#my parents were teachers

[waytooobbesesedwithmcyt]

My mom drilled intelligence vs knowledge vs wisdom into my brain so hard I have a pavlovian response to someone using them incorrectly

A literal alien: you're not smart if you don't know xyz

Me, galaxies away, waking up in a cold sweat: something is wrong

[starry-bi-sky]

What would a mother not do for her child What lengths would a mother not go There's a bond that exists between mother and child With no end to how strong it can grow It's a promise for life between mother and child It begins from the moment of birth.

================

She is six years old, and standing on the porch at her Auntie Alicia’s cabin. She is six years old, and holding an old rifle in her hands, standing at the railing and pointing the nozzle at a large target a couple feet away. There’s a pair of old ear muffs covering her ears. Behind her is her daddy and her sister, and Auntie Alicia. She can’t see them. 

Danielle Martha Fenton is six years old, and her momma has her arms wrapped warmly around her, keeping the gun steady for her. It’s heavy and the butt digs into her shoulder uncomfortably, and she feels nothing but determined. And nervous. 

Her momma was teaching her and Jazzy how to shoot, and they’re down in Arkansas to visit Auntie Alicia for her second “Divorce-iversary” as Auntie calls it. She keeps a hunting rifle in her gun safe for the rabbits that like to nibble on her garden. She mostly grows rhubarb, which goes untouched. But her carrots and greens and other veggies like to be tempting snacks for the game. 

Regardless, she is six years old and learning how to shoot. Her momma and her daddy (mostly her daddy) have been banned from every shooting range outside of Amity Park in a hundred mile radius. So Auntie is the best place to learn, or so momma says. 

Danny thinks it's just an excuse to see her sister, not that she's complaining. She loves visiting Auntie.  

She’s already seen Jazzy do this, her momma told her before the muffs went on to shoot when ready. No use trying to fire when you’re not; you can’t afford to miss when shooting ghosts. 

Danny breathes out steady, just like momma taught her, and quells her trembling little fingers. She focuses down the barrel, and pulls the trigger. 

Immediately, the recoil throws her off, the side of the gun that her cheek was resting on knocks against her skin, harsh enough to bruise if it weren’t for her momma’s steady hands holding onto her. The bang of the gun startles her more than she thought it would, and her heart leaps up and runs a jackrabbit through her chest. 

The gun is carefully slipped out of her hands, and Danny lets it go easily, her cheek smarting in pain and her eyes wide and following up to momma. Momma turns the safety on, and with a gentle hand, pushes against her chest. Danny takes a few steps back, and slips the ear muffs off her head. 

Mommy is smiling big at her, something that Danny can’t help but replicate on her own face as her heart swells. “Did I get it, momma?” She asks, watching as she passes the gun off to Auntie Alicia, who steps over to take it.

“I’m going to go see, sweetie, but I think you did.” Momma coos, before planting both her hands on the porch railing and, in a single leap, vaults over the side and onto the grass. She’s dressed all comfortable for the summer heat, with her hair all tied back and in shorts and a tank top and nice boots. Danny’s ribs swell hopefully, and she stands on her tiptoes to watch her walk over.

“I’ll be hard-pressed to believe if you didn’t, Martha Mae,” Auntie tells her, grinning like a cat, “that was a damn good shot.” 

‘Martha Mae Knight’ was Danny’s granny’s name. Auntie Alicia calls her that because of her middle name — and because, by her words, she has her momma’s weird-shaped eyebrows and piercing blue eyes. The kind that could scare a hawk into singing like a robin. It was Danny’s favorite nickname ever.

Daddy laughs brightly, the sound painful on her ears but twice as nice, and despite the distance, Momma whirls her head around to shoot Auntie a glare; “Language, Alicia. Not around my girls.” She warns. Her accent always comes through when they’re around Auntie. It’s Danny’s favorite thing to listen to. 

“Do you think so, auntie?” Danny says, bright-eyed and ever-optimistic. Auntie Alicia nods fiercely as Momma finally reaches the target and searches for the bullet hole. Daddy then comes up behind her, still laughing, and claps a hand onto her shoulder so hard that it makes her knees hurt.

“Of course she did!” Dad boasts, as bright as the sun and twice as warm. He shakes Danny affectionately, wobbling her on her feet and pulling her straight into his side. She goes so willingly with a burble of giggles. “She’s got the eyes of a Fenton! And our family are darn good shots.”

Auntie eyes him up and down, her smile immediately fading off into a pressed line. “I’m sure you mean she’s got the eyes of a Knight. You couldn’t hit the broad side of a barn at twenty paces, Jack Fenton.” 

Jazzy holds back giggles from where she’s standing by the door, her ear muffs in hand, and Danny watches her Daddy’s dark eyes immediately narrow. Just like Auntie’s, his smile tapers off into a frown. 

Before he can say anything, there’s a cheer from the yard, and they all turn to Momma clapping her hands in delight. 

Danny immediately pricks her ears up, and would’ve darn near rushed over to the railing if it weren’t for her Daddy’s hand on her shoulder. She yells instead, excitement thrumming like a hummingbird against her ribs, “Did I hit it, momma?!” 

Momma beams at her with all the pride in the world, “You sure did, Danny!” And she turns to press her finger against the target, right on the inside red ring of the battered old bag. “Right here, sweet girl!” 

There are cheers from all around, and Danny’s heart bursts inside her lungs with shiny, sunshine glee. She puffs her chest out big, and smiles so wide it hurts the cheek where the gun smacked her. Her Daddy shakes again, squeezing her tight against his side in a hug that Danny happily reciprocates. 

“What’d I tell you, Martha Mae?” Auntie tells with a big wink and a wide grin, the gun still gripped tight in her hands as Momma makes her way back over. “You got a Knight’s eye.” 

When Momma makes it back over the railing, she hugs Danny tight and praises her shot. Danny looks her in the eyes and chases the feeling, and asks to shoot again.

[marisatomay]

online buddy of mine (born in 2004) said “i strongly suspect the vast majority of ‘I'll always remember where I was on 9/11’ stories are not true. I simply don't believe that 75% of people were watching the news live at 8:45 in the morning on a Tuesday when the strangest thing happened.” and like. okay. we can talk about the aftermath in the 22 years since 9/11 and the horrific and evil jingoism that ruined countless lives in decades-long wars all we want. but i cannot overstate enough that 1) we still very much had a monoculture in 2001. most americans would watch either the today show or GMA. 2) as soon as that first plane hit every news station in the country was covering it. schools and businesses and break rooms turned on every tv. every radio. anything that had the ability to broadcast the news. (smartphones weren’t a thing. cell phones and the internet existed but they were new and fragile. unreliable. your best bet was still to sit there and watch. or listen.) and we all sat there and watched the second plane hit and the pentagon hit and the towers collapse and flight 93. so, yes: basically everyone who was alive and old enough to form lasting memories in 2001 remembers that day and the coverage. even people who weren’t near a tv or radio in real time remember where they were and what they were doing when they heard the news. they probably even remember the reason why they didn’t hear about it in real time. i was 5 years old in my first week of first grade and i remember it. it was like. the biggest thing to happen in this country since fucking. pearl harbor. bigger. there’s no need to downplay that.

[femboy-central]

… if you want to read my essay on how gay Nick Carraway is it’s under the cut

Until recent years, very few authors had the courage to express homosexuality in their work for fear of institutional punishment or negative social reaction. With stories like that of Oscar Wilde, writers were accurately terrified to explicitly explore the diversity of the sexual and romantic interests of their characters. Despite this, they were not stopped and authors chose to implement their gay characters with artistic subtlety. F. Scott Fitzgerald's most well known novel, The Great Gatsby, homes one example of this type of character. Although he does not live in a time period where he can be open about it, Nick Carraway is a homosexual man and this fact is crucial to truly understanding his self and his relationship with Jay Gatsby.

Perhaps the most damning evidence of Nick's sexuality is the fact that the only sexual encounter he is implied to have had is with Chester McKee after the party in New York (28), but it is not all. Nick's homosexuality is most casually clear in the descriptions he gives of the people in his life. Although he does acknowledge past romantic relations with women, he does not read as particularly interested in them. When questioned about a rumoured fiancée out West, Nick remarks that he is very opposed to "being rumored into marriage," (15) and in his first meeting with his supposed love interest, Jordan Baker, Nick compares her to a cadet (an exclusively male occupation at the time) and points out her most masculine features as ideal including her small breasts and erect carriage (8). In comparison, Nick's descriptions of the men around him are rich with intrigue; Nick notices how Tom Buchanan's eyes establish dominance in his face and the way his muscles move under his clothing (5). When Nick speaks about the train conductor on the hottest day of the summer, he critiques people who think of kissing flushed lips and laying with a partner in the heat despite no one else in that scene expressing those feelings (87). The suddenness of this flustered complaint implies that Nick is reacting to his own desires; desires he wishes he did not have.

While Nick is at least vaguely attracted to multiple men in his story, there is one he is consistently interested in throughout: Jay Gatsby. From their first meeting where Nick goes on about how pleasant a smile Gatsby has (36) onwards, Nick is very fond of Gatsby, going so far as to emphasise that he is the only rich person he did not end up disgusted by (2) and that all of the East was haunted for him after Gatsby's death (137). In Gatsby's life, Nick even expressed his affections to him in whatever ways he could. For example, when Nick agrees to reintroduce Gatsby and Daisy, he does not allow Gatsby to reimburse the favour (62). Also, after Myrtle's death, Nick only leaves Gatsby's side because he feels like he is intruding (112), returns to a bed he can not fall asleep in, and takes the first opportunity available to meet Gatsby again at dawn (113). Nick listens to Gatsby's story then (114), something nobody else would do in favour of spreading scandalous, borderline slanderous rumours.

Nick claims he is not a judgemental person, but proves himself wrong as the novel progresses in regards to every person he has met but one. Despite remarking that he disapproved of Gatsby "from beginning to end" (118), he was equally endeared to him. Nick also claims to be an honest person (44), which he proves not entirely true either. Realising Nick's true feelings for Gatsby reveals the intricacy of his character and calls into question the reliability of his narration. Although his intentions are always sympathetic, Gatsby is by trade a bootlegging criminal and yet even after meeting Meyer Wolfsheim and being told about his business (54), Nick plays ignorant about Gatsby's involvement. To Nick, the idea of Jay Gatsby is related only tertiarily to the idea of "Wolfsheim's men". Nick makes this clear every time he visits Gatsby after Wolfsheim's men begin working at his house by how suspicious he always is of them, even describing one's face as “villainous" (86). Nick does not judge Gatsby as the same as these people nor the Buchanans despite not being so different in truth because he is already in love with him and truly wants to believe he is a good person at heart. Even Tom Buchanan is aware of this on some level, showing his cognisance after Gatsby's death by telling Nick that "(Gatsby) threw dust into (Nick's) eyes just like he did in Daisy's" (138).

To ignore Nick's sexuality is to intentionally misunderstand his character and The Great Gatsby as a story. On his surface, Nick Carraway is a single objective voice in a world of desires and deceit, but as much of The Great Gatsby does, his character requires the reader to look below to his own human biases if they intend to comprehend him.

[damthosefandoms]

Jumbled

(ao3 link)

Summary:

RIP Sodapop Curtis, you would’ve loved having an IEP/504 Plan.

(AKA, Soda struggles in school his whole life, and doesn’t understand why, because it’s the 1950s and 60s and getting a diagnosis for a learning disability isn’t exactly on the table. Neither is the scaffolding and support he really needs.)

Sodapop Curtis was the type of kid who sat at the kitchen table for hours on end crying over math homework until his dad got home from work and struggled to explain it to him. All that effort, and then he’d always inevitably lose it somewhere between the kitchen table that night and his teacher’s hand the next morning and all that effort would be for nothing.

Soda was five years old when he started kindergarten, at the tail-end of the summer of ‘56. He remembers his mom comforting him the night before, when he cried because he was going to miss Ponyboy who wasn’t old enough for school yet and because Darry was going into fourth grade and would be on the other side of the school all day, and Soda would never get to see him. He remembers pouting because Keith Mathews, his and his brothers’ collective best friend from down the street was going into first grade after promising Soda last year that he’d get in a lot of trouble so he could stay and do kindergarten with him (he lied).

And then Soda was just plain miserable, sitting there on the bus sandwiched between Keith and a boy a little younger than Sodapop named Johnny Cade (who lives two doors down from the Mathews’ house and Soda never sees because his parents are mean and keep him inside all day), because Darry decided he was “too cool” to sit with his horse-crazy kid brother in favor of the big kids whose mommies don’t make them wash their hair when it’s dirty and greasy and walk around with those little black switch-combs and pretend they’re the coolest kids on planet earth, ‘cause one day those combs will swap out for blades and they will be.

Probably because they are, but Sodapop doesn’t know that yet—right now he doesn’t really know or care about grease or what side of town he lives on. He is six years old and the only thing on Soda’s radar right now is that Mama promised they’d save up for him to go to horseback riding camp next summer, and that’s his biggest dream. He wants to be a rodeo legend or win the Kentucky Derby or something. He hasn’t quite decided yet. He figures he has time to parse out the specifics—he just wants to ride a horse.

They get to school, and after a particularly pushy reminder that Mama told him at the bus stop this morning to make sure Soda gets to his classroom alright, Darry points his little brother toward the Kindergarten wing. Soda takes Johnny Cade’s hand in his because he found out on the bus that Johnny is going to have the same teacher as him, and they push through the hallway of their elementary school to find Mrs. Moran’s Room Four.

Soda very quickly learns that not every kid goes into kindergarten equally. Johnny is the smallest and the youngest kid in their grade, and Soda’s the second-youngest and it only takes a few weeks for Soda to think to himself that maybe that’s why he can’t read yet. He’ll be six soon, and that’s how old Evie is. Most of the kids who live on his side of town started kindergarten when they were six, he realizes. She sits next to Soda and she’s a good reader, but she’s one of the oldest kids in their grade and so of course she’s smarter than him. Then again, Sherri Valance, who is also in his class, isn’t going to be six until next spring—kind of like Johnny, and according to the birthday chart on the wall—he asked Mrs. Moran to read it to him one day when he couldn’t sleep during nap time and she very begrudgingly agreed, so he memorized everyone’s birthdays and how old they’d be turning because why not, right?—but Sodapop finds out that she went to preschool.

He didn’t go to preschool. He doesn’t know anyone who did. He remembers Mama talking to Dad about preschool for Ponyboy this year, but Dad said something about “expensive” and Soda stopped listening ‘cause they always get sad or angry when that word comes up.

Sherri Valance can read and she’s got pretty red hair and a backpack that’s not even a hand-me-down, and she went to preschool. So did all her friends in Room Three. Soda doesn’t know anybody in Room Three but he knows that the kids his friends know in there didn’t go to preschool. Timmy Shepard was in Room Three last year with Keith. He didn’t go to preschool either; heck, neither did Keith. But they can both read now, and they went to first grade, so Sodapop figures he didn’t miss out on too much.

Until it’s the end of the year and he still can’t read. Well, you don’t need to read to go to horse camp. Soda doesn’t nap a single time that year, either. He spends his precious kindergarten naptime not-reading the book Mrs. Moran gives him to keep him busy and picking at his cot when she snaps at him to be quiet. Mrs. Moran decided the day she read his first name off the attendance sheet that she didn’t like him, and Sodapop Curtis did not like her either.

First grade is so much better and yet so, so much worse.

Soda has a very hard time on his first day, because he misses his mom, and his dad, and Ponyboy, who begged to go to school too this year but he’s still too little at only four years old and Mama’s doing her best to get him reading now. Darry is in fifth grade and seems even farther away, and Soda doesn't have recess with Keith and Tim’s grade this year, and Johnny’s in Room Seven making new friends. Evie’s in Room Eight, and Soda’s trapped alone in Room Nine. Sherri’s still in his class. On the third day of school, Soda decides her hair reminds him of cherries. She laughs, and it sticks.

The best and brightest part of first grade is his teachers. He was put in Mrs. Larkin’s room, and she’s amazing; but when he gets there on the first day, there are two teachers in the room. Miss Luft, it’s explained, is a student teacher, which means she’s learning about first grade just like they are. She’s learning how to teach and they’re learning how to learn.

Sodapop still doesn’t even know the alphabet. He doesn’t know his sounds and he can’t keep his letters straight. Mrs. Larkin has him sit with Miss Luft when he tries to write a small moment story. She draws lines in marker on his paper for him to write each word on. Every line she has to make longer than the last because he can barely fit two letters on it, and he’s pretty sure she can’t read what he wrote any more than he can.

But Miss Luft always calls him capable. She has to explain to Sodapop once a week what that word means. He does his best to remember, but he has a lot of things to remember and it gets lost in the jumble somewhere.

He hears Mrs. Larkin and Miss Luft talking, sometimes. They hide their words behind stacks of paper and turned heads but he can hear them anyway.

Reversals. Attention span. Off the wall.

“And he’s low,” he hears Mrs. Larkin say one morning. “Mrs. Bolan’s got one that low too, but at least hers is quiet.”

He has no clue what any of it means. It’s all teacher talk, he isn’t supposed to get it, and he knows they aren’t trying to hurt his feelings, but hearing it makes him feel bad anyway because they don’t talk about other kids like they do him. They don’t get those sad looks on their faces about other kids, either.

“Does your brain get jumbled sometimes, Soda?” Miss Luft asks him one day when he’s sitting at his desk, eyes red and puffy from crying because he wasn’t allowed to go to gym class unless he finished his spelling worksheet. But he can’t. He’s been sitting here for forty-five minutes, ever since they got back from recess, and he can’t. Do. It. He tries to write his letters how his teachers have shown him but they just won’t appear in the place he wanted them to, like his pencil won’t obey him when he writes. He tries to start at the top line and somehow his pencil puts itself at the bottom.

He tries to write the letters anyway, but they don’t look like he thinks they’re supposed to, and he doesn’t even know what that means because every time he looks at a b or d, or m or n or h, or—god forbid someone tells him to write the letter k. It just looks like a stick.

His numbers are just as bad. Someone’s always reminding him to put the one before the seven instead of the other way around, but he doesn’t remember writing seventy-one, he can’t even count that high!

“Jumbled?” He says in a shaky voice, still trying to calm down.

“Like mixed up. Like it’s hard to think ‘cause you got too much going on in there?” She taps his forehead and he half-heartedly giggles.

“Yeah, it gets real jumbled. All the time,” Soda says.

“I feel like that sometimes too,” Miss Luft says, and she sighs. “Like I can’t think at all some days. Like my brain shuts off without me tellin’ it to because there’s too much goin’ on and I can’t focus, and just answering one question gets overwhelming. It’s too much. But it’ll be okay, Soda, I know you got it in you. I believe in you, you hear? If I could do it, so can you.”

She doesn’t say much else, but Sodapop has never felt more seen. He cries and clings to her on her last day at their school, hating that she only got to stay for ten weeks. Mrs. Larkin is amazing and he loves being in her class, but the year just drags on and on, and towards the end of the year Soda can’t decide if school is getting harder or he’s getting dumber. Maybe it’s both.

He gets to go to horseback riding camp that summer, and he meets a kid named Dallas who he thinks was in Room Seven with Johnny. Dallas is mean. Soda finds out he’s a whole year older than him, which confuses him because Dallas is in his same grade at school.

“An’ how come I never seen you at recess or nothin’?” Soda says one day at lunch. He’s got a bologna sandwich, because his mom swears by cold cuts. Dally stole an apple out of their counselor’s lunch and doesn’t seem to have anything to eat otherwise.

“They don’t let me out much,” Dallas says. “S’what happens when you spend all your time in the principal’s office.”

“Why?”

“I dunno. Just feels good to get in trouble sometimes.”

Soda doesn’t get him, but he likes horses, and so they become friends anyway. He and Dally start getting into trouble together, and Soda kind of starts to feel like he belongs somewhere. It takes his mind off the upcoming school year, which is great, because whenever he thinks about school, he gets butterflies in his stomach.

Dallas is in Room Twelve with Johnny when they get to second grade. Usually Soda keeps track of what classes all his friends end up in, but this year, it doesn’t matter anymore. Because second grade changes everything.

Mrs. Foster is ancient. She taught Soda’s mom once upon a time, and she had Darry in her class a few years earlier. Soda thought she’d be a great teacher because Darry loved her, but Soda can’t bring himself to even pretend to like her. She asks him what his parents were on when they named him.

“On what?”

Mrs. Foster just rolls her eyes and tells him to take a seat in the back where he clearly belongs. She lets him know that she’ll be calling him by his middle name this year. At least “Patrick” is “dignified.” Whatever that means.

Later, Soda can’t keep his words from erupting out of his mouth like a volcano during morning meeting, and she sends him back to his seat with a glare.

Five minutes later Steve Randle gets sent back to his seat for shouting out, too. He sits next to Soda in the back. He’s hiding a little red toy car in his desk and they play together. Mrs. Foster doesn’t seem to notice or care. She doesn’t call on Soda a single time that year, even when he does know the answer.

She also doesn’t like that Sodapop writes with his left hand. By the time he gets to third grade, he flinches and corrects himself every time he goes to pick up his pencil. He hopes this’ll solve the problem, but it never does.

Soda struggles the whole year. Steve doesn’t, and when Soda asks when his birthday is—he always needs to know, he needs to be able to sing happy birthday to all of his friends—Steve tells him he was born in April, the same year as Soda. Soda tells him how he can’t find a single pattern proving why he’s dumb, ‘cause age doesn’t seem to matter. Sherri aka Cherry is younger than him but smarter. She went to preschool. Johnny’s younger too, but he didn’t. Steve’s older and smarter but he tells Soda that he didn’t do preschool either.

“I did kindergarten twice, though,” Steve tells him. “Well, the first couple weeks anyway. Mom and Dad wanted me to start school when I was five but then I had to not do the whole year ‘cause my mom got sick and we were too busy and then she died so I stayed home with Dad. I did kindergarten the next year when I was six. Now I got friends in third grade and in second grade.”

They agree that Soda’s going to be Steve’s best second-grade friend. They trade that little red car back and forth and Soda still can’t read very well but he’s better at it now—Mrs. Larkin worked extra hard with him after Miss Luft left to make sure he knew his letters and sounds.

Mrs. Foster doesn’t seem to care, because she pretends he doesn’t exist. It’s a miracle Sodapop gets to third grade.

But it doesn’t matter. School doesn’t matter. Over time Soda just starts to remind himself that he has Steve, and Steve is smart, he’ll help him. Soda will get through this. Sure, after third grade Johnny gets held back, and it’s only a matter of time until Sodapop has to repeat a grade too, but… but he’ll be okay. He will. Someday a switch will go off and his brain will work right and he’ll be able to do it. He hasn’t failed yet, that has to mean something, right?

He hasn’t failed yet but no one has noticed he struggles, not his teachers, not his friends, no one. Maybe Miss Luft, but he’ll never see her again. He hopes she still thinks he’s capable. He had written in the book their class made for her that his favorite thing about her was that she believed in him.

As he gets older, he wonders if she even remembers his name.

But then again, he spends every weeknight crying at the kitchen table, physically unable to get past the first question on his homework sheets. In fourth grade Mama starts clearing everything off the table to help him focus, but he picks at the crumbs left behind from last night’s dinner, peels up the dried finger-paint Pony splattered everywhere, sits and rocks back and forth with each tick of the clock.

And every day after about an hour of making up little songs and fiddling on his paper until it’s spotted with holes, he starts crying, because he can’t bring himself to do his homework. And then Pony’s in school, finishing his homework before him, and Pony is just as much of a daydreamer, so that kind of stings. Darry has seven different classes to do homework for, on top of football practice, but he gets all his work done before Soda’s even started. His mom tries to help but it makes him cry even harder, ‘cause she doesn’t get it, it’s not about the homework it’s about his brain. It’s about Soda’s brain not working like everyone thinks it should.

It’s about his big, dumb, broken brain.

Johnny can’t read either, but he can focus, he can control his emotions and not cry or scream or stomp his feet at every little sound or touch, or overreact to things that aren’t a big deal at all, he doesn’t start throwing throngs off his desk when he’s mad, and he always has a reason why he does things. Steve can’t control his mouth or pay attention, but he can read and always turns in his homework on time. Keith never does his homework ever but he’s practically a genius compared to Sodapop.

Ponyboy brings home his first-ever spelling test and their mom sticks it on the fridge with a magnet.

That bright-red 100% is going to haunt Soda’s dreams.

Every night Dad gets home at 6:00 to find Soda still sitting at the table, eyes red and puffy, and tears staining his homework and the table. He chides him for the new mark Soda’s left in the table’s surface from digging the eraser-end of his pencil into it. Soda deflates, he didn’t mean to do that, it’s just—what else is he supposed to do? He’s not allowed to get up until his homework’s done.

Darrel Curtis Sr. is a loving father and a very easy-going guy, until he’s standing there over Soda’s shoulder holding his hand—his left hand, which Soda’s grateful for but also it feels so wrong after his experience in third grade—forcing him to write in the answers because he just doesn’t get that writing it is only part of the problem. His dad loves him, he’s gentle with his touch but every inch of Soda’s skin feels like it’s on fire when his dad makes him write.

It’s not his dad’s fault, but Darrel Sr. is only human, and he hates yelling at his kids, but he has to raise his voice to try to get Sodapop to hear him above his scream-crying because it’s the only way to help him learn.

Sometime when Soda’s in seventh grade, Ponyboy asks him what his problem is. Homework’s not that bad.

“I don’t like it anymore than you do, Soda, but I just don’t think it’s worth crying over, you dig?”

Soda throws his pencil at his brother, slams his history book shut, and walks out the back door. Ponyboy watches in confusion. When their mom comes in to check on them, he tells her Sodapop’s overreacting again.

Dally, who had moved away after third grade to New York but came back just in time to start seventh grade with Soda, finds him at the Pershing Park playground sitting on the swings. It’s where Soda ends up when he’s hopelessly overwhelmed by homework, or when the thought of school looms over him like a cartoon anvil. Something about pumping his legs and willing the swing to take him higher and higher takes away the sick feeling that the idea of popcorn reading Shakespeare in his fifth period English class gives him. Dally asks him if he wants to find something better to do, and a few hours later they wind up back at the Curtis house with busted knuckles and the beginnings of black eyes and they pour grease into Soda’s hair and grin at each other.

When Sodapop is sixteen years old, a sophomore in high school, his father finds him sitting at that same kitchen table, staring down over an assignment that’s asking him to write a thousand-word essay and Soda turns to his dad wordlessly, his throat is closing up, and his dad tells him to breathe.

But he can’t. He can’t. He’s going to be sick, he might actually throw up. He feels like he’s being stabbed in the chest. One thousand words. Sodapop can’t even count that high. He can’t even read Dr. Seuss. He can’t do this anymore.

“Dad, I want to drop out.”

“Aw, Pepsi-Cola,” his dad says gently that night, brushing Soda’s hair back and then pulling him into a hug, “I know you do. I’ve been talkin’ to your mother about it. We got the paperwork from the school. But I think you should think about it a little longer, alright?”

Soda agrees to try and finish out the year. His dad gets it.

His dad spent ten years listening to Soda cry over homework. His dad never called him dumb. His mom did what she could. But the only person in all his years of school who Soda ever knew really believed in him was Miss Luft, and she never came back.

He thinks maybe if he had more teachers like her, who believed in him and gave him extra help and supported him along the way, if there was something—something that made it so they had to listen to him, had to help him, had to accept that it wasn’t his fault he couldn’t read right, couldn’t focus, couldn’t control his mood swings or emotions or his volcano of a mouth… maybe he could’ve done better. Maybe if Mrs. Foster had let him write with his left hand, he could’ve figured it out.

Soda hopes one day they figure out what makes kids like him tick. What makes them struggle. He hopes one day that their schools will decide to help.

A few months after he talks to his dad, Sodapop finds the signed paperwork in his dad’s desk drawer. His parents have just been buried, and Soda can’t stop crying at the drop of a pin. He’s been skipping all his classes, but none of his teachers seem to care. It’s fine. He’s dumb anyway, a lost cause. They’ll just keep passing him up to the next grade without batting an eye at the fact that he never gets higher than a D+, no matter how hard he tries.

Sodapop will always be that one student who slips through the cracks.

He looks over the form to drop out. He figures the school will take it, if he pitches it to them as a last-will kind of situation. He doesn’t even need to ask Darry to give the okay, because Dad signed it months ago, like he had already known the decision Sodapop would make.

And he did. It’s dated that same night Soda sat at the kitchen table feeling like the world was ending and like he was dying because of a goddamn required word count.

But he knows Miss Luft believes in him, and he knows what his dad wanted, so he finishes out the school year—passes Gym and Auto Shop, too.

Soda hopes he made them proud. And now, he’ll never have to worry about explaining the dried tears on his spelling homework ever again.

[screechingfromthevoid]

I love the way Dorian and Ashton both talk to the Arch Heart.

Because Ashton is hell bent on dragging them down to their level. Ashton wants every bastard with a superiority complex to feel a boot on the neck for just a moment. It doesn't matter if that person has more money, more magic, or infinite power. They would be no where without the people they're standing on. The workers they exploit, the libraries they study, the worship they receive. All that power comes from the collective, the little guy. And Ashton wants all of them to come down to earth and fucking see who they've been using for the first time.

While Dorian is still stuck on the narrative that mortals are their children. You don't give birth to things that are not of you, or are completely different than you. Dorian keeps hearing "we're like you". He keeps hearing about the fear of mortality and the bonds of family. He knows that the gods and mortals are the same. And he's hell bent on reminding them that they are equals. If they weren't the same species: how could they come so close to godhood? How could a mortal become a god? Dorian speaks to the gods with no reverence, no policing of his tone. Because as they sit at the Arch Heart's table, with fake food and fake wood and fake bounty, they are equals. They are both in the same position. Dorian Storm does not think himself a god. He just knows the Gods are the same as them. Him and the Arch Heart both create and revel in beauty. Of course one gave to the other. But everyone must have a teacher. And there will always come a time where the teacher and the student can play a duet in such harmony no one can decipher who once taught who.

[speakofthedebbie]

one moment ill be like "okay i gotta be nicer to my parents so i ensure i get the phone" and then theyll annoy me and ill be like "man fuck that-"

[moonilit]

13 cast in my AU where they live on pulse and no one get sucked into an alternative demotion

[enbysiriusblack]

"james bullied severus" are you trying to tell me you never had the experience of a mortal enemy that stemmed from a stupid, childish reason? a classmate you had such absolute beef with that you and your friends and him and his friends would prank each other and fight each other and call each other names??

[puppppppppy]

adhd comix

[cultivating-wildflowers]

I cannot articulate enough how much I want to hear your thoughts on octopuses being capable of sin

I can't remember specifically what brought it to mind, but I think it was some off-hand comment the Sunday school teacher made about original sin and the curse and the ark being a transition out of that age of man and into the next one, with the rest of creation being dragged along with them. Sea creatures weren't obliterated by the flood like land- and air-dwelling creatures were (though I'm sure massive flooding and planetary upheaval wasn't exactly fun for them); they didn't come under Noah's immediate jurisdiction like the other animals. Combining that with what we know of octopuses generally being as emotionally mature and blindly vindictive as a six-year-old, and my opinion is that exclusion from the ark left them fully conscious of Original Sin and fully capable of still participating in it.

It's not theologically sound in any way, but it's wildly amusing to me.

[fanofcarson]

Fucked up how an adult can make a simple benign poor choice of words one time and give a child a complex forever

[hairtusk]

i orbit quite 'crunchy' spaces online (because i enjoy gardening, growing my own food, mending my own clothes, wearing natural fibres and non-chemical cleaning) and the amount of home-schooling and specifically 'unschooling' posts i see make me fly into a rage. you people are the reason that my entire job is to teach teenagers how to read from scratch because they don't even know their phonics.

[burinazar]

happy mother’s day

[ssaalexblake]

every day recently (and understandably) i see comments about the radicalisation of teenage boys but honestly, ask Little girls how the boys treat them. Not teenagers, little girls.

You will not like what you find out.

[afrophunk]

Parent-ish teacher conference went ok-ish

Tiencha design based on @stephanos-spaceopera 's Tiencha design. Or “Tienca” according to stephano