ok so who was gonna tell me that the last part of the german anarchist slogan “kein gott, kein staat” (no god, no state) is “kein fleischsalat” (no meat salad)
You know how in some ghost stories sometimes its not a person or a land that's haunted but the items?
Well what if, when looking for a mother's day gift for his mom, Danny is looking around a pawn shop and finds a necklace, it's missing some pearls but it's just enough to pass off as a decent gift. Danny humms but decides against it and goes to leave it....
That was until he gasped out blue frost and spots a ghostly woman appear out of the necklace with a somber smile. She isn't as seeable as the other ghosts in Amity though, meaning she doesn't have enough ectoplasm on her own (that might change the longer she's in Amity and around Danny though) and that right now only Danny can see her.
And Danny well... hes been doing his hero gig for a bit now, might go and ask if there was anything he can do to help.
And later Danny's good deed... bites him back. Oh boy. Because now he has the Bats looking into Amity Park... Wait what do you mean Martha is now strong enough to be seen?!
Last post, I promise, but I do think it’s good and important to see local art (defining that term as broadly as possible) but in my experience you have to put up with the little kick of embarrassment you feel witnessing something too earnest, a little clumsy, not polished within an inch of its life or in step with prevailing trends.
I’m thinking of the dance performances I saw this weekend, but also last week’s street festival, where I watched short films and walked through local art exhibits; I’m thinking about Chicago’s outsider art museum, and even the elaborately decorated (ostensibly tacky) yards I see in rural Illinois, but South Carolina and Tennessee before that, and Michigan before that. Maybe I should cast an even broader net: my aunt’s cross stitch, my grand-aunt’s horrible poetry; the art they display at the nearby retirement community and the halfway house too, which comes from the residents.
If you’re not used to leaving space for that little kick, you might turn away or scoff at all this small, fumbling art. But I think there’s value in forcing yourself to look beyond that initial stab of secondhand embarrassment---to actually appreciate the art in front of you as an expression of something deeply human. You don’t have to think it’s objectively good, or even subjectively good. You don’t have to pretend that a local woman with a talent for oils is the next [INSERT FAMOUS ARTIST HERE]. But I do think you have to appreciate it, because otherwise there is no entrance into making art yourself.
And that, more than anything, is worth preserving.
Excuse the format (I made this for instagram since that's what the publisher wants, rip) but this is basically a shorter, easy-to-read version of the history section at the back of my new book.
(Part 2 || The book)
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Disclaimer: I'm extremely not an expert, and this is only scratching the very surface of complex topics that are hard to simplify. I mostly made this to EXTREMELY rec these books and podcasts, and would urge you to go check them out if you're not familiar!!
This stuff might seem obvious to some of you, but let me tell you, I do NOT think it's widely known in the general UK population.
Imo a lot of the general (especially white) public think that the Windrush generation - Caribbean migrants brought in to help rebuild postwar Britain in the 50s - were the first Black communities in the UK. And yet there's deliberately not much focus on why the Caribbean has links with northern europe. HMMMM
(Britain loves, for example, to celebrate the abolition of slavery without mentioning WHAT CAME BEFORE IT - Britain being the biggest trader of enslaved people, with more than 1 million people enslaved in the British Caribbean. They literally just did it overseas.)
Telling the truth about history or British imperialism gets this massive manufactured backlash at the moment. There are so many ideas prevalent in UK politics - anti-Black, anti-refugee, anti-trans - based on going ‘back’ to some imaginary version of the past. Those are enabled by a long tradition of carving parts out of the historical record, and being selective about whose histories get told and preserved.
Even though the book I was making is a fun rom-com, by the time I finished researching, I decided to make an illustrated history section at the back too (this is a mini version). My hope is that readers who haven’t come across these histories might get an introduction to them - and some pointers of what they could read next to get a clearer view of our past.
made a post a while back on how javert's suicide is often poorly portrayed in film adaptations to the point of accidental comedy, and how the 1978 movie in particular is the most unhinged example. audio warning for a loud trumpet blast, don't turn up your volume