#passive literary art

[falseandrealultravival]

Haiku and the Four Seasons (Essay)

The four seasons factor is essential in traditional seasonal haiku. However, the opportunities to compose haiku are not equal in spring, summer, autumn, and winter. Since haiku is a passive literary art, it takes external stimulation to create a haiku. (This is not the case when the haiku of Europeans and Americans sometimes expresses the inner state of the mind rather than natural objects.)

Spring and autumn are the easiest times to write haiku. Sprouts sprout, flowers bloom, the leaves turn red, and the leaves fall off. External stimulation comes one after another, and the phrase can be written down as it is.

Winter is the hardest. Animals and plants hide their emotions, colors become almost achromatic, and external stimulation is drastically reduced. And second to winter, the most difficult is summer, which is full of flowers. You can think of this time as a time when animals and plants "stop" like winter. This is the “summer withering phenomenon”.

However, when materials are scarce, winter is also the time to approach the subject's essence; rather, it is possible to select and write good haiku. In a sense, it can be said that it is a colorless beauty.

Rei Morishita

There is color

But colorless

It‘s forest

俳句と四季（エッセイ）

伝統的な有季定型の俳句においては、四季のファクターは不可欠である。ただ春夏秋冬、句を詠める機会は、均等ではない。俳句は受動的な文芸であるから、外からの刺激があって初めて作句につながる。（欧米人の俳句にたまに見られる、自然物ではなく、心の内面を句にする場合は、この限りではない。）

もっとも作句が楽なのは春と秋である。新芽が芽生え、花が咲き、葉が赤く染���り、落葉するという現象は、そのまま句に出来る。外部刺激が次々に打ち寄せ、句もそのまま書き下ろせば良い。

難しいのは冬である。動植物がなりを潜め、色彩も無彩色に近くなり、外部刺激が激減するから。そして冬に次いで難しいのが、百花繚乱の夏である。この時期はむしろ冬のように動植物が「停止」する時期だと思ってよい。「夏枯れ現象」である。

だが、素材の乏しい冬は、対象の本質に迫れる時期でもあり、むしろ良い句を厳選して書くことが出来る。ある意味、無彩色の美であるとも言えよう。

Rei Morishita

色はある されど無彩の 林かな

[weirdmageddon]

i love these tags this person is so right

actually, can you imagine if dave was raised by B1 roxy?

i wanna get into this actually

(ok i had to spend a few hours rewriting this because IT DIDNT FUCKING SAVE AFTER FIVE HOURS OF WRITING WHEN MY COMPUTER UPDATED WHILE I WAS AFK so it would mean a lot to show this post some appreciation. i LOVEEE hearing what other people have to say)

even though these things mom does are presented in an extravagant, kitsch, jokey way, her intentions always came from a place of sincerity. she is simply Funnie

but rose reads too far into it and assumes things that aren't there, that her mother is passive-aggressively feigning interest in rose's interests simply because the things she does are so extra. "why do all of this if not to mock me"

im telling you right now if dave lived in this household he wouldn't assume antagonism, he'd go,

don’t forget who LITERALLY patented tangible jpeg artifacts as their post-scratch adult self and scattered shitty scummed up statue of liberties all over the planet. theres no way some of that overboard artful shit wasnt post-ironic / circling back around to genuine funny sincerity

dave's natural state is funny sincerity like roxy. he's had the natural capacity for this type of humor from the start and this is the direction he goes towards when he grows out of his brother's shadow by the end of the comic. dave and roxy share an earnest “so bad its good” type of humor

(lots more under the cut; the length of this meta analysis just got unwieldly with all the pictures and whatnot)

despite the alcoholism, roxy is a supportive mother. she's not the ideal guardian but hells of a lot more supportive of her kid than bro is. if she knew dave's interests she would totally indulge in them with some over the top silly goofy haha shit as a genuine gesture simply because she loves him

rose isn't too keen on it though. but she is more similar to dirk in her natural state of thinking of overthinking shit and assuming the worst, like the tags said

and yes dave got the sweet cuddly yet sometimes backhanded ouppy gene from roxy, probably even moreso lol

roxy's even said rose "sounds like girl dirk"

side tangent here, but this is something i wanna talk about.

i dont think bro should ever be in custody of children ever but if theres anyone who would be up to the task it's rose probably. i know she'd be able to keep up with him. not only does she have a defined personality (dave is more malleable and absorbs his environment like a sponge), if anyone can pick apart B1 dirk's batshit brain and probably be right on the money it's her. lil cal has been pumping patriarchal nonsense into bro's head and rose would be able to bring the fucking facts to the table without losing her own and being a living example of a badass little girl. i also don't think bro would try to force masculine roles onto rose like he did with dave, seeing as she is a girl, so she would actually have more of a leg up and get some passes that dave was never afforded. and rose wouldn't stand idly and accept any bullshit; she is no doormat. and i think this would earn bro's respect

but anyway, from this, couldn't we conclude roxy "sounds like girl dave"?

yeah okay. we havent even gotten into their penchant for funny typos or misspeaks, deliberate or otherwise

so, dave's environment

the sentiment "god you hope you can be as good as your bro at this some day" might have been genuine at the time when he idolized bro but of course he's not able to express that in any sort of sincere fashion because he's in dirk's fucking household. and this level 10 irony shit isnt doing dave any favors

his role models were the Internet and a vague idea of what Bro was like. So he built up his facade based on irony–not the literary definition of irony, as Rose might be quick to point out, but a popular concept of irony based on the idea that things that didn’t make sense actually made sense in some roundabout way. As a master of irony, Dave probably reasoned, he could see in a way other people couldn’t why a world that was scary and didn’t make sense really did make sense, and could therefore convince those people that he was superior to them. And he would wield his knowledge to maintain the appearance of superiority by calling everything ironic and pretending he didn’t care about things that didn’t make sense, and he would use walls of vaguely rhyming words to keep everyone at arm’s length so they wouldn’t discover his insecurities (source)

roxy's style is the embodiment of post-irony. being raised by mom lalonde would be like being raised by joel vinesauce ok

what can i say ….. (getting meta about this actually, hussie got these jpeg wizard wallpapers from a spyware website. link takes some time to load because internet archive)

rose is quick to read post-irony as actually being a joke/insincere, which in bro's case would be true. but i believe dave's natural instinct, outside of the influence of bro, is to read post-irony as genuine, which is exactly how mom serves it. we see this as early as act 3 from him; he understands her motives better than rose does herself:

and in act 6 intermission 2 i think it's pretty clear

but the thing is, it's always genuine from her. dave wouldn't have to second guess it because he's not one to naturally second guess someone's sincerity; that was learned due to his bro being virtually unassailable

there two types of ironies at play here:

seems like a joke, is actually genuine (roxy)

doesnt seem like a joke, is actually a joke (dirk)

you can make the argument that the second is is more psychologically destructive because it makes you question the reality of what is genuine sentiment and what isn't. dave never knew what was genuine and what was irony so he just sort of existed in this sincerity-ironic limbo and always did the opposite of what he genuinely felt on principle even if it always did originate from a genuine place.

"it just a joke bro i was just being ironic i dont actually x" is so much more trust-breaking and psychologically damaging than "wait are you being serious" / "i am being so fucking fr rn davy gravy" / "ok thats actually pretty fucking awesome. giant ass wizard statue" / "RIGHT"

how much about dave would change do you think? his character arc would be completely different for one thing, i think he'd have it good aside from mom's alcohol issues. he'd be left with the sweet and funny parts of him that we see at the end of the comic. the fake coolguy stuff is out, but this remains. this is dave in his element and we see it as early as act 1

he'd probably have no shades growing up in the lalonde residence* either cause those were given to him by bro straight out of the crater as an extension of his own cool image. and john gave dave ben stiller’s aviators for his 13th birthday to replace them so he could “spread his wings”

dave said he was wearing them for the ironies but i kind of doubt it. maybe post-irony but there was some reacharound to it being genuine because dave never put those pointy anime shades on his face again.

*though... it’s kind of hard to imagine him without his shades at all? B2 dave still got stiller’s shades from stiller himself so maybe getting them is a universal constant. i can imagine mom getting him them as a birthday gift cause shes pretty wealthy and probably could buy it out in an auction. but also itd be cool if john still gave him it as a gift

dave is actually a lot more genuine and easy to read than he lets on even when grappling with his upbringing with B1 dirk (again, see this post). this can be seen all throughout he comic but a good example is the evolution of thoughts about his interest in the preserved dead things in his room:

if B1 roxy was dave's guardian he probably WOULD have pursued paleontology because she wouldve indulged him in it and probably find it cool and worthwhile to pursue, instead of allowing dave to flounder under ironic detachment, being poisoned by irony to the point of gaslighting himself into believing he doesnt actually believe he thinks this shit is cool. even if it was indulged in this such a way; a superficially kitsch and ironic appearing presentation, it comes from a genuine place and inspires genuine interest. just read the comments.

basically, i think if B1 roxy raised dave, their relationship would have a surface level appearance of being bizarre or over-the-top but they’d have an unsaid mutual understanding that it’s completely in earnest and just build on each other's funny and absurd gestures of affection. rather than seeing it as one-upping each other, it'd more like collaboration of some silly bullshit that you take a step back and look at full and just say, "fucking incredible"

speaking of paleontology, mom had the proto-ectobiology lab. maybe they'd be able to use the equipment to appearify paradox ghost imprints of the dead shit to create paradox clones of things from the cambrian era??? sounds like a fun mother son bonding activity. and theyd actually put the sciencey shit in the household to use

oh god i know exactly the kinds of music shed listen too also growing up as a teen in the 80s. she on that (post)-punk/art rock/new wave/new romantic mtv stuff. XTC shit fr. this is a B-52S HOUSEHOLD. maybe the associates for the campy melodramatic flair. so he gets to keep the record on his shirt cause he is an enjoyer of the shit in her vinyl collection. dave would still gravitate towards musical expression and music itself but of more variety outside of just rap, with an 80s-90s, even 70s flavor due to mom’s influence. see this for perhaps a glimpse. ​she probably visited new york city a lot for business trips and because the music scene was cool as hell around that time, imports came straight from jfk airport, she probably got in on that a bit and have remnants in the form of vinyls and cassettes. in this way she could be distributing void to dave (influencing him with forgotten / presently irrelevant music). now he can REALLY rave about bands none of his friends have heard of. “hey davy grvay watcha listenin to” (he holds up vinyl cover) “omg snakefinger”

btw dave lalonde would look like this to me

[the-joy-of-knowledge]

How to expand your vocabulary (in an enjoyable way).

Self-Awareness

If you find yourself struggling to find the appropriate words to express yourself ,then you need to learn more words. If you are reading this article or you find the title interesting, then you are closer than you thought. You are simply self aware. Self awareness is the first step to muster the courage to pursue the art of language and communication. It dawned on me that I was verbally malnourished when I could barely find the words to describe the character I read in a novel. "So what was he like?" My curious friends will ask and all I could say was "he had a troubled childhood and it was evident in his lack of self-control." The sound of that description even troubled me. I knew there was more to his character, but I restricted by my literary scarcity. I still struggle with this but I am making daily efforts to improve. This article will be prescriptive and descriptive.

Execution

Read books, I mean read actively. I read books and I atke pride in it but I am a severely passive reader. I barely engage with the story, the character, or the author's attempt to challenge my prejudice or affinity for the character. My reading goal was to read as many books as possible, quantity over quality. By quality, I mean quality of my reading, not the books per se. Now, I read differently (and I only started this a month ago), I read prudently, making stops anytime I encounter an unfamiliar word. I include that in my vocabulary list on my Notes app. after about 10 words or so. I immediately find each words synonyms, two per word; one easy, one difficult. For example, Decrepit (derelict, neglected).

Use Chat GPT to create sentences for you in different context and practice with that.

3. Find ways to include your new learned words in your own way. If you work a 9-5, it may be helpful to customize your prompt to business/professional context, to be more applicable to you. But most importantly, create your own sentence structure. If you have a meeting, prep for it by using the words your learned, take notes as a guide to help you effectively convey your ideas. I learned "impetuously" recently and during a meeting with my manager she asked me to access myself based on my strength and weaknesses. I responded with "I tend to impetuously accept projects without understanding the deliverables and I end up being overwhelmed with the expectations." My point it make sure you use the context of your everyday life. If you are a humanities major, you might approach this differently.

4. Make it enjoyable. Think of each new word as a specific dollar amount. Then create a "verbal bank," the more words your learn the richer you become. Ecah word for me is valued at $50. I earn $25 extra if I can use it effectively in a conversation. It you learn 10 new words a week, you have made yourself $500. Deposit that into your verbal bank!

5. Record yourself saying this words. Try to actively recall them but through a conversation. Do 1-minute tests. Record yourself describing your day, giving a presentation etc Notice with words flow naturally, if you like go back to your vocabulary list and test yourself. by creating sentences.

6. Expand your reading. Well, I did say to read books and I would suggest to go beyond. Read articles (very well written ones) and when not reading, actively listen to podcasts and pay attention to how the host convey their ideas. You would notice that good writing or speech is not necessarily peppered with difficult words. Good writers is simple to understand because the authors make diffiuclt topics or esoteric topics digestible.

Emulatate & Practise

You simply just have to emulate. Copy the style & syntax of people you admire or respect for their speech or writing. Keep practising. It is a choice to improve or not. Don't hold yourself back. I am practising by writing as well and I have barely scratched the surface and I am sure you can tell by my writing. It is not sophisticated but I do hope to improve and you can to.

Excite yourself

You will come to find yourself smiling when you read a text with words no longer foreign to you. Words that were once distant and strange will eventually become a part of you. That is the best feeling ever, it's exciting.

[crimson-and-clover-1717]

@celluloidbroomcloset ‘s post here just hit me in the feels.

I’ve been mulling over the devices used to present Ed and Stede for a while in terms of gender identity and traditional hero/heroine archetypes. These are just threads of ideas I’ve tried to pull together.

For me, Ed’s personal journey is somewhat of a traditional female narrative, which is groundbreaking when you consider he is also characterised as Blackbeard. Wronged and jilted by a lover. Suffering and dying brokenhearted. Brought back to life by the love of a Disney Prince. Ed can be quite passive around certain masculine behaviours. Struggles with agency. Leaves things to fate. Talks to woodland creatures. Emotionally open when allowed to be.

And it also got me thinking how many times Ed is presented lying down in the show compared to Stede. I mean, he’s barely upright.

It’s all very therapist’s couch. But it’s also a feminine aesthetic, this reclining. Ed’s even recumbent privately during the Kraken-spiral, whilst publicly performing hyper-masculinity. It’s a pressure-valve whilst alone. Emotional release.

Whilst tortured on deck by Ned Low’s crew, the trope continues with Ed flat, Stede upright.

There are times Stede is the one lying down. At the meet-cute and just afterwards. Stede, the sleeping damsel rescued and watched over by a fervent prince. The pattern repeats again in 109, Stede in the bunk waiting for his Ed to come up with a rescue plan.

But it’s Ed who’s jilted. By 1.10, Stede is seen through a chivalric hero lens; Ed the lover who needs rescuing, emotionally.

The characterisations are so complex. They’re both queer, both enjoy traditional masculine identities, but also gnc ones. Both capable of being the rescuer and the rescuee.

Through an artist’s lens, Stede, represents the masculine vertical, Ed, the feminine horizontal. The perpendicular lighthouse and the flattened mirror. The light enhanced in the reflection, the mirror needing something to reflect (104). Stronger, more beautiful together.

In literary terms, Ed’s a sort of a male heroine. Stede, a femme hero.

Really, they both represent the complexity of the human condition. They are both characterised with male/female tropes and the subversions of these tropes.

Like them, we’re individuals, one-offs. Imperfect, contrary, vulnerable and brave. Whether we’re standing or lying down; or in a diagonal slump like I am most days. Honestly, I just love them. Through all of the art and symbolism, I love them for being so damn flawed and relatable and adorable.

[babybells123]

Regarding the original outline + some thoughts on Jon & Sansa… 

This is a long one. Buckle up.

If there is one thing I have picked up on in the ASOIAF fandom, it’s the knee-jerk negative reaction towards any theory/parallel/connection between Jon and Sansa. This was exacerbated by the show, of course but even now - five years later, there is an insane amount of vitriol that my brain is unable to comprehend. And here’s the rub; the infamous 1993 outline is the irony of it all. 

In a fandom that is a-okay with *certain* incest ships (r.e D@enerys x Jon, D@emon x Rh@enyra, Jon x Aria), as well as blatantly pedophilic ships (Sansa x S@ndor, Sansa x Littlefinger, Sansa x Tyrio*), how is Jon x Sansa the worst of them all? I’m going to pin it down to audience engagement with the show, particularly around the later seasons when Jon + Sansa reunite and people began to ‘ship’ them. So many believe that is how the ship took off, and thus it is mere crack - but there are posts tracking back to 2012/2013 theorising the possibility of Jon x Sansa. Was it spurred by the show? Certainly! But it does not take away from the fact that people were making valid arguments and essays before the general fandom was even comprehending a Jon and Sansa reunion on screen. And people were open to discussing/debating it with general civility (a far cry from today). 

I’m 90% certain people weren’t criticising those who began to believe in Jon x Aria when the outline was leaked…(though there were most definitely shippers before). But we never see the same level of vitriol towards Jon x Aria shippers, which is strange. 

In any case, let’s talk about said outline, some of the key points - and how I believe GRRM made the switch from Jon x Aria to Jon x Sansa. I’ll be drawing from GRRM’s past works, interviews, art, and his personal life - as well as other potential literary influences. I'll be linking metas along the way, but without further ado - let's go.

In October 1993, GRRM wrote a pitch outline for a publishing company. It was three pages long and conveyed alongside the first thirteen chapters of AGOT (170 pages). The three paged letter was leaked on twitter in February 2014, though there were multiple aspects parts blacked out. Keep in mind though, this may not be the *only* outline that exists. There are multiple outlines that have never been publicly released (and will likely remain that way). 

But let’s just focus on the 1993 outline, since we’re privy to the details. The thirteen chapters attached to the outline did *not* yet have a Sansa POV, and that’s because in this outline, she wasn’t listed as a key character.

The key characters were; Bran, Jon, Tyrion, D@enerys, and Aria.  

The first thirteen chapters were; Prologue; Bran I, Catelyn I, D@enerys I, Eddard I, Jon I, Catelyn II, Aria I, Bran II, Tyrion I, Jon II, D@enerys II, Eddard II, Tyrion II. 

I’ve seen people claim that Sansa isn’t an important character since she wasn’t listed as a key character, but they conveniently leave out the fact that a) her chapters were not yet written, b)she was given an entirely different more passive storyline in this outline, c) she dies, d) this was far far before GRRM fleshed out his characters entirely - Sansa took on a life of her own and she became her own solid complex character with an arc in 4 out of 5 of the books; 25 chapters. 

In fact, since the books have been published GRRM has regarded Sansa and the Starks as a main character as well;

Collider: In creating this world, did you start out with one family and then branch off into the rest of the world?

GRRM: Well, the Starks are certainly the centre of the story, when it begins. It all begins at Winterfell, with occasional cuts to Daenerys across the ocean, because there was no way I could get her into Winterfell. But, we bring all the characters together at Winterfell, and they’re all there for a while before they start to go their separate ways ... .But, the Starks are the centre of the book and, to a lesser extent, the Lannisters. They are still the major players. 

Collider: When you went into this, did you intentionally take the children, put them in an adult setting and force them to be in very adult and complex situations?

GRRM: Yeah, the children were always at the heart of this. The Stark children, in particular, were always very central. Bran is the first viewpoint character that we meet, and then we meet Jon and Sansa and Arya and the rest of them. It was always my intention to do that.” 

Collider report.

May 2016 - Balticon. 

(…) George said he was “pissed” that the outline was posted in the office building and that someone took photos and shared them. He said it was a letter for him and the publisher only. He was very firm when telling this and it showed on his face.

He then said that he is not good with writing outlines, making book deadlines, and that often in outlines he was “making shit up”, and “characters changed along the way”.

He went straight from talking about the references in the actual books, to the “differences” in the outline from then to now. He did say that he still knows who sits the iron throne and the end game of the main 5, but also included Sansa, but did not give any details (for obvious reasons).

[question if he is still going with the 1991 ending]

“Yes, I mean, I did partly joke when I said I don’t know where I was going. I know the broad strokes, and I’ve known the broad strokes since 1991. I know who’s going to be on the Iron Throne. I know who’s gonna win some of the battles, I know the major characters, who’s gonna die and how they’re gonna die, and who’s gonna get married and all that. The major characters. 

….

“So a lot of the minor characters I’m still discovering along the way. But the mains-”

[question if he knows Arya’s and Jon’s fates]

“Tyrion, Arya, Jon, Sansa, you know, all of the Stark kids, and the major Lannisters, yeah.”

Balticon report:

“Ah, how innocent I was… little did that guy in the picture imagine that he would be spending most of the next two decades in the Seven Kingdoms of Westeros with Tyrion, Daenerys, Arya, Sansa, Jon Snow, Bran, and all the rest.”

GRRM's live journal:

So Sansa has clearly developed into an important character from GRRM’s words, and the key-characters argument can cease, because It’s very tiring to dispel that when the characters and story took on a life of its own. (I mean, Jaime was meant to remain a villain, but he was clearly given somewhat of a redemption arc in the main series).

I paraphrased what was written here for this whole section, so go check out the longer post!

The Aria in the original outline: 

*NOTE: I am blacking out her actual names in case the wrong people find this post. None of this anti her, please keep that in mind.*

Five central characters will make it through all three volumes, [...] The five key players are Tyrion Lannister, D@enerys Targaryen, and three of the children of Winterfell, Aria, Bran, and the bastard Jon Snow. 

Joffrey will not be sympathetic and Ned [what appears to say] will be accused of treason, but before he is taken he will help his wife and his daughter Aria escape back to Winterfell.

Tyrion Lannister, meanwhile, will befriend both Sansa and her sister Aria, while growing more and more disenchanted with his own family.

When Winterfell burns, Catelyn Stark will be forced to flee north with her son Bran and her daughter Aria. Wounded by Lannister riders, they will seek refuge at the Wall, but the men of the Night's Watch give up their families when they take the black, and Jon and Benjen will not be able to help, to Jon's anguish. It will lead to a bitter estrangement between Jon and Bran. 

Aria will be more forgiving ... until she realises, with terror, that she has fallen in love with Jon, who is not only her half-brother but a man of the Night's Watch, sworn to celibacy. Their passion will continue to torment Jon and Aria throughout the trilogy, until the secret of Jon's true parentage is finally revealed in the last book.

Abandoned by the Night's Watch, Catelyn and her children will find their only hope of safety lies even further north, beyond the Wall, where they fall into the hands of Mance Rayder, the King-beyond-the-Wall, and get a dreadful glimpse of the inhuman others as they attack the wilding encampment. Bran's magic, Aria's sword Needle, and the savagery of their direwolves will help them survive, but their mother Catelyn will die at the hands of the others.

Exiled, Tyrion will change sides, making common cause with the surviving Starks to bring his brother down, and falling helplessly in love with Aria Stark while he's at it. His passion is, alas, unreciprocated, but no less intense for that, and it will lead to a deadly rivalry between Tyrion and Jon Snow

Observations:

Exactly how old is Aria? Is she a warrior princess who cries at songs like her aunt? Does she enjoy/yearn for romance? Is she a stunningly beautiful maiden rivalling that of Cersei? How close were she and Jon? Did they have a good sibling relationship? Or were they distant? Does she look physically different to Jon? Does she have red hair? 

The Sansa of the Original Outline:

‘Each of the contending families will learn it has a member of dubious loyalty in its midst. Sansa Stark, wed to Joffrey Baratheon, will bear him a son, the heir to the throne, and when the crunch comes she will choose her husband and child over her parents and siblings, a choice she will later bitterly rue.’ 

Tyrion Lannister, meanwhile, will befriend both Sansa and her sister Aria, while growing more and more disenchanted with his own family.

Jaime Lannister will follow Joffrey on the throne of the Seven Kingdoms, by the simple expedient of killing everyone ahead of him in the line of succession and blaming his brother Tyrion for the murders. 

More observations:

How old is Sansa? Is she 16? 17? She’s conveyed as a less important character in this outline - why? Queen of the Seven Kingdoms? She dies? Jaime kills her? What is her relationship with Aria like? Are/were they close? Or was Sansa initially meant to be a two-tone villain who betrayed her family? Is she overwhelmingly beautiful? Or is she the plainer sister? 

It’s quite clear that both ASOIAF Aria and ASOIAF Sansa are entirely different characters to their outlined counterparts. 

In the outline, Tyrion sacks and burns Winterfell. In ASOIAF, It’s Theon and later Ramsay who does this. In the outline, it’s Bran, Aria, and Catelyn who go beyond the Wall. In ASOIAF, it’s Bran, Meera, and Jojen (and Hodor). There are a couple of other changes made here, but there seems a pattern where certain acts *still* occur in the main series, they’re just given to different characters (which makes sense, as GRRM grows organically with his characters.)

So, when we take into account the fact of ASOIAF Sansa being considered a main/key character, her marriage to Tyrion, and the possibility of her being the first to reunite with Jon - perhaps GRRM did keep a Stark x Snow romance - but gave it to a different sister. 

In the 2016 Balticon report, GRRM stated he wished that ‘some past things didn’t have such strong foreshadowing and that newer things had stronger foreshadowing.’ You can make a case for J0nrya foreshadowing in the first book, but I’d argue that ACOK/ASOS is where the Jon/Sansa clues and foreshadowing is rife. (and there are certainly Jon/Sansa clues in the first book as well.) 

Now to circle back. The Aria of this outline doesn’t have a personality - none of the characters do, really. We don’t know how old she is. Is she a teenager? Is she close in age to Jon? We know she has her needle, so can infer she is a fighter and spirited, but is there a soft romantic side to her? Does she cry at songs like her aunt Lyanna? Does she yearn for love? Is she immensely beautiful? For a narrative like this? It'd be likely if Jon and Tyrion are fighting to the death over her, sort of like gallant knights fighting each other to win the heart of a fair maiden (very romantic and idealistic, mirroring the songs and the stories).

(This is how I am certainly inferring such a scene would have gone).

The ASOIAF Aria we know and love took on a life of her own. She’s described as plain looking (some envision her to be more beautiful than characters like D@ny, Cersei, and Sansa though). - But just quickly on that matter, Aria is indeed compared to Lyanna in looks and spirit, though Lyanna’s beauty was described as wild and implied as non-conventional; different perspectives have different opinions on her. For example, Cersei, Jaime, Devan, the Maester who wrote the WOIAF don’t consider her anything special. Whereas Ned, Robert, and Rhaegar do. So it’s one of those instances where you aren’t exactly sure. In any case, Aria's looks aren't a driving factor in her arc, and I don’t see ASOIAF Tyrion (as creepy as he is) suddenly falling in love with her due to mere attraction because presently, Aria is all knobbly knees and elbows, stick thin, a child, not a maiden, who will still be a pre-teen at the end of the series, if there is no massive time jump.

SHE'S JUST A BABY.

But then, Tyrion did lust after Sansa, so there’s that… however ….

Sansa’s beauty is a driving force in her narrative arc. She is objectified for her beauty. Preyed upon because of her beauty; in many ways it causes her to suffer. It’s largely why LF is grossly infatuated with her - she’s beautiful like Catelyn. Tyrion is attracted to Sansa and wishes to bed her, the H0und intends to rape her during the Blackwater battle, he also comments on her breasts growing, Joffrey sexually humiliates her in court, Ser Dontos has a pervy infatuation with her, Cersei despises Sansa because she is younger, more beautiful etc which she views as a threat.

So, beauty is pertinent to Sansa’s narrative, and it isn’t vain or shallow to say so because it’s a large part as to why she suffers. And her physical beauty is meant to compliment her indulgence in romantic idealism; knights, chivalry, courtly love, beautiful appearances thus equating to good people. It also contributes to perceptions of Sansa; nothing more than a pretty, stupid girl with naive dreams. 

So back to ASOIAF Aria: Her arc largely surrounds nature & nature, mercy, war trauma and survival, friendship, belonging, and family. For the majority of the story, she is a traumatised 10 year old travelling through a war torn country, witness to awful horrors, forced to assume multiple identities, until she goes to Braavos and begins her faceless man arc. But this is obviously not her endgame - she is going to go home eventually, that is quite clear.

You can argue she had a little crush on Gendry (as a 10 year old would) (and perhaps something may happen with him when she is older, I think GRRM has played with it.) But other than that, romance is not a central part of Aria's arc insofar. For outline Aria it was, but current ASOIAF Aria is on a completely different tangent all together.

(and that poor poor child is suffering immensely while this is all occurring).  Currently, she has no time for/interest in it. She hasn’t been involved in betrothals/marriages, or had men lusting after her (save ‘Mercy’ and people men making brutalising sexual comments towards her). She disguises herself as a boy for a good chunk of the story as it is safer to travel.

No, I’m not trying to reduce any sexual trauma/objectification she suffers, she’s a little girl for heaven’s sake - I’m merely stating that what she is going through is in some ways similar and different to what Sansa is going through. (Who currently is in a in a very Lolita type situation with LF and men sexually intimidating/abusing her has been a key part of her arc - as I said, she suffers significantly due to her beauty. She is something to possess, she isn't real or tangible, she is a beautiful maid with a vast claim to the North.)

Anyway, ASOIAF Aria finds songs and romance ‘stupid.’ 

“Sansa would have shed a tear for true love, but Arya just thought it was stupid.” (Arya VIII ASOS) 

 (but that doesn’t mean she won’t encounter it later in life, it just means that at this point of the story, she isn’t interested/likely won't encounter some epic grand romance that outline Aria was likely destined for. (And she’s 11 for god’s sake!).

‘But Sansa was dreaming of love at that age!’

Sansa has been a romantic idealistic dreamer since she was a little girl. She adored those stories and is the literal embodiment of the mediaeval pre-raphaelite maiden depicted in art. It’s central to her story arc, to her qualities, and how she functions/copes with things around her. “Life is not a song.” Is so fundamental to that.

So to reiterate ASOIAF Aria is a completely different character to outline Aria- for all we know OG Aria was 15 years old, very beautiful to the point of men duelling over her, (just as depicted in art above) likely a romantic heroine, had consistent memory lapses that would cause her to “realise in terror, she had fallen for Jon,” and based off of GRRM’s past works - was probably a redhead. 

“But OG Aria has a sword named needle!”

Indeed, but as I stated, we don’t know anything else about her beyond that. Many have theorised that D@ny and Jon are the epic romance of the series, but it’s clear from this particular outline that GRRM intended for it to be Aria and Jon as the epic major romance of the series. That would mean Aria would have to be a somewhat romantically-inclined character, for this development to appear natural and not forced. Based on her current ASOIAF arc, it doesn’t track for her character to make a sudden 180. Her softness and vulnerable moments come from thinking of her family and home. Insofar, this isn’t equated to yearning for love, romance, children, as Sansa has done from the beginning of the series.

Now, we know GRRM is a self-proclaimed romantic, and ASOIAF Sansa exists very much as a deconstruction of romanticism. 

“He said he is a romantic, in the classical sense. He said the trouble with being a romantic is that from a very early age you keep having your face smashed into the harshness of reality. That things aren’t always fair, bad things happen to good people, etc. he said it’s a realistic world, so romantics are burned quite often. This theme of romantic idealism conflicting with harsh reality is something he finds very dramatic and compelling, and he weaves it into his work.” (2005 interview).

Sansa is arguably, the embodiment of this dismantling. But that doesn’t necessarily mean that love isn’t real, or that it doesn’t deserve to exist in a gritty world such as Westeros. There were many couples who had good, happy marriages, even after war and loss and trauma. For example, apart from the Jon Snow situation, Ned and Catelyn had a remarkably healthy relationship. So it is possible - the takeaway from the series is not that hoping is meaningless, dreams are meaningless, love is meaningless. More so that it is complicated, and it must coexist alongside all the chaos in order to achieve a sort of

equilibrium. A literal ‘Dream of Spring’ a hope for happiness, rather than happiness itself. It tracks with the bittersweet conclusion to the series ; it is a grimdark story, but that doesn’t necessarily mean it’ll be a grimdark ending where everyone good and noble dies and wishes/dreams/innate desires remain unfulfilled. 

In fact, I argue that a lot of them will come true - but at what cost? It’ll be at the cost of loss and grief, of suffering upon suffering, but what’s inherently more powerful, what’s more subversive is having those characters persist and rebuild, regenerate, create a new world where love and chaos undoubtedly exist alongside each other, but just because there is chaos, that does not mean the love is miniscule or cancels out entirely. 

Because if all these characters have the most unsatisfying, awful conclusions known to man, well - what was the point of everything? What was the point of their journeys? This isn’t a nihilistic story, and it won’t have a nihilistic ending like everyone assumes. It’s far more difficult for an author to craft such an ending, balancing things out whilst acknowledging all the loss and still holding out hope for a better future to come. That brighter days will arrive. That winter will end, and spring will be on the horizon.

“We may lose our heads, it’s true. But what if we prevail?” (Davos I ADWD). 

And that right there, sums it up perfectly. 

So you need characters like Sansa, characters like Brienne, D@ny, (you know what let’s just add all the Stark children of the series to the list, because every single character arc is about remaining resilient and prevailing in some way or another). 

But it’s Sansa who exists as the meta character that embodies/indulges in all those romantic ideals that GRRM is intent on exploring - it thus makes perfect sense for it to be her that experiences the romance arc. Many people think she’ll end up with the H0und, or Harry the douchebag, because it’s a part of her growing up, maturing, learning from her negative biases etc etc but she shouldn’t have to be with abusive or douchy men to learn that. She’s already learned and suffered enough. 

“It is my claim they want. No one will ever marry me for love.”

And how utterly heartbreaking that she has resigned to think this, with her arc only mid-way. But importantly, just a few chapters later she enters the garden of undisputed beauty and equates the snow landing on her face with romantic kisses, she dreams of innocence and winterfell, despite lamenting how she doesn’t belong in such a pure world, she steps out into it all the same. And she builds her home in the snow, content and for once - she’s the child she is, the child she is yearning to be.

So Sansa falling in love with Jon makes sense on a characteristic level. It’s something she never would have considered as a sheltered child, not just because he’s her bastard half brother but because he just didn’t exist in her idea of how the world works. He didn’t fit in with her idea of knights, and courtly love and chivalry. He wasn’t a gallant golden prince, he was dark, sulky and brooding. He existed on the parameters of her life, and she was comfortable with that distant association - but she still loved him, and he her. 

Falling in love with Jon would equate to a dismantling of these previous prejudices  she held; he’s utterly unconventional, the opposite of what she has shown attraction to (despite her first ‘love’ being Waymar Royce, who resembles Jon strikingly). The man she never really considered beyond courtesy and some scarce, fond memories - to be the one who restores her faith in men, in love, in dreams. 

“Realising with terror that she has fallen in love with Jon… their passion will continue to torment them.” 

tracks with Sansa’s characterisation particularly, her memory lapses, her clouded judgement, and inability to interpret things correctly (and something as confusing as this would certainly cause her to have some cognitive dissonance going on).

Not to mention caution around well… men. Because who would ever marry her for love? Who would ever take her for true? Love her without expectations and judgement? It’s Jon. Who has been there since the very beginning, who has been a silent unconscious hero, the answer to her prayers, who embodies all those romantic and knightly ideals she has so desperately wanted - despite her being unaware. Who has advocated for her claim - above everyone else.

“No one will ever marry me for love.” And that infamous Jon chapter follows. Jon who is never quite far from Sansa’s suitors. Jon, who has a similar dream of rebuilding Winterfell, of having children named after lost siblings, who wants to woo a girl by giving her a rose and loving beneath the heart tree - the heart of Winterfell. Who would undeniably want to have that beautiful soul-nourishing love he never received as a child, that he believes is perpetually unavailable to him. 

Above all,  they just fit together. It fits with GRRM’s William Faulkner-esque “the human heart in conflict with itself".” And this is a perfectly subversive way of  encapsulating that Jon confusing brotherly love and affection with romance, struggling with the shame of it all - especially post-resurrection, the religious disillusionment that would occur, the notion of Jon being loved by the kind of girl he believed he never had the right to, who his deeply romantic heart is yearned for. (There is a reason GRRM let us know how badly Jon yearns for domesticity, Winterfell love, children, and a wife. He associates his love for Ygritte with her singing, her hair, her smile. He dreams of her tending to him with gentle hands) The simple yet meaningful things that have been denied to him because of his bastardry. And god, what better way to torment these two than by having them fall for each other - realising they fit each other so perfectly, yet tormented by their familial relation. Until, as the outline puts, the parentage is revealed. 

Do I believe they will act on their feelings pre-parentage reveal? No. It’ll likely exist in the subtext, in private thoughts and actions. Angst, guilt. Again, the stuff that GRRM loves - the human heart is in conflict with itself. 

Much like Lord Byron’s ‘The Bride of Abydos.” Where half-siblings fall in love with each other until they realise they are actually cousins. Lord Byron, who was famously in love with his half sister Augusta, who was a stranger to him for a good portion of his life until they properly got to know each other and fell in love. (Who does that sound like?’)

And if you’re wondering how Jon and Sansa could possibly connect to Lord Byron, well there is a ‘Byron the Beautiful’ in Alayne II AFFC, and Alayne I TWOW. GRRM has further instilled characters by the name of “Manfred” which is in reference to Lord Byron’s infamous work of the same name. (I urge you to check out all of Cappy's Byron metas, they are fantastic.

And, Jon has been called a “Brooding, Byronic, romantic heroine whom all the girls love.” GRRM knows what Byronic is inferring - he isn’t daft, he’s a writer - he reads other works and takes influence and sprinkles in so many things. 

A Byronic character involves:

. . romantic melancholy, guilt for secret sin, pride, defiance, restlessness, alienation, revenge, remorse, moodiness, and such noble virtues as honor, altruism, courage, and pure love for a gentle woman. (Poetry Foundation, Lord Byron)

“GRRM: I was always intensely Romantic, even when I was too young to understand what that meant. But Romanticism has its dark side, as any Romantic soon discovers… which is where the melancholy comes in, I suppose. I don’t know if this is a matter of artistic influences so much as it is of temperament. But there’s always been something in the twilight that moves me, and a sunset speaks to me in a way that no sunrise ever has.”

Infinity plus:

And isn’t that exactly what he would be exploring with Jon and Sansa? It isn’t a conventional romance by any means. It could never exist normally until Jon’s parentage is revealed. And that is the tormented nature of it, that is the “bittersweetness” of it - it is rooted in realism, yes - and that to me, is Sansa receiving her true love, countering that no one would ever marry her for love. The gods will grant it to her, - but it’s wrapped up in this darker, morally ambiguous thing that is confusing for her, even though Jon would be her dream come true - he isn’t this neat little courtly golden package, but he embodies all those ideals more than any man she’s actually met. 

It’s subversive to what both the characters and the readers expect, and it’s just a brilliant plot twist that screams unpredictability whilst fitting together like a perfect puzzle. It creates internal conflict and evokes those themes that GRRM loves to explore. By giving the ‘heroes’ of the series a motif such as incest is extremely bold; because it challenges the reader greatly. Some people don’t want Jon to end up with Sansa because it contradicts the image that they have of him in his head - the heroic male who will save the world with his heroic counterpart and together they shall rule the seven kingdoms. To embrace his father’s family, claim a dragon, fulfil the prophecy, be the third head of the dragon, reject his stark-ness. Very predictable. Done to death a thousand times over, and yet - it is what the general audience wants/expects. It’s what the dudebros who call him the ‘GOAT’ want, it’s what the Targ stans want, it’s what the show watchers wanted - but what does Jon want? 

“Yet he could not let the wildlings breach the Wall, to threaten Winterfell and the north, the barrowlands and the Rills, White Harbor and the Stony Shore, even the Neck. For eight thousand years the men of House Stark had lived and died to protect their people against such ravagers and reavers . . . and bastard-born or no, the same blood ran in his veins. Bran and Rickon are still at Winterfell besides. Maester Luwin, Ser Rodrik, Old Nan, Farlen the kennelmaster, Mikken at his forge and Gage by his ovens . . . everyone I ever knew, everyone I ever loved.” (Jon II ASOS). 

“I would need to steal her if I wanted her love, but she might give me children. I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. Val would want to keep her sister's son, but we could foster him at Winterfell, and Gilly's boy as well. Sam would never need to tell his lie. We'd find a place for Gilly too, and Sam could come visit her once a year or so. Mance's son and Craster's would grow up brothers, as I once did with Robb.

"He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. It was a hunger inside him, sharp as a dragonglass blade.” (Jon XII ASOS). 

“Red eyes, Jon realised, but not like Melisandre's. He had a weirwood's eyes. Red eyes, red mouth, white fur. Blood and bone, like a heart tree. He belongs to the old gods, this one. And he alone of all the direwolves was white. Six pups they'd found in the late summer snows, him and Robb; five that were grey and black and brown, for the five Starks, and one white, as white as Snow.”

He had his answer then." (Jon XII ASOS)

“He was the blood of Winterfell, a man of the Night's Watch. I will not father a bastard, he told her. I will not. I will not. "You know nothing, Jon Snow," she whispered.” (Jon VI ASOS)

“Ygritte answered for him. "His name is Jon Snow. He is Eddard Stark's blood, of Winterfell." (Jon VIII ACOK)

"Then you must do what needs be done," Qhorin Halfhand said. "You are the blood of Winterfell and a man of the Night's Watch." (Jon VI ASOS). 

“You can't be the Lord of Winterfell, you're bastard-born, he heard Robb say again. And the stone kings were growling at him with granite tongues. You do not belong here. This is not your place. When Jon closed his eyes he saw the heart tree, with its pale limbs, red leaves, and solemn face. The weirwood was the heart of Winterfell, Lord Eddard always said . . . but to save the castle Jon would have to tear that heart up by its ancient roots, and feed it to the red woman's hungry fire god. I have no right, he thought. Winterfell belongs to the old gods.” (Jon XII ASOS) 

“He sat on the bench and buried his head in his hands. Why am I so angry? he asked himself, but it was a stupid question. Lord of Winterfell. I could be the Lord of Winterfell. My father's heir.” (Jon XII ASOS).

“If I could show her Winterfell . . . give her a flower from the glass gardens, feast her in the Great Hall, and show her the stone kings on their thrones. We could bathe in the hot pools, and love beneath the heart tree while the old gods watched over us.” (Jon V ASOS). 

“If he must perish, let it be with a sword in his hand, fighting his father's killers. He was no true Stark, had never been one … but he could die like one. Let them say that Eddard Stark had fathered four sons, not three.” (Jon IX AGOT).

Look, at the end of the day - we don't know how the story will go, but based off of Jon’s character arc? His thoughts? His actions? His relationships with his siblings? The fact that he has warged into a magical beast directly associated with Starks? The North? The Old Gods? The weir wood trees? I think that instead of GRRM having Jon go down the conventional disadvantaged male hero finding out he is a secret prince and thus becoming King and a proper Targ, GRRM will subvert expectations (much to audience displeasure) and do the opposite.

Learning of his true identity will just cause more angst and a major identity crisis. The one thing Jon finds real and solid, that no one can take from him - is that he is Ned Stark’s son. He raised him. Perhaps they don’t share a direct blood link. But that doesn’t matter, what matters is that he was raised by him, loved by him. So instead of choosing his father’s family; embracing the secret prince persona and fighting for the throne - he’ll choose his mother’s family. And I think that is beautifully conclusive.

But back to Jon and Sansa. GRRM is given the opportunity to explore the sort of impact this incest motif has on fundamentally good people. And I think this is what he originally intended to do with Jon and Aria.

Yes, we have Jaime and Cersei, but this is real sibling incest and rife with toxic narcissism, possession etc. We have the T@rgaryens, which are messy beyond belief and practice it due to blood purity. 

But Jon and Sansa clearly differ from the rest, and that is because they exist partly as foils as to what we previously have seen. Similar to Jonnel x Sansa. By intentionally refraining from the development of a properly-close sibling relationship, making Jon and Sansa fundamental opposites visually, and associating them with entirely different cultures (yet writing their core personas as the same, their dreams compatible, their thought process and idealism similar).

GRRM manages to pave the way into such a romance that comes as a shock to the characters, the narrative, and readers themselves. Because no one, absolutely no one would see it coming, and the people who have been privy to the theory - immediately dismiss it - and become quite angry when it is brought up. Like I said earlier, a knee-jerk reaction. 

To quote this brilliant meta right here:

‘Whether Jon and Sansa fall in love is up to the author and his intended exploration of literary/mythic themes that his predecessors have deployed. He is not writing from (or for) the moral values of show watchers and book readers, or their anecdotal hopes for how things “should be.” He’s writing a narrative that breaks away from conventional storytelling and what we expect from such characters.’

…

‘ I don’t believe the author is giving up completely on the romantic dream. He has made Sansa more cautious, converted her dreams into mere prayers, and has forced her to examine her assumptions, but he’s not turning her into the H0und, who is too pessimistic and fatalistic as a suitor. Sandor’s assertion that all knights are killers makes fantasy so small, it’s eliminated. I think he is setting Sansa on a path where her dreams do die, and her life becomes about as romantic as that smokestack in Cleveland - until they start to come alive again when she travels North to the Wall.’

'That cold, hard reality is still present in the fact that they are brother and sister, but once Jon’s parentage is revealed, this will change. Like an inverted Cinderella (clock striking 12), the reality will become fantasy again. But it’s still inladen with this bitter reality of their relations. So taking this into account, I believe Jon and Sansa could happen because there is no other couple in the series with which GRRM can explore his fascination with fantasy becoming “smaller,” but not completely shrinking altogether. There are no two better characters who represent these ideas, who have the same quietly domestic desires - who do not (at the moment) actively lust for power and cause it to blind them.'

So in essence, Jon and Sansa exist as the subversion of romance. In a twisted, loving sort of way that is morally conflicting to the characters and audiences (for a time). That has existed between the lines, subtly and implicitly. That the audience gives absolutely no thought, because why would they? And if they do, they are abhorred by it - but I’d argue this is the entire point. But not for the reasons you think, not because of the incest - or J0nerys would disgust them.

From the moment he started the series, GRRM has employed incest as a major motif that impacts both the narrative and the characters - the causes the war, that contributes to T@rgaryen values, legacy etc, that propels aspects of narcissism and vitriol for characters like Cersei. It’s really really interesting stuff, as uncomfortable as it is - there are no other works that explore it so messily and beautifully with such nuance. 

I believe people seriously underestimate GRRM’s use of omission and subtext. Seriously, just because something is not explicitly stated, doesn’t mean it isn’t there. Unfortunately fans have such a surface level reading of the text, that they are unable to peel back the layers and get to its core. They don’t consider literary influences, or art, or the Romantic movement or anything. They claim they want a complex story that is subversive, yet they cheer for the three-headed dragon theory and all the most predictable plot points that have been absolutely done to death. But then they turn up their noses at anything that goes against the grain, or insinuates otherwise.  

R + L = J is a great example of existence within the subtext, yet nobody denies that it is there. No one is called crazy or delusional for it. Ned never thinks of Jon’s true parentage despite harbouring that secret for years, because it is buried deep in his subconscious.

And much to the audience’s surprise (and dismay I'm sure) that is how Jon and Sansa will manifest. This is the human heart in conflict with Jon and Sansa, but not just them - the readers as well. It’s pointing to us, asking us how we’ll possibly handle it. We’re meant to feel this conflict of emotions - anguish and torment and yet hope for something ineffable - just like the characters.

To be able to evoke that as a writer is one of the most impressive feats I can think of - and for the majority of it to exist at this point, in a subconscious limbo?  How utterly complex and painful and raw and intelligent but oh so very brilliant. Perhaps one of the most compelling things to come out of this entire series, if only the general audience was open to such discussions. But alas, we must contend with the community we have, and hope for a dream of spring to come upon us. 

[polysprachig]

✨Langblr & Studyblr Re-Introduction✨

Hello everyone! I looked at my blog the other day and realised that all my basic info is well out-of-date, seeing as I was last active in the langblr in 2014-2018. Anyways...

about me

Maria, 32, all pronouns welcome

I've lived/studied or worked in: 🇺🇸🇩🇪🇬🇷🇧🇾🇮🇪

my background is in Germanistik & Creative Writing; CELTA-certified; & I work as an independent foreign language consultant/teacher in English and German

right now I'm working towards getting into literary translation & audio recording (literary reading/performance)

languages

Mains/Everyday English (native), German, French, Irish, Greek (passive bilingual->active since 2018/19)

Others/Select Usage Italian, Old English, Middle English, Dutch, Norwegian, Russian, some Latin (esp. Medieval)

Conlang Ätchgö

There are other others but let's just leave it at that for now.

blog goals

share my polyglot journal notes and studies from the last 5 years, both to review/follow-up on them and because I think it could be interesting to other learners

interact with people on the language learning process itself & share study tips

meet people to discuss shared interests in our shared languages (art, music, philosophy, literature, theatre, culture—kind of dark/light academia-coded, I know, and I live for it)

treat posting as a hobby, not an obligation (i.e. I tend to take hobbies and mentally turn them into chores)

things I may post about here

language and linguistics stuff, esp. mutual intelligibility/historical linguistics/poetics, literature, my translation studies et. al., IWTV meta/memes/aesthetic and my blorbos (because I can't not), writing tips/memes, Chaucer, Byron and the rest

apart from language/cultures/literature I like

good coffee/espresso, cooking, stargazing, travelling, journal writing & fanfiction

[realbeeing]

the 3 beasts faced by contemporary humanity, according to Rudolf Steiner

"The human being of today is afraid of the spirit's creativity. Fear sits deep in his soul. And he would like to conjure it away. So he dresses his fear in all kinds of pseudo-logical arguments by which he tries to refute spiritual revelations.

You will hear, my dear friends, from this or that side, arguments against spiritual knowledge. It is sometimes dressed in clever, sometimes in sly, sometimes in foolish logical rules. Never, however, are the logical rules the reason why spiritual knowledge is refuted. Rather it is [the first beast], the spirit of fear, that lives and works deep into humanity's inner life which, when it rises to the head, translates into logical reasons. It is fear!

But it is not sufficient to say: I am not afraid. Everyone can of course say that. We must first comprehend the nature and the seat of this fear. We must tell ourselves that we were born and educated according to the present time, in which the Ahrimanic side has installed spirits of fear, and that we are tainted by these spirits. And conjuring them away doesn't mean that they really go... [it is only] the inner courage of soul which provides the strength and the capacity to follow the path that leads to true, real, light-filled spiritual knowledge.

And the second beast, which creeps into the human soul from the spirit of the times to become an enemy of knowledge, this beast lurks everywhere we go—in most of the literary works of the day, in most of the art galleries, in most sculpture and art in general and music. It wreaks its havoc in the schools and in society. In order to avoid having to confess its fear of the spirit, it resorts to mocking spiritual knowledge.

This mockery is not always openly expressed, because people are not conscious of what is within them. But I would say that only a thin wall, the thickness of a spiderweb, separates what is in people's consciousness and what is in their hearts wanting to mock true spiritual knowledge... Basically everyone today is vaccinated against the spirit's revelations. And the mockery is manifested in the most unusual ways.

The third beast is lazy thinking, the kind of thinking that would make the whole world a movie, because then no one is required to think—everything is reeled out and all one has to do is follow what is reeled out. Even science would like to follow the world's phenomena with passive thinking...Humanity's thinking nowadays can be compared to someone who wants to pick something up from the floor and stands there with his hands in his pockets and thinks he can pick the thing up that way. But he cannot. And existence cannot be comprehended by thinking with its hands in its pockets. We must move our arms and hands if we want to grasp something from the floor. We must activate our thinking if we want to grasp the spirit."

- Rudolf Steiner, from a lecture given February 15, 1924 in Dornach. [edited for brevity; emphasis mine]

[justforbooks]

South Korean writer Han Kang has won the 2024 Nobel Prize for Literature, announced this morning by the Swedish Academy in Stockholm. Kang was cited for "her intense poetic prose" that "confronts historical traumas and invisible sets of rules and, in each of her works, exposes the fragility of human life. She has a unique awareness of the connections between body and soul, the living and the dead, and in her poetic and experimental style has become an innovator in contemporary prose." She is the first Korean to win the Nobel Prize for Literature. She receives 11 million Swedish kronor (just over $1 million).

Kang is best known in the English-speaking world for The Vegetarian, translated by Deborah Smith (Hogarth), which won the Man Booker International Prize for fiction in 2016 and was made into a movie. (See our review here.) The Swedish Academy commented: "Written in three parts, the book portrays the violent consequences that ensue when its protagonist Yeong-hye refuses to submit to the norms of food intake. Her decision not to eat meat is met with various, entirely different reactions. Her behaviour is forcibly rejected by both her husband and her authoritarian father, and she is exploited erotically and aesthetically by her brother-in-law, a video artist who becomes obsessed with her passive body. Ultimately, she is committed to a psychiatric clinic, where her sister attempts to rescue her and bring her back to a 'normal' life. However, Yeong-hye sinks ever deeper into a psychosis-like condition expressed through the 'flaming trees,' a symbol for a plant kingdom that is as enticing as it is dangerous."

Her other titles published in English include The White Book, translated by Deborah Smith (Hogarth), which was shortlisted for the Man Booker International Prize in 2018; Human Acts: A Novel, translated by Deborah Smith (Hogarth) (see our review here); Greek Lessons, translated by Deborah Smith and Emily Yae Won (Hogarth) (see our review here); and We Do Not Part: A Novel, translated by Emily Yae Won and Paige Aniyah Morris (Hogarth). Mongolian Mark won the Yi Sang Literary Prize in 2005, and her novella Baby Buddha won the Korean Literature Novel Award in 1999 and was made into a film. She has published other novels, novellas, and poetry in Korean.

Kang's first published works were poems that appeared in 1993. The following year, her first short story appeared. Her other honors include the Today's Young Artist Award and the Manhae Prize for Literature. She has taught creative writing at the Seoul Institute of the Arts.

Daily inspiration. Discover more photos at Just for Books…?

[avasghost]

FOREIGN BIRDS: WIP INTRO

its finally here. the new wip. i haven't made a wip intro since i started ested in like june 2021 and i honestly forgot how this works but i'll try my best to make it coherent.

first thing i should clarify for those of you who didn't see this post, this used to be @/rowansghost, but i started using the name silas instead, so that's why my url looks shitty now.

TW: suicide, addiction, death, grief, manslaughter, ghosts

disclaimer: this is my original work. plagiarism of any kind will not be tolerated.

genre: literary fiction

time period/setting: 1970s, somewhere in canada, small coastal town

projected word count: 50k

pov: first person retrospective referral (with shifts into present)

plot/concept: foreign birds follows 22-year-old martin, who drops out of college and decides to move back to his hometown after accidentally killing his best friend, gabriel. he never wanted to go back to his hometown again, but decides to stay when he meets rainey, who he ends up moving in with, while all the time he's harbouring his secret and hoping he doesn't become a suspect for gabriel's death. the story is told from the pov of his ghost after he kills himself, when he returns to haunt rainey's house. it is his apology to her, where he tells her all the things he never said and all the things he'll never be able to.

aesthetics/vibes: dusky blue light, house parties, smoking a cigarette in the bathtub, neon lights, bruises, ceramic dishes, a quiet apartment, a damask carpet, tv static, soft yellow porch light, playing records, medication bottles, the halo of a streetlight, rosary beads, humming powerlines, a box of matches, a living room full of birds in cages, red wine, thinking you see an angel, neon diner signs, pulpy orange juice, a buzzing ceiling fan, disco light, the orange cast of a lampshade, empty church pews, the scent of a lit match, pale yellow kitchen tiles, blue veins, jittery radio voices, sitting at the kitchen table at 2am, motel rooms, laundromats, cigarette burns, refrigerator light

CHARACTERS

i have several characters planned for this book but i'm not quite sure how they'll play into the story yet, so i'm just going to include the most relevant three for the sake of your attention span.

martin

22

intj, enneagram 3w4

photographer

slightly long dark brown hair, light brown eyes, 5'11, very skinny, pale, fashionable, wears sunglasses a lot

kind of narcissistic, will manipulate people for his own gain

actually cares a lot about rainey and struggles between choosing her or choosing himself, like he's used to

charming, emotionally detached, manipulative, secretive, obsessive, independent, intelligent, loyal only to a few specific people

burnt out gifted kid, has been called a waste of potential

likes going to parties despite being very introverted

considers himself above other people due to their neglect for him growing up, feels like he deserves better and especially did when he was a child, and that he doesn’t need them because he’s grown superior and now he can retaliate by using them before they use him

in a downward spiral that eventually ends in his suicide

rainey

23

entp, enneagram 8w7

journalist

long red hair with bangs, dark brown eyes, 5'3, dresses like she's richer than she is

assertive, innovative, outgoing, autonomous, outspoken, stubborn, passive-aggressive, confrontational

a lot more successful than martin

trying to support martin and help him get better, knows he doesn't tell her as much as he pretends to, doesn't find out his secrets until the night before his suicide

obsessed with tropical birds, has several birds in cages in her living room, cares for them more than she cares for most people

also has a cat

gabriel

22

martin's best friend/boyfriend (but it’s the 70s so nobody knows about that) who he accidentally killed

infp, enneagram 4w5

art student

dead in the fictive present, but is a very prominent character in flashbacks

curly black hair, dark skin, light brown eyes, 5'9

not very developed yet, i'll probably get more details for his character when i start writing his scenes

and that's what i have for this so far! i actually started writing this book a few days ago, and am ~1000 words in wish me luck. i still haven't decided if i'm going to do writing updates for this book, but i think i will since it's not supposed to be that long, so i can maybe post one every 5-10k words. that is as long as i remember to, which is unlikely based on my history of promising writing updates that never arrive.

the end

— silas

wip taglist (i just have one for all my wips, ask to be added/removed): @flip-phones @chewingthescenery @ghostsofmemories @dallonwrites @wildswrites @annlillyjose @letsgetsquiggly @strangerays @mel-writes-with-her-dragons @teaandtypewriters @kahaaniyaa @coffeeandcalligraphy @47crayons @writing-is-a-martial-art @childhoodlovers @zoya-writes @pepperdee @oceancold @unorganisedbookshelf @musingsbycaitlin @sunstone-iolite @femmeniism @raywritesstories @rodentwrites @cheerfulmelancholies @these-starrynights

[burningvelvet]

on percy shelley & human connection & coping through art

to set the mood of this post i must say i'm writing it really quickly on my phone over a bowl of pasta with bread & broccoli & some orange flavored sparkling water & im still dressed in my outdoor wintery clothes (all black, knee boots, wool, silver chains & rings, although i mostly prefer gold jewelry).

so anyway today i've been kind of sad over ppl not replying to my texts & my usual reaction is to say "ok, guess i'll kms, wah wah, cry cry" but this sort of passively cynical joking schtick has gotten old & i would rather occupy myself some other way instead of moping about failed connections or the difficulty of initiating contact with anyone or the struggles of modern socialization as a whole.

instead, i will read the works of percy shelley tonight, and think about how he struggled with all of this over 200 yrs ago. of how hard he struggled to make leigh hunt and lord byron collaborate with him on their journal the liberal, and how he struggled all his life to build a positive community even in spite of years of bullying, ostracization, and family strife - he often felt like giving up, and like human connection was impossible, but he never gave in to apathy and instead he continuously curated his ideal life by seeking out other like-minded people, even when he occasionally embarrassed himself in public or when others were decidely averse to him or lukewarm in their reception. john keats didn't entirely take to him when they met and some of keats' friends straight-up disliked percy for being weird, but percy (though scarcely knowing him) loved keats as a brother-poet nonetheless, was generous to him, wrote one of his masterpieces in his favor, and died with a copy of his poems in his pocket.

percy always reached out to others and was a loyal friend even when others disrespected him or ignored him or just simply didnt love him as much as he did them. his letters to lord byron show how reverent he was to his friend, and how his affection was never returned in quite the same gusto, but, while still trying to keep his self-respect, percy quelled his frustrations and continued his correspondence with byron regardless. percy acted as the mediator between byron and claire even when his stress was so high it weighed heavily on his health. he actively tried to choose to be positive even when the people around him were negative or miserable. like most writers back then, he sent his writing to his idols, and sought mentorship from people he admired, like william godwin and leigh hunt, and he continued to respect them even when they took advantage of him financially (moreso in godwin's case).

anyway what i mean to say is that whenever im feeling lonely or rejected or alienated or socially stupid or am just second-guessing my role in society or whatever whatever whatever, i cling to creativity/art/literature/etc. even harder than i regularly do, because thats what it exists for.

i knew a therapist (not one i saw as a patient, but someone i knew through mutual interests in media/the arts) who said that a certain musical performance we both loved probably saved way more lives than any single therapist ever has. - the performance in question was david bowie's tokyo 1990 live recording of rock n roll suicide, an anti-suicide song (its available on youtube, go watch it lol, he performs it with so much conviction).

any way even though at the end of his life shelley sometimes felt like he was failing to achieve his dream of building a utopian art commune - he actually did succeed in introducing several people to each other in ways that changed peoples lives. his friends jane williams and thomas jefferson hogg got married only through his mutual friendship. whole literary societies have been started in his honor - to this day there are conferences & whatnot that meet annually - his life & writing continues to inspire people and bring them comfort - & he would be extremely proud of that - any artist would. the main goal of any famous dead writer is basically to become the imaginary friend of their future readers & he accomplished that - even though all the time he was wracked with doubt/depression/suicidality/illness/chronic pain, etc. - as a political/philosophical radical, he realized that having hope is one of the most influential & radical things one can do - & i'm glad that, even though this is a person who died over 200 yrs ago, there is at least one person who really resonates with me - even though we're from different centuries, different continents, different sexes, etc. - it's helpful to have positive influences to look up to, especially when they've also struggled in similar ways as you. and although shelley was pretty privileged (rich englishman) he really did struggle a lot mentally & physically - his life was a chaotic mess - and he wasn't perfect at all - but i think he's still inspirational for my previously mentioned reasons - his ceaseless hope. the last poem he was working on was titled the triumph of life, even though he wrote it during a deep depression. the last poem he published in his lifetime was hellas, which he hoped would raise money for the cause of greek war of independence. from the poem:

"Life may change, but it may fly not;

Hope may vanish, but can die not;

Truth be veiled, but still it burneth;

Love repulsed, — but it returneth!"

[eyesaremosaics]

When Dora Maar died on 16 July 1997 at the age of 89, few people seemed to notice. It took the French newspaper Le Monde – in her home country – 10 days to publish anything. And when journalists did cotton on, they didn’t seem to think Maar was the story. The New York Times called her “a muse of Picasso” and the “principal model for many of his so-called weeping women portraits in the late 30s and early 40s”. The Independent, while admitting that Maar had been an artist in her own right, suggested that she would nonetheless be “remembered as the most poignant of Pablo Picasso’s mistresses”.

Forget that she’d also been a major surrealist photographer, one of the few women in that circle, and that she was still painting into her 80s. For critics, she was Picasso’s Weeping Woman – the eternally spurned mistress and muse. Maar herself bitterly resented being regarded as a sort of art-world Miss Havisham, the subject of someone else’s picture. “All [Picasso’s] portraits of me are lies,” she once said. “Not one is Dora Maar.”

Not before time, the Weeping Woman is having the last laugh. After a spell at the Pompidou in Paris, a major retrospective is heading to London’s Tate Modern then Los Angeles. The largest exhibition of its kind yet staged, it features nearly 300 objects: photographs, photomontages, advertising mock-ups, self-portraits, watercolours, oil landscapes and still lives. Few of these objects have been exhibited before, and certainly not on this scale. The sense is of a curtain being pulled back. Forget those Picasso portraits: here is how Dora Maar actually wanted to be seen.

Born Henriette Théodora Markovitch in Paris in 1907, to a French mother who owned a fashion boutique and a father who was a Croatian architect, her upbringing was multicultural. The family relocated to Buenos Aires when she was three, and she spent her childhood shuttling between Europe and South America, taking her first photographs on the sea journeys between. She trained as a painter in Paris, but found herself drawn to photography in the 1920s, becoming friendly with Henri Cartier-Bresson and Brassaï.

“She was very ambitious,” says her biographer, Victoria Combalia. “She wasn’t sure which direction she was going in, but she had such energy.”

In 1936 she met Picasso, and seems to have decided that the painter, nearly 30 years older, was her next project. The story of the encounter that turned them into lovers has been much mythologised. Legend has it that Maar sat in the famous literary watering hole, the Cafe les Deux Magots, playing a game where she stabbed a knife between her fingers to excite Picasso’s attention.

Whatever the truth, Combalia suggests that the striking thing is the way it suggests that she, not he, was in charge. “She wanted to seduce him, I’m sure. The whole scene with the knife is like a sadistic joke, almost a performance.”

Yet the balance soon tipped the other way. Picasso was also having a long-running affair with Marie-Thérèse Walter, which he refused to break off. He seems to have taken a perverse thrill in making Walter and Maar compete for his affections, describing a story where they came to blows in his studio as “one of my choicest memories”. Having initially painted Maar as a nymph or a bird, his portraits begin to show her in tears, notably the excruciating Weeping Woman (1937), now in Tate’s permanent collection, in which she seems to dissolve before our eyes.

Maar’s own artistic response is similarly hard to look at, though in quite different ways. A painting of hers from the same year, The Conversation, shows her and Walter sitting next to each other, almost in mirror image. Walter looks out, passive and inscrutable; Maar has her back to us, face hidden.

Yet while the relationship was emotionally punishing, it was productive. 1937 was also the year that Picasso painted Guernica, and Maar – as well as teaching him darkroom techniques – agreed to photograph the process of its creation. Indeed, it seems likely that his decision to depict that particular atrocity came from Maar, who was far more politically engaged. Not only does its style – severe black-and-white, almost photographic in its pitiless detail – borrow from her work, she actually painted a small section of it.

“He trusted her,” says Tate Modern director Frances Morris, who interviewed Maar when the latter was in her 80s. “As much as being a sexual or emotional relationship, it was a collaborative one.”

When their relationship finally fell apart in 1945, Maar was devastated and suffered a brief breakdown, intensified by the death of her mother. The guilt-stricken Picasso helped her buy a house in Provence, where she spent an increasing amount of her time. Catholicism began to occupy her life; rumours circulated – fanned by her former partner – that she’d gone mad, or become a recluse.

The truth is different, Combalia says: Maar kept making art, producing textile designs and devoted more time to painting. She also travelled, and continued to exhibit through the 50s and 60s. It’s also not true that she abandoned photography, as some claim. Though she made fewer photographs after the break with Picasso, she continued to experiment, crafting a late series of photograms (photographic prints made without a camera) in the 80s, as if reconnecting with her younger artistic self.

Maar never regained the profile she had experienced in her 20s, yet it’s wrong to say she disappeared. It was a slow withdrawal, and came about largely because Maar wanted to focus on her art. “In letters she writes, ‘Well, I don’t want to be social, I want to do my own thing. I have to paint,’” says Combalia

Morris, who visited Maar at her apartment in Paris in 1990, agrees. “It was an artist’s home. Every surface, every wall, spoke of that. There were easels and lots of canvases in her studio, covered in polythene. She was still working.”

What was Maar like to meet? Morris laughs: “When she answered the door, I thought at first it was the maid, this little old woman.” But she was soon struck by Maar’s forcefulness. “She was terrifically strong, you could see that. I think that’s what it was, in a way: making art was more important to her than how she was perceived.”

“She was very curious about the world,” Combalia adds. “She was always asking me what I was doing in Paris, what the name of my boyfriend at the time was. She loved gossip.”

Despite Maar’s talents being overlooked during her lifetime, Combalia believes we should be grateful that we can see so much work, and that so much of it is so good. “She really deserves to be known. We owe her that justice.”

[lucienarcheron]

Bouquet Full of Loathing [ Elucien ]

Inspired by: this  and the Flower Shop Modern AU - Person A owns a flower shop and person B comes storming in one day, slaps 20 bucks on the counter and says “How do I passive-aggressively say fuck you in flower?” | Originally posted on my previous blog on 10.01.2017.

Pairing: Lucien x Elain Genre: Fluff/Humor Rating: SFW Recommended listen: McFly - Love is Easy

Author’s note:  This was my first ever acotar fic and will always hold a special place in my heart!

*slam*

“How do I passive-aggressively say fuck you to someone in flower?”

Lucien was furious. He was fuming. He was positive that if was possible, he’d actually be on fire. It was too fucken early for him to be going back and forth with his coworker but that bitch loved to undermine him and continuously make his life hell at work.

Due to his outburst after their latest argument, his manager, who also happened to be that demon’s manager, was forcing him to make amends by buying her a nice bouquet of flowers to say he was sorry. Which he wasn’t. Not even in the slightest. But oh, she was going to get that bouquet of flowers.

The Fawn’s Greenhouse was only a few blocks away and taking a walk gave him a way to release some of his anger. But what he didn’t expect was to find a beautiful young woman behind the counter, staring at him like he was crazy. Then again, who walks into a flower shop and demands those kinds of flowers?

His eyes went to the nametag on the front of her dress and he felt his face go red.

Elain. Such a pretty name for such a pretty girl.

Elain, on the other hand, was slightly taken aback.

She loved her flowers. She loved any flowers.

She loved growing things in her garden and every single part of the process mattered to her; planting the seeds, watering them, monitoring their growth, and finally when they blossomed. Her flowers were her babies.

When Feyre and Nesta offered to pitch in and help her open her own flower shop, she was over the moon. Her own savings had fallen a little short and she was thrilled to have the support from her sisters. The Fawn’s Greenhouse was only a few blocks away from where Nesta worked as an editor at a literary agency and a few extra blocks from where Feyre taught Art at the local community college.

It was a great way for the three of them to meet for lunch or dinner quite often, as they would be tonight.

But to Elain, flowers meant many good things: happiness, gratefulness, new beginnings, apologies, and forgiveness. So when this strange angry red-headed man stormed into her shop and slammed money on the counter, growling at her, she was very taken aback at his request.

Elain finally blinked rapidly then chuckled. “Well, hello.” she said and leaned against the counter. “There are a few different ways to do that, Mr…?”

All the anger that Lucien had walked in with completely vanished and was replaced with awe as he took in her features. Gods, she was gorgeous.

Elain tilted her head to the side and Lucien almost combusted as she gave him an encouraging smile and he cleared his throat.

“Lucien.” he mumbled, a hand rubbing the back of his neck, the color on his cheeks matching his hair. “My name is Lucien.”

“Welcome to my flower shop, Mr. Lucien.” she replied automatically and gave him an even wider smile. “I see someone’s ruffled your feathers this morning.”

Lucien snorted, causing Elain to giggle. “Ruffled my feathers. More like plucked all my feathers to death that psychotic bit —” he cut himself off as Elain gave him an amused look. “I’m sorry. Let me start over.”

Elain watched, trying to hold back a laugh as Lucien took a deep breath and ran a hand through his hair. He smiled at her and she smiled back.

“Hello.”

“Yes, hello.”

“You have a very lovely flower shop.”

“Thank you! I’ve worked very hard on it.”

“You are also very lovely as well.”

“You aren’t so bad yourself.”

“You could tell me I looked like a piece of filth and I would honestly take it as the highest of compliments.”

Elain burst out laughing at that and Lucien grinned. Score for him.

“Well, that wouldn’t be very nice to say to anyone.” Elain replied, shaking her head with another chuckle. “Besides, it wouldn’t be true. You’re quite lovely yourself.”

Lucien leaned against the counter, the gap between them growing smaller. “I have never felt so lovely in my entire life.” he said, and with an exaggerated flick of his wrist, tossed his hair over his shoulder.

Elain laughed again and Lucien realized he’d only been in the shop for five minutes but he’d sell his soul to hear that sound over and over again.

“You have quite the humor, Mr. Lucien.”

“Lucien. Just...Lucien.” he corrected her gently with a smile. “Mister sounds too formal and I’d prefer to be on casual terms with the person that’s going to give me my special request flowers.” 

“Your ‘fuck you’ flowers?” she asked with a grin and he had the audacity to give a nonchalant shrug.

“The person deserves them, I can assure you.” he replied and sighed. “It’s my coworker. She makes my life a living hell at work. We had a fight and my manager is forcing me to get flowers as an apology. This is me trying to be nice.”

“By sending her ‘fuck you’ flowers?” Elain asked again, her lips twitching. She wondered about this so called ‘horrible coworker’.

“Keyword here, is trying.” he said with a grin and Elain laughed. “Not all of us can be as nice as you, Elain.”

Elain’s cheeks flushed. She liked the way he said her name a lot more than she’d care to admit.

“And how do you know I’m nice?” she countered, leaning off the counter and crossing her arms across her chest with a smile. “You’ve only just met me.”

“Your name is Elain, you’re beautiful, and you own a flower shop. You could literally stab a man in front of me and I would just say he had it coming.” Lucien promptly replied. He sounded insane, he was well aware, but instinct told him he wasn’t wrong. “Also, you smell really nice.”

Elain rolled her eyes and wanted to curse herself for the blush on her cheeks and the smile that was way too wide. “Are you always this shameless of a flirt, Lucien?”

He straightened up as Elain pulled out a book from under the counter and placed it in front of him, flipping through the pages. “Only with pretty girls who own flowershops named Elain.” he said and gave her a charming smile when she paused her flipping to look at him.

She shook her head and chuckled lightly. He was shameless. Very handsome but oh so shameless. “So,” she started, going back to flipping through her flower book for the right ones to fit his order, pointing as she explained. “We have a few options for your amusing choice in the bouquet. There are Geraniums — Horseshoe Geranium which specifically means stupidity and Foxglove flowers which can mean insincerity. There’s also Meadowsweet flowers which mean uselessness, Yellow Carnations that indicate you’re disappointed in a person and last but not least, Orange Lilies which symbolize hatred.”

Elain finally looked up at Lucien, whose grin had gotten wider and wider with each flower that she rattled off and she laughed at his expression. “I take it all these options sound good?” she questioned with a raised brow.

Lucien’s grin was wicked. “Oh, these sound fantastic. Can I have a mix of them all in a bouquet? Please?”

Elain rolled her eyes and chuckled. “As you wish, good sir.” she said then pursed her lips as she started writing down his order. “Is there a note you’d like me to add with the bouquet?”

His eyes lingered on her pursed lips long enough that Elain had to look up confused at his silence and a blush crept on both their faces.

“Sorry.” he said with a sheepish grin and Elain bit her lip, holding back a smile as she continued filling out the order. A moment passed in silence before she responded.

“I don’t mind.” she said softly.

“Good. Because there’s a lot to admire.” Lucien responded, leaning back on the counter, closer to her.

“I’m sure getting spoiled with compliments today.” she said, giving him a playful smile and he grinned in return.

“They’re all well-deserved compliments. I meant them all.”

“Oh, I know. It’s why I haven’t kicked you out yet.” she said as she moved around her counter, grabbing a note card for him to write on and a pen as he laughed. “For your note. The bouquet shouldn’t take too long...I’m caught up on all my early orders. Would you like to wait or should I have them delivered?”

She tilted her head, waiting for his answer and the smile she gave him told him their thoughts were on the same wavelength.

She wanted him to wait.

And wait he would. He’d wait an eternity for those fucken flowers as long as she kept talking to him. Lucien had shamelessly told her this, realizing too late that he was babbling his thoughts aloud.

Elain’s laughter was enough to ease his embarrassment and the two continued chatting as she moved about, putting the bouquet together. Lucien watched her, appreciating the way she moved and talked and the way she laughed at his jokes. Elain’s cheeks were stained red as they talked, trying to contain how much she was enjoying the attention he was giving her, and how invested he was in everything she was saying and doing. Their conversation was comfortable and flowed so naturally that both of them were slightly disappointed in how quickly she finished.

Giving him a shy smile, she gently placed the finished bouquet in all it’s glory in front of him. “Here it is!” she said cheerfully. “Your requested bouquet. Beautiful and full of loathing.”

Lucien grinned, eyeing her work approvingly. “It looks stunning.” he replied and Elain smiled widely, pleased. “Just like the lovely lady who put it together.”

Elain giggled as he reached out, taking her hand and kissed it. “You’re too much.” she mumbled and Lucien chuckled.

“I can’t help it. Something about you…” he said quietly and the two locked eyes.

“Something about you too.” she agreed and Lucien smiled. He paid her and balanced the bouquet in his hands. His eyes flickered between the bouquet and the beautiful girl who had made it and he quickly licked his lips.

“Would...would you like to go out to dinner sometime?” he asked and relief filled his whole body as she beamed at him.

“I would love to.”

“Great! Friday night?”

“I’ll be ready at 6:30.”

“Perfect.”

Elain smiled at him then grabbed one of her notecards and quickly jot down her number. “I expect more shameless flirting till then.” she said softly, curling a strand of hair behind her ear.

“And I will be more than happy to oblige.” He replied, giving her a wink and Elain giggled.

“I’ll see you Friday then.”

“I’ll be flirting with you sooner than that though.” he replied and she winked at him in return, a blush erupting on both their cheeks.

“I look forward to it.”

“Gods, you’re so fucken cute.” Lucien mumbled and Elain laughed, dipping her head shyly. “I have to leave before this kills me.”

She covered her burning face, grinning widely as she then waved him off. “Go back to work before you get fired.”

“Worth it.” he said, using his free hand to make a finger gun and she snorted softly as he waved then finally left the shop.

Elain bit her lip, smiling to herself. In one way or another, her flowers were always bringing her joy.

~

Elain rushed into the restaurant where she had agreed to meet her sisters earlier that day. She was very excited to tell them about her encounter with Lucien. He had kept his word about the shameless flirting and had her phone buzzing all day; she still couldn’t believe how it happened.

Her pace slowed down when she saw Feyre and Nesta, both seated at their usual table, secluded in a quiet corner of their favorite place. It wasn’t until she was close enough to hear their conversation that she froze completely. On the chair next to Nesta was her sister's bag and a bouquet of flowers that was strangely familiar.

Too familiar.

“And then this asshole hands it to me with a note that says ‘I’m sorry’ in quotation marks like the sarcastic little shit he is.” Nesta snarled and Feyre started laughing. “And then adds that I should look up the meaning of each flower to really appreciate his apology. I’m going to ask Elain what they mean.”

“You are really mean to him, Nes. I’m sure he’s not as horrible as you make him sound.”

“He’s a piece of shit. It brings me joy to make him miserable.” Nesta said with a snort and then noticed Elain. “Elain! You’re finally here. Come on, we’re starving.”

Elain approached the table and sat down slowly, smiling nervously. Oh boy.

“...Nice flowers, Nesta.”

“Thanks.” Nesta replied with a wave of her hand and then picked them up to show Elain. “I got them from a shithead at work as an apology. What do the flowers mean?”

Elain groaned internally. It was indeed her own bouquet full of loathing. She bit her lip. “The guy who gave them to you...his name is Lucien, right?”

Nesta froze and Feyre looked at her curiously. “Yes.” she hissed. Quickly grabbing the note card again, Nesta looked it over. “How did I not notice that he got them from your shop!? That bastard! Did he bother you?!”

“No! He was very sweet.” Elain replied quickly, blushing. “Actually...he asked me out on a date and I said yes. We’ve been texting all day.”

Silence fell on the table before Feyre burst out laughing and Nesta snarled, “What?!”

“It’s later this week. I’m...looking forward to it.”

“Like hell you’re going!” Nesta hissed. “With that idiot! That good for nothing garbage can —”

Elain cut her off with a look. “Nesta.”

Feyre’s laughter had finally subsided and she wiped at her eyes. “Nes...you should be excited for her. She likes him!”

Elain narrowed her eyes at Nesta’s face that was filled with rage, daring her to argue. Feyre looked between the two, her lips twitching.

“So what’s he actually like, then?” Feyre quickly asked. “We know Nesta hates him and makes his life living hell at work.”

Elain gave Nesta one more look before her eyes flickered to Feyre’s face and she gave her a small smile. “He’s actually really nice and funny. I —”

“He has a glass eye and a scar across his face!”  Nesta’s growl interrupting her.

“So?!” Elain automatically replied, pouting. “He got it in an accident! It makes him a strong person!”

“He has a glass eye!”

“It makes no difference to me! I like his personality!”

“He’s an asshole, Elain!”

“You think Cassian’s an asshole too and you’re living with him!” Elain hissed back. “Your judgement isn’t exactly perfect!”

“Well, she gets dicked down by Cassian so I mean…” Feyre interjected with a shrug and Nesta glared at her, her cheeks burning.

“That is irrelevant.”

“Is it, Nes? Is it really?” Feyre asked with a raised brow.

The table fell silent again as Nesta and Elain glared at each other and Feyre tried her best not to laugh. It was only when her phone beeped that Elain torn her eyes away from the vicious staring contest with her sister.

Text from: Lucien How’s dinner going with your sisters? Hopefully, I’m not interrupting anything.

Elain’s eyes looked back up at her sisters and her blush gave away who she was talking to, causing Nesta to glare even harder and Feyre to grin widely.

Text from: Elain No, not at all! I was just telling them about you…funny enough, one of my sisters knows you.

Text from: Lucien Really? What a small world! Which sister is that?

Elain hesitated before she sent the next message.

Text from: Elain The coworker you bought the bouquet full of loathing for. She goes by the name Nesta…though you might refer to her very differently.

Elain bit her lip, frowning after she sent the message. She flipped her phone over and then looked at her sisters.

“Now he knows we’re sisters.” Elain grumbled as Feyre rattled off their usual orders to the waiter.

“Good. If he’s smart, he’ll back off.” Nesta growled and Feyre shoved her gently.

“You back off. Let her live.”

“I don’t like him.”

“There’s a surprise.”

Elain’s reply didn’t make it to her mouth when her phone started ringing. Flipping it over, she blinked in surprise at Lucien’s name popping up. She immediately picked up.

“Hello?”

“I’m so sorry for interrupting you at dinner but I realize how awkward this position is for you right now.” he said, hoping he sounded as apologetic as he felt.

Elain chuckled, a small smile on her face. “Are you calling to tell me our date is canceled now?”

“No.” he replied and Elain’s smile grew wider at how horrified he sounded at the idea. He cleared his throat. “I actually wanted to apologize for saying those things about your sister earlier and I promise that I’ll behave and keep work and personal life separate so that you don’t have to feel weird because your sister and I hate each other. Professionally speaking.”

Elain laughed softly. “Just professionally?”

“...Please don’t make this more difficult for me.” he whined softly on the phone. “It’s bad enough I bought her a bouquet full of loathing from her own sister’s shop.”

“Plot twist, isn’t it?”

It was Lucien’s turn to laugh. “Yes, it is. Does she know what the flowers mean?”

Elain grinned. “Not yet.”

“Let’s keep it that way, please.”

“Fair enough.”

“Really, Elain? You’re letting that walking pile of trash interrupt our dinner like this?” Nesta said, making sure she was loud enough to be heard on the other end of the line.

Elain gave Nesta a reproachful look as Feyre shoved her again. “Behave.”

“Fine...but let me talk to him. He is my coworker after all.” Nesta said, her tone calm. She held out her hand.

Elain looked at her suspiciously but Nesta just wiggled her fingers. Her mouth went into a thin and she sighed. “Lucien, Nesta wants to talk to you.”

“More plot twists.” he said, chuckling.

“You don’t have to.” Elain automatically said but both Lucien and Nesta responded at the same time.

“Yes, he does.

“Yes, I do.”

Elain groaned and then held the phone to her chest. “Nesta...please be polite.”

“No guarantees.”

Squinting at her older sister, she finally handed her the phone with a sigh, pressing on the speaker so they could all hear.

“Hello cockroach.” Nesta greeted him and Elain facepalmed as Feyre snorted.

“Hello demon.”

“Of all the people you decided to hit on, you had to choose my sister?”

“I respectfully asked her out on a date. She’s a grown woman. I don’t really think it’s your business.”

“It isn’t.” Elain added and Nesta squinted at her.

“I’m going to be watching your every move and I swear to god if you so much as lay a finger on my sister, I will crush you with my bare hands.” Nesta threatened in one breath. “That is a promise you filthy little vermin —”

Elain snatched the phone from her hand as Feyre cut her off. “Nesta!”

“Jesus christ, Nesta. I’m not going to hurt Elain!” Lucien hissed on the phone.

“What if I want him to touch me?” Elain snapped, knowing it would silence both her sisters and Lucien. “Hm? What if I — what’s the phrase you used about Cassian and Nesta, Feyre? What if I want to get dicked down by Lucien? Would that be such a big deal?”

Lucien made a sound on the phone that sounded like he was choking as Nesta gasped loudly.

“Elain!”

Taking her phone off speaker, she put it back to her ear and spoke softly, “Lucien, I’ll call you when I get home, okay?”

“Yup. Sounds good.” he responded, truly sounding like the air was being choked out of him and Elain's face turned red.

Closing the call, she eyed her sister and held up a hand as Nesta was ready to launch into a speech. “Listen. I know you’re my older sister and you worry about me because I love flowers and seem like a giant idiot who gets easily fooled —”

“That’s never how I think of you, Elain — “ Nesta quickly interjected, her face falling.

“And I know you’re worried about me because the breakup with Graysen was really bad and I was very hurt,” Elain continued, halting Nesta again as her voice shook. “But I am okay. I am fine. And I’m ready to try something new. So please….please be nice to Lucien. I want to see where this goes.”

Nesta fell silent and Feyre gently leaned over to pat Elain’s hand with a small smile.

“We know, Elain. We love you and support you in whatever decision you want to make.” Feyre said softly. “I look forward to getting to know him.”

“...I’m sorry.” Nesta added and reached out to place her hand on Elain’s other hand. “I’ll behave...Try to be nicer to him.”

“Thank you.” Elain said, a relieved smile on her face until Nesta clenched her hand tightly with death in her eyes.

“But if I ever heard the term dicked down and Lucien in the same sentence again, I will kill someone.”

Silence fell on the table once more as Elain closed her eyes, internally groaning at how she was going to have to address that with Lucien when she got home.

It wasn’t until the waiter served their dinner and walked away that Feyre finally broke the silence.

“But what if she does want to get dicked down by Lucien? Elain sounded very enthusiastic.”

“Feyre!” Nesta hissed as the youngest sister broke down in giggles.

Elain groaned audibly now, her face in her hands knowing Feyre was never going to let this go.

“I’m just saying, go Elain, if she does. Nesta said he was a redhead, do you think the carpet matches the drapes?”

“Feyre —  I swear to all the Gods I will stab you with this fork if you don’t stop.”

“Elain, you’ll be sure to share details, right? I want Nesta to know every detail of when you and Lucien finally get down to business.”

“Feyre —”

“Ohhhh what if Elain visits him at work and you walk in on her getting dicked down by Lucien in his office? On his desk?”

Feyre squeaked as Nesta assaulted her in some form or another. Elain had given up, sighing deeply, her face burning.

Who knew a bouquet of flowers would cause so much trouble?

[sophieeeikli]

people seriously need to start crediting poets just as much as they credit artists. I feel like, on a whole, Tumblr is better at crediting visual artists and such than most other social medias, but that understanding hasn't caught up with quotes of written art etc. Writers and poets NEED to be credited- all the issues that visual artists have with sunk engagement are equally, if not more present in literary spaces. People DO NOT engage with us on the same level because it is very difficult to consume written work passively, while paintings can receive benefit just from 'looking nice'. I implore you to credit writers who you use in web weaving or who you quote. It's fucking hard out here.

[msclaritea]

Here’s Why Willy Wonka Is An Autistic Icon | Medium

Here’s Why Willy Wonka Is An Autistic Icon

In celebration of the release of the new Wonka movie this month, I recently rewatched, for the billionth time, the original film — Willy Wonka & the Chocolate Factory. Wonka media has been a special interest of mine for the past seven years — -an autism-related term used to refer to topics and subjects that occupy headspace constantly, meaning I know more about Willy Wonka and his crimes against humanity than any sane person really ought to.

While watching the film, I was once again struck by how much I related to the character. His odd mannerisms, his disregard for small talk and social niceties, and his fixation on a self-constructed world all reminded me of a lot of my own experiences growing up as a quiet, book-obsessed, undiagnosed autistic kid. Although I was recently diagnosed at the age of twenty-one (it’s never too late!), the sense that something was always a little off has dogged me since childhood — in my odd tendency to repeat words and phrases, my limited and intense interests, my awkwardness in conversation and struggle to make friends. And as I sat there, watching Wonka spout off nonsensical phrases, constant literary references, and the occasional bit of wisdom, I finally got the urge to lay out, once and for all, what an autistic icon this character is, and has been for the past sixty years. Let’s dive into a world of pure imagination together.

A Little Nonsense

Autism, since it is formally classified as a disorder by the DSM5, has a whole host of medical definitions that try to sum up, in as digestible a form as possible, just what exactly is wrong with you or your child. Instead of pinpointing one definition, I’m going to temporarily throw the psychological jargon out the window and focus on the single term “disorder.” Disorder, classically defined, is a state of confusion or messiness — usually a form of existence that runs counter to broad definitions of harmonic living. Although unintended, I find that the literary definition rather than the scientific one fits my, and Wonka’s, experience of living as autistic. Disorder is chaos, it’s doing things just because.

Take this excerpt from Charlie and the Great Glass Elevator, the rightfully-maligned sequel to Charlie and the Chocolate Factory:

“I have never met a man,” said Grandma Georgina, “who talks so much absolute nonsense!”

“A little nonsense now and then, is relished by the wisest men,” Mr. Wonka said.

Many autistic people are told at one point or another that the way they think and act does not make sense. For example, in many adaptations of the story, visiting the chocolate room for the first time leads the parents to question why it came to exist in the first place.

In the original West End musical adaptation, the conversation goes something like this:

Mr. Salt: Well if it isn’t for anything, and it doesn’t make money, then why on Earth does it need to exist at all?

Wonka: You really don’t see, do you?

A painter needs no reason

To make a thing of art

Yes, there’s no switch to stop and start the flow

Willy Wonka (Douglas Hodge) in the Chocolate Room from the 2013 West End production of Charlie and the Chocolate Factory

We live in an unprecedented age of unthinking consumerism — our lives, from the get-go, are predicated on beneficial transactions. If I am to create something, I better be able to justify its usefulness in the language of monetary gain. Entertainment has become inextricably linked to the words content and consumption — creators make content, and we now consume the art we once admired. This implies a one-sided relationship to the way we engage with art — when we consume something it no longer becomes a conversation between creator and viewer, but rather a passively made, ready-to-eat distraction on which the viewer can project anything and everything they like. To make art for art’s sake or simply because we find it beautiful, is, in today’s age, an indicator of disordered living. Thus, Wonka making the chocolate room, or his factory for that matter, just because is, to most people, nonsense.

Again, from The Great Glass Elevator:

“He walked slowly towards the chocolate waterfall. It was an unhappy truth, he told himself, that nearly all people in the world behave badly when there is something really big at stake. Money is the thing they fight over most.”

The us vs. them mindset suggested by the phrase “nearly all people in the world” is one commonly adopted by autistic people, who feel that their perspective and lived experience do not align with that of their peers. Wonka, in creating a world of his own, has effectively made a safe haven for himself where the things he loves can exist without justification — a form of escapism I often engaged in as a child. In Wonka’s factory, the oddities that would make him an outcast in the external world are, to him, “simply second nature” — the name of the song in which he extolls the joys of being different:

It’s no blessing, It’s a curse

No wait…strike that and reverse

I wouldn’t have it any other way.

What’s a Social Cue?

In the 2017 Broadway adaptation of the book, Wonka opens the boisterous and breakneck-paced song “Strike that, Reverse It” by, muttering:

“Now let’s get the small-talk out of the way.”

The word “small-talk,” for context, is said as if it is the single most loathsome word in the English dictionary.

Though every adaptation of Wonka is unique in some way, all seem to share a love for their craft that is only rivaled by their hatred of social conventions. From the 2005 Wonka’s disastrous introduction and awkward giggling to the original book Wonka’s fidgety and sporadic movements, none of the Wonkas have exactly come off as approachable. Even the new Wonka, played by Timothée Chalamet, has his moment as he practically screams “You’ve never had chocolate?!” to his sidekick Noodle, who answers his outburst nonchalantly. All of these traits: poor conversational skills, fidgeting, volume control, and a dislike of small-talk are all classic characteristics associated with ASD.

Autistic people also often struggle with echolalia, or the repetition of words and phrases for seemingly no reason. Gene Wilder’s Wonka, with his near-constant rattling off of quotes from classic literature parallels this condition, especially (and most entertainingly) when he pedals a bike in the inventing room.

Similar to symptoms associated with ADHD, many autistic people will also find that their hyperfixations and interests make it difficult to focus on daily tasks for long periods of time. Wonka is so fixated on making chocolate that he has actually built a factory where he does nothing but make chocolate, and has been doing so for decades. Take also these lyrics from “Must Be Believed to Be Seen”:

No magic spells, no potions

Forswear legerdemain

My kingdom’s created from notions

All swirling inside of my brain

The manic delivery of “swirling inside of my brain” in both recordings of the song speaks to the sometimes uncomfortable intensity of creative thinking. I want to note here that I’m aware of the “it’s not that deep” factor that plays into all of this, but I kind of shoved it in the back of my mind the second I decided to write an analytical article about Willy Wonka. Besides, I know I personally struggle with a constant barrage of thoughts here and there — sometimes to the point where I have trouble falling asleep at night. Hence these lyrics from Simply Second Nature:

The mind is such a wonder to explore

And though some nights I dread

All the voices in my head

I’d rather be this way than be a bore

I also made a compilation a while back of the mannnyyyyy (and I mean many) times 2017 Broadway Wonka displays some of the physical symptoms of ASD, often referred to as stimming.

Autistic Solidarity

I know I’ve been harping a little too much on the Broadway adaptation, but I promise there’s a good reason.

In this version of the story, rather than just being a decent kid who, for the most part, minds his own business, Charlie is awarded the factory because he thinks as Wonka does. This kind of connection is also implied in the 2005 adaptation, where Charlie is seen to have built an impressively large model of Wonka’s factory made entirely of toothpaste caps, but is only made explicit in both musical versions. This Charlie draws up fantastical ideas instead of doing his homework and spends his remaining free time endlessly pestering his Grandpa Joe for stories about Willy Wonka. Wonka, to this Charlie, is essentially a special interest — he hardly goes five minutes without bringing his name up, or delivering an excitable song summarizing the man’s life history.

Wonka, of course, sees a lot of himself in Charlie. In the song, “Must Be Believed to Be Seen” there’s a section in the middle where the tempo slows and Wonka wistfully sings:

Despite the man seen at these doors

My childhood home was bland like yours

But I knew how to look, to find

A world that wasn’t colorblind

This is the first time (and only until the end of the show) that Wonka makes a genuine attempt to reach out to Charlie — and he does so with language relating to neurodivergent thinking. The musical doesn’t exactly turn to diagnostic criteria for sourcing lyrics, but the use of the phrase “a world that wasn’t colorblind” is once again suggestive of the us vs. them mindset, offsetting the ordinary blandness of the “normal” world with the vibrancy of the neurodivergent imagination. In the same sequence, Wonka also sings:

But in the end there’s quite a prize

If you can see with more than eyes

Autistic people are often hypersensitive to their environments and engage with the stimuli around them more keenly than their neurotypical peers. Exploring the world with all senses, and often with a detail-oriented mindset literally allows many autistic people to see the world with much more than eyes. Often small and irrelevant elements in an environment become points of interest for those with ASD where they might otherwise be ignored by neurotypicals.

Lastly, I want to finish with a brief discussion of one of my favorite lyrics in the musical, this time from the closing song “The View From Here”, where Wonka takes Charlie up through the atmosphere in his glass elevator:

When a boy has just a touch of odd

And he walks the streets without a nod

He should know that odd is a gift from God

Like this starry blue chandelier

Willy Wonka (Christian Borle) and Charlie Bucket (Jake Ryan Flynn) in the Glass Elevator

Most neurodivergent people will be the first to tell you that living as they are isn’t easy. For me, I have trouble finding humor in the same things my friends do, making conversation, focusing, following directions, empathizing, etc. Sometimes things that seem easy or mundane to others are nearly impossible for me. Worst of all, these aversions and behaviors are inexplicable too. I cannot put into words why I am what I am, I just know that I have to learn to accept it. However, for every moment I spend hating myself for what I cannot change, I strive to find more moments where I love living as I am.

I listened to “The View From Here” for the first time in many years recently, and I’m not ashamed to say that I cried a little (maybe more than a little). To quantify one’s differences not as a mistake or a joke or a fault — but as a gift is to accept that they let us do impossibly wonderful things. We need to stop looking for ways to fix or mask autism, and instead make society a more accommodating place for neurodivergency to thrive. Only then can autistic kids dream less about faraway places where they can live as they are, and instead live those dreams in the here and now. And we can start by reaching out to that touch of oddness in each other, and recognizing what the embrace of pure imagination can do for us all.

THERE IS A WELL-DOCUMENTED HISTORY OF NAZIS EXPERIMENTING ON PEOPLE WITH AUTISM.

IT HAS BEEN NOTED BY PROFESSIONALS THAT MANY PEOPLE IN THE TRANSGENDER MOVEMENT HAVE AUTISM

BLOGGERS, CLAIMING TO BE AUTISTIC, HAVE ENGAGED IN VERY AGGRESSIVE BULLYING.

THEY RELENTLESSLY ACCUSED A CERTAIN ACTOR, WHO, HIMSELF SUFFERS ANXIETY OF BEING ABLEST, IN AN EFFORT TO TARNISH ONE OF HIS BEST STAGE PERFORMANCES

THAT SAME ACTOR WAS BEING ENCOURAGED TO DO PHANTOM OF THE OPERA, WHICH I SABOTAGED, AND I'M GLAD I DID, BECAUSE WEEKS LATER I CAME ACROSS AN OLD ARTICLE, WHERE THEY SAID, EMPHATICALLY THAT THE PHANTOM MUST HAVE BEEN AUTISTIC. THE POINT?

IF SAID ACTOR HAD PLAYED THE PHANTOM, HEEDLESS OF THIS THEORY, HE WOULD HAVE BEEN ATTACKED, AGAIN.

AND THAT IS WHAT THIS ARTICLE BELOW IS; AN INTENTION TO ENCOURAGE PEOPLE WITH AUTISM TO SEE WILLY WONKA AS BEING AUTISTIC.

AND WHEN THE NEXT ACTOR WHO PLAYS WONKA, ISN'T AWARE OF THE FACT THAT AUTISM HAS BEEN LOWKEY ADDED, THEN THAT PERSON WILL GET RIPPED TO SHREDS.... BECAUSE OF MANIPULATING ARTICLES, LIKE THIS ONE. THIS IS NOT HARMLESS. THE SAME THING HAPPENED ONLINE WITH BBC SHERLOCK. BLOGGERS ERRONEOUSLY ATTRIBUTED HIS PERSONALITY TRAITS TO AUTISM, THANKS TO THE WRITERS ON THE SHOW. IT WAS ENCOURAGED, TO THE POINT WHERE IF YOU DID NOT AGREE, YOU WERE ATTACKED FOR IT.

THE RIGHT BUILDS ARMIES, AND THEY WILL USE ANYONE THEY HAVE TO.

[villainsandvictimsalliance]

It was mentioned several times that vestige AFO had some card up his sleeve that he hasn't used yet. And the fact that Shigaraki still could use AFO meant that the vestige was still there, too. Thinking he wouldn't appear again as a way for Tomura to confront his grooming by AFO and the fact that AFO is the one who created his villain persona and with AFOFA plotline and his relationship with Yoichi being unresolved is more stupid than him returning. Also, can people please start using their eyes and actually read because Horikoshi literally confirmed that Tomura is still inside and screaming in AFO's head 😭

Like I said previously, it's not that it doesn't make sense or that it is bad writing (putting that in bold just for you, anon), it's that I feel it's repetitive.

You need to differentiate between analysis of the story and personal opinions, meaning you need to use your eyes and read what people writes and not assume their intentions.

Every story is only what the writer wants that story to be. The way Horikoshi solves his story only follows the rule of what he wants to tell through it. It doesn't mean that the story had only one way of being told— that's what fanfiction and original fiction exist, to tell a story with the same or different characters in a new way.

Writers are just writers and people can like or dislike their art for multiple reasons. Even the big names through history were subjected to sooo much debated it's funny to remember. A shonen writer is not the exception sjdjjdndjdj

I don't like being rude if I can avoid it. It's just that asks like this made me angry. You could have told me that you don't agree with me and mention all you said in the asks. You could have said that you don't think I'm interpreting things correctly, but don't come at me with passive aggressive asks.

Or at least don't use the anon feature, coward.

Finally, it doesn't annoy me when people come to me in order to understand better the manga or to get my opinion on something. Even when they're wrong and I can point out why, I don't think the right way is to send asks crying about "guys don't you have eyes omg". Don't speak through my blog if you can't make your own posts.

It really didn't cost you anything to be polite.

Btw, for other people to understand what made me mad about this posts:

This anon (let's call them Anon #1) is calling a previous anon (Anon #2) stupid for not liking a bnha plot point.

The problem is that I asked for the personal opinions of the bnha fans. I never said

"I want a literary analysis to determine if that plot point fits the narrative of the story, if it had been addressed in previous instances through the foreshadow and what do you think about bnha fans who ignore those instances".

Personal opinions can be anything. You can decide you don't like something based on vibes alone and it's fine! I'm not asking you to be the most rational person alive, just to tell me how you feel about something.

Here's the posts I'm talking about.

I even mentioned that my opinion about this very subject is biased. It doesn't make sense to be passive aggressive to me to prove a point that I've already admitted too, you know?

Here's the ask of Anon #2.

Anon #2 was never rude to a real person, just called a plot point in a fictional story "bad". I'm the first to admit that AFO coming back makes sense for the story and that it is not bad, that I disagree with Anon #2 about it.

I clearly stated all those things at the end of my ask to Anon #2.

I don't like when people use their knowledge about something fictional to feel superior to others. I don't like when people have something to say and they know it's rude, so they say it hiding behind the anon feature, sending an ask to someone else's blog instead of making their own post about it.

Maybe Anon #1 never meant to offend me, but does it make it better if it was directed towards Anon #2 and not me?

Complaining about people not being able to comprehend what they read is ironic when Anon #1 didn't read correctly my answer to Anon #2 in the first place.

My answer to this asks is just about how every fan of an art piece is entitled to think whatever they want, be them right or not. If you're gonna disrespect them, be responsible and don't hide behind others like some sort of bully.

The worst part is that Anon #1 has great points that totally went to waste because they wanted to be an asshole soooo bad.

This is how it's done. I'm saying to Anon #1 what I think about them directly, I take all responsibility for my words and I'm not afraid to acknowledge what I've said.

Is the situation clear now?

[power-chords]

“If you have to turn your brain off to like something it’s probably not good for you” (set of tags I just saw on a mostly Whatever post about escapist fiction that I take issue with the framing of more so than the general animating sentiment) — OK first of all this is not a suitable metaphor because it presumes that “enjoying a thing” and “being fully, consciously, deliciously aware that it’s dumb as bricks” are binary and incompatible states. Like. Again. Here we are at “you have reducible complexity.” Second of all, why does art need to be my vitamins or my health food or whatever. Can’t you trust me to indulge in Culturally Dominant Narratives responsibly?

Forget for a moment that “escapist literature,” at least as the English term applies in western literary studies, is a category spanning multiple fictional genres with historical patterns of use that are already resoundingly negative; that science fiction, fantasy, horror, and folklore of all stripes have all fallen under its banner; that certain forms of escapist literature like dime novels and comic books were the purview of marginalized writers whose race or gender made them persona non grata in more “respectable” publishing circles; that the claim that “escapist literature” is inherently unchallenging and has nothing to offer but comfort is itself a flawed assumption that various theorists have been railing against for decades. It’s the sanctimonious, alarmist TONE of these posts which even in their most benevolent expressions (I.E. no one is being instructed to kill themselves for reading stuff) manage to overstate the threat of…………. reading entertaining stuff. This is not to say that escapist fiction should be free from criticism (on the contrary!), but I sometimes get the impression that Tumblr users are inventing literary boogeymen out of some pretty insular AO3 and Booktok anxieties. And inventing hypothetical readers who intake narrative information like passive receptacles for Problematic Suggestion, who lack any capacity for more active, sophisticated synthesis. Skill issue!!!