals. in this scene, paul's most recognisable traits are exhibited. he likes coffee and doesn't like musicals, the irony here being that these very traits are what made him susceptible to the hive in the first place. his penchant for coffee is what led him to meet emma, and wanting her was what led to his end. he doesn't like musicals, but is afraid that he could like them, a fear the hive easily preys on.

it sneakily plays while emma says "if we get through this, I would love to just see a nice—SILENT—movie with you. but in case we don't... kiss me?" the mordancy of using inevitable here is evident.

the inevitable motif is utilised not only as a signal of inevitability and futility, but also to convey irony—comedic irony, for pokey/the hivemind—in the guy who didn't like musicals. it's a genius device of foreshadowing for paul and emma's eventual fate, because the audience doesn't know that it's used as such until the story is re-told (i.e., we watch tgwdlm again), which is what is implied could be occurring in-universe.

[justalilguyoops]

I’m curious do you have any saltburn fic recs?

YES!

A Cure For Loneliness by @como-llorai-por-un-chocmans

and god would set us asunder (but your sacrilege will save me) by @nutteu

Maneater by @nythtak-blog

it leaves me cold by @kukfitta

the animal hospital by mordancy (unsure if they have a tumblr/what their tumblr is!!)

Sharper through Suffering by Blue_Dahlia (also unsure if they have a tumblr/what it is!!)

these are some I can think of immediately!! there are so so many good cattonquick writers out there ; ;

[bastardvughter]

Kind of ironic,

Kind of erotic,

Hidden within her chambers,

Flesh dampened with sweat and hands that could bite,

Her stomach growls while chained to her malnourished heart,

Every chip of a nail sharpens the teeth,

O’ sway to the hymns of misanthropy,

She grinds her knees raw for succor,

Guzzling down her blubbers,

At least her back can hit that arch,

This is not for her own arousal,

Not for yours either,

But a pornographic mordancy,

To acknowledge reality is to enter a maddening spiral

[igbeh]

ao3 user mordancy coming in clutch with some great squicky saltburn fics

i also really like the heart that fed by nightcalling

i haven't gone thru the tag in entirety but im about halfway thru and these are my favs rn . ppl that write fic i love u. i love u. i love u.

[waterarks]

words.

week of 060724 ⋆.ೃ࿔*:･

facetious (adj.)

treating serious issues with deliberately inappropriate humor. | a facetious remark | synonymous: flippant, pert.

pert (adj.)

i. saucily free and forward; flippantly cocky and assured. | ii. being trim and chic. | iii. piquantly stimulating | a pert little hat; a pert retort that irritated the teacher | synonymous: animated, jaunty, vivacious.

acrimony (n.)

anger and bitterness; harsh or biting sharpness especially of words, manner, or feeling. | she responded with such acrimony that he never brought the subject up again | synonymous: vitriol, mordancy, asperity.

awry (adv. or adj.)

off the correct or expected course; in a turned or twisted position or direction. | their plans went awry | synonymous: amiss, askew, oblique.

terse ( adj.)

i. using few words; devoid of superfluity | ii. smoothly elegant | a terse summary; he dismissed me with a terse “no” | synonymous: short, brusque; crisp, polished.

superfluity (n.)

i. something unnecessary or superfluous | ii. immoderate and especially luxurious living, habits, or desires | spends most of her money on designer clothes and other superfluities | synonymous: excess, surplus, overkill.

vacuity (n.)

i. empty space | ii. something (such as an idea) that is vacuous or inane; lack of thought or intelligence | full of excitement, I listened to my first student sermon - only to be taken aback by its vacuity. | synonymous: empty-headedness, dim-witted, stupidity.

- ☼

[im-getting-help]

*does a happy little dance cause mordancy posted a new chapter of Pierced*

[positivelyhomestuck]

We’re now up on Spotify! Makin’ the social media rounds slowly but surely.

E01, in addition to a basic intro of the podcast itself, we talk about the events and characters in Act 1 and Act 2.

[ramodental]

Porcelain Etch And Silane

Utiliser Porcelain Etch pour mordancer les prothèses en céramique ou en composite ancien avec un macro-remplissage avant d’effectuer un collage et une intervention intrabuccale.

A utiliser lorsque la gravure de prothèses dentaires indirectes en céramique est nécessaire avant leur implantation. Les valeurs d’adhérence les plus élevées sont obtenues lorsque la gravure à l’acide fluorhydrique est suivie de l’application de Silane.

[mylovelookup]

Go read The Doll by mordancy on AO3 👇🏻

Bonus vid:

[jadbalja]

The Aftertaste of all Sweetness

posted Wed, 29 Mar 2006 00:40:28 -0800 On March 28h, 2006, the famous Internet journo-dadaist shashkin (aka jadbalja) was interviewed by Wintermute from the webzine forlorn.envy.nu. This is an excerpt from the transcript. Wintermute (W): Thanks for coming. Let's start with your latest work, You Incomplete Me just out with Medium publishing. It seems to depart from your previous oeuvre. Does this signal a move into more character and dialogue-led explorations? Shashkin (S): Great to be here. The piece you mention has actually been referred to by some as an 'epistolary novel'. Though, neither are emails really epistolary, nor is it of novel length. It could be a 'micro-' or pico- novel. Novel, novela, the magazine short story, and then the micro-novel, I suppose tracking the shrinkage of our collective attention span in the wash of pop-culture. This isn't meant to be derisive though - I've always believed that pathos can and will be conveyed if required from the most succinct of prose, and a character can be fleshed in sentences rather than chapters. Whether that's successful or not - you'll all tell me, right. Going back to the idea of the 'epistle', it's always been a literary device which writers have used to peel back layers of intimacy between characters. Anything which wouldn't be rendered adequately in common dialogue. Then you have the entire collections of the letters of historical figures, say Virginia Woolf, or Sylvia Plath.  There has been a certain valorization of the literary and sentimental value of the physical letter, what we now call snail mail, though to me that image spoke of a trail of slime rather than emotion. So, my challenge here, or what I've felt challenged to do, is to see if that similar significance in terms of intimacy, and as a literary device could be extended to the most banal of communications, though I guess less banal than chatting - the email. How dada would I be if I didn't raise something utilitarian to an artform? So, to really answer your question, I'm not actually moving into 'novel' territory, if you pardon the involved pun, that is, I'm not doing anything new in terms of characters. Just trying to tell stories in new ways, with new methods. As I think you see, just a few emails is all it takes for Vahe to make a very long personal journey and there's enough hidden context and substance, I hope, in the added details. W: What kind of detail should we be looking at? S: I can't give too much way...haha. You're asking me to give a normative reading of your subjective experience of the piece! But I think, if I were to go back to it again today - and I don't really re-read what I write except when I feel the mood strike me which resonates with each work, because to me every work is the aborted child of a particular moment and mood - well, then I'd look at the dates, and the arcana of the structure of the email, the error messages. The project of uplifting emails to literature isn't easy, and the language - which I at least try to instinctively keep to what we might think is 'business English' slants heavily to the utilitarian and the prosaic, so to add what I feel are the important elements, deepening the fiction in time and in mordancy I have to play with what is happening outside the text. So, in a sense, my canvas is both the email text and its attendant trappings. But sometimes, as in the stolen 'real' exchange between Pat and idali [Ed: entry 'Nevertheless, dear'], the people writing the emails provided me with everything I'd need in the texts themselves, so when I put them together, edited in a certain way, they transcend, i.e., I have the gestalt. W: I think I see. This is a continuing theme though, for you - this experimentation with the 'trappings' of our communication culture, mediated as it is by machines and software? I was thinking especially of the piece about the French girl and the hacker.. S: Yes, The Girl and her Hacker [Ed: entry 'Arpanet']. I am very interested in the linguistics of software interfaces, the way there is a new grammar in online forms, and checkboxes and other widgets and knobs of our surfing experience. I think that story isn't the best example of that kind of experimentation though. It just happens that I chose to present certain communications in the text in what I think are approximations of actual software interfaces. But in a sense, what I am saying is that checkboxes, buttons and scrollbars are now ubiquitous in our reading of the electronically generated word, but we don't see them as part of our language because we still think in sentences and paragraphs and these elements are outside those modular linguistic forms. So, what happens when I insert them in a sentence with an attempt at syntax, and fill them with a word, or emboss them with some meaning, do they become just placeholders for letters, independent semiotics, or a blend? This is for me the continuing element of evolution in the way we conduct the business of writing... W: There's another theme, isn't there - not in terms of subject or experimental focus, but the emotional core of your work, that is, the sense I get that you're really the only poet of urban alienation of a certain kind, of apartments and chatrooms and cubicles. It resonates with me, and I'm sure with anyone who lives alone in a metropolis, it's really an unique kind of vibe. I know you've said before that your work is not directly autobiographical - but do you want to explain if it is indirectly, that is, where are you channeling this from? S: Haha, I hope you're not feeling this resonance only because you're a figment of my imagination, or well - my creative imagination. W: No, please don't trivialize my response - I think there is individuality even in those who are not individuals. S: I'm sorry, I didn't mean that you're not self-contained. Well, this really brings me to an interesting response, because I was going to talk of the author-text-character-reader distances, and the whole system of reflected selves, but that would all get too post-structuralist a discussion and I like to keep it more general. What you are right about is that the sense of alienation which I am definitely channeling is a deeply felt thing, even if I didn't feel all that those in my pieces feel. In the apartment arc of texts [Ed: entries 'Department of Ennui' & 'Chaque Jour'] I was involved in a particular kind of funk, a Los Angeles moment which I haven't quite tapped ever again. But I am sure in some way, what that protagonist is saying in first person is vocalizing some of my interiority, and that is the kind of schizophrenia - Whitman's 'I am large, I contain multitudes'- kind of thing that I revel in. You, me, we're all split off from the same deep core of shashkin-itude, that frothing bubble of textual gold. Though, in retrospect, a good schizo is someone who isn't aware he/she is schizophrenic, so I guess I've overanalyzed myself out of the real fun. W: Over analysis is always a dreadful shame. Still, there is this amazing diversity in your published work, which is startling. You've covered ground as an urban fantasist, symbolist poet, 'found text' artist and something which I can only term as 'conceptual blogging'. But in general, even amidst the diversity, there is more than just the alienated apartment-dwellers, but a sense of genuine sadness, and loss. Were you abused as a child? S: Sadly, I had a reasonably content childhood and terrorized the local neighborhood children as a bully, so there's not much material there. As an adult male I think have more troughs than I have crests, but I think all artists choose over a certain emotional territory that which they feel most comfortable in. I'd be wary though if you find me only working with the sad bricks. You only get typecast into a certain emotional bracket if you're a bad artist. I guess I'd produce happy work if I felt happier, but I'm not sure if that would be readable. Sadness is a more complex emotion than happiness, isn't it? I just read somewhere that as humans we're more evolved to be sad than happy.. W: Perhaps what I meant was wistful, or longing. Something the Germans call 'sehnsucht'. The addiction to longing. S: I like that word. There is definitely a lot of longing in my characters, but sometimes it's just involved satire or allegory, as in the God in the Midwest piece [Ed: entry 'Neon Summer']. I think allegory is sorely underappreciated in literature today. I am tired of dry conceptual formalism. I thought Dada was fun when it was happening - and the recent exhibition in the city sort of goes into that - but rebels aren't always the most emotionally sensitive. The rabble aren't roused by weeping. I think some of those political-artistic battles are won, but to continue the war, I think the emotional core is important in today's conceptual prose, or whatever goes as the avant-garde. In fact, since so much of the stylized conceptual art is so diminished of the sensual or the emotive, to show that one has sentiment as a writer, the affliction of 'humors' as Victorians would call it, is positively revolutionary. And I like that. W: Sensitive, but without becoming a neo-confessional. We don't want you to be the male Anne Sexton.. S: No worries. W: We're nearly done here, but I did want to hear more about your process of creation. You're hardly regular in your output and some of us wonder what process you've got there, as a writer? You mentioned moods, and how they reflect in the pieces, and you're right, you do have some of those angry pieces tucked away, and the prose poems, and also the stuff I can't categorize, like the incomparably beautiful Howling for Sade.. S: Thank you. I'm not sure how I wrote that one, because it seems uncharacteristic in retrospect. I'd also reconsider the gratuitous French today, especially since I don't speak it, but at the moment I was very into Messiaen and it seemed to stick. All my titling, at both levels, are matters of serendipity that way. I don't have a set process, and the days you could just sit down before a typewriter and bang away for some hours and have something just doesn't work. Working with a laptop is somehow more organic, though Baudrillard has argued for the opposite, about how he feels there is a distance between the electronic text and him, which lacks the immediacy of the paper, the typewriter hammers and the pins.. Sometimes my moments of greatest lucidity - when my muse is closest to me - are when other voices fall silent, when my inner horror at myself stops singing its Lethean hymn, and I stop doing - everything. A moment of stillness. Mostly when I am lying in bed, curled and heart stopped because that ineffable thing has happened, the idea has sparked. That's how I get my poems. And I haven't 'received' a poem for a long time. For prose, I do need to sit down and work through it, and I usually do not make many changes. Something about the moment has to be right. W: Yes, when the moment is right, just like sometimes when I am reading one of your pieces - like some of the shorter ones we published on forlorn.envy, which, in the atmosphere of the right music, the right hour, fills me with such a strange and overwhelming sensation of kinship, of shared experience. I feel very giddy telling you this, but considering you are my creator... I do feel that we are thinking the same great thought. My face gets that first flush of heat, that rushing behind your eyes which makes me wonder if I'll break into tears, how delicious it is to feel moved by a work of art - S: Ssh. You have to stop. W: Excuse me.. Even though I don't exist, I feel quite animated. S: It's a good thing. W: Just one more thing. Are you going to complete that 'Crossing' story [Ed: entry 'Strange light in your eyes']? What about new poetry? S: I'm not sure about that one. I never introduced the girl, and that had to have a poignant ending. I have the story in sight, but I think it's more useful to me right now, to let it spool out in the imaginations of the readers, the "hypocrite lecteurs".. Ah well, poetry. I only write poetry in the throes of mortal sadness, and I must not have been feeling it - so nothing has descended to me from the muse Calliope. Maybe I've crossed some threshold into apathy and apathy just doesn't do it for poetics. W: Fine. Thanks for the interview. Are you going to snuff me out of existence, since this conceptual farce is concluded? S: I was thinking about it. Do you mind terribly? W: No go ahead, after all I   [Ed: end of transmission]

[osarothomprince]

MorDance Spring 2023 Season 4/28 & 29 at the Gerald W. Lynch Theater — City Life Org

MorDance presents its Spring 2023 Season with groundbreaking new ballets centering themes of activism and humanity from April 28-29, 2023 at Gerald W. Lynch Theater, 524 W 59th St., NYC. Tickets are $30 for adults, and $20 for students and seniors. For more information and to purchase tickets, visit here. Celebrating the company’s tenth MorDance Spring 2023 Season 4/28 & 29 at the Gerald W. Lynch…