#posting this mostly as reference for others who might not know this stuff yet

[doueverwonder]

hi! idk if your question was not meant to have an answer given, i can never tell, but maybe this can help you a bit! for pimples on the back of your neck it can usually be attributed to having wet hair touching your neck. it could also be wet fabrics like shirts and sheets

things like body heat, hair oil, leftover dirts in the hair (even after washing), allows bacterias to live really well and create fungal acne on your neck/back

even if you have hair that doesnt touch your neck it could be also a pillowcase/shirts that can be issues like damp from your other hair, exfoliation from rubbing, any product you may use, or needing to be washed/exchanged more often.

by no means is this like a cure-all fix/solution that will fully work and change your life or whatever, especially with genetic and other considerations, but it can help to consider if it is an issue causing pain for you or other issues

tyyy but it's mostly genetic and i'm just complaining lmao

thank u for taking the time to type this out though <3

[dutifullylazybread]

just found you, i see a lot of pre and post family with the teefs. what about during? and directly after? how do they care for their partner during pregnancy? especially if its a diffcult one? and afterward when their partners body has changed and maybe they're less confident about the extra weight, softer body, the extra rolls and teh stretch marks that wont go away? how does each bachelor help or make it better ir suddenly realize that is even wrong to begin with? what if they accidentally something bring out that newly found weakness in their partners confidence? ( sorry if youre busy i know you got stuff to do- i just figured youre the person who could slam dunk these thoughts i had)

Have I... GOTTEN TO THE POINT WHERE I CAN JOIN THE TIEFLING HEAD CANON SQUAD???????

ADDED 4/26/24: This might be a rough list, but I hope you all enjoy!! ❤️

OKAY. I GOTTA ADD CAL. I'M ADDING CAL. THIS SWEET MAN IS A TIEFLING BACHELOR AND DOES NOT HAVE ENOUGH FAN CONTENT... YET.

And thank you for bearing with me--I know that this ask was sent in a hot minute ago! I'm hoping I answered all of your questions; I got to a point of this sitting in my drafts where I just felt bad about how long it had been there, so I tried to be thorough but I wanted to get this out sooner rather than later. I mostly worked on this when I had a few spare moments between chapters, and then I said "screw it. This is getting done. TODAY."

So, for Cal, Rolan, Zevlor, and Dammon--let's go!

DISCLAIMER - I do not have children myself, nor have I ever been pregnant. So I shall do my best!

JUST IN CASE - A CONTENT WARNING: While writing these head canons, I did refer to the tiefling's partner as "you." If reading about being pregnant makes you uncomfortable for any reason, please be aware and be kind to yourself. I have zero doubt in my mind that I will be creating another head canon list, so if you need to pass or wait on this one, that's absolutely okay. Your mental health is important.

Cal

While Cal's partner is pregnant, he will do absolutely anything and everything to make sure they are comfortable. To say that he is doting is putting things very mildly.

He will make your favorite meals, will go out and get whatever you are craving (late night runs--not a problem), will rub your swollen ankles.

Too hot? He's asking Rolan for a cantrip scroll to fix it. Too cold? He's already piling you with blankets.

Are you feeling sick and nauseous? He's already prepping something for you to eat/drink that doesn't have an offensive smell.

And if it's a hard pregnancy? I don't see him leaving your side. If he does, he has Rolan create a sending stone set for the two of you so that you can reach out to him for anything and everything.

Honestly, he doesn't get far enough for him to even use the sending stones. He is looking for anything and everything to make the pregnancy easier on you. If he wasn't a light sleeper before, he is now because he doesn't want you to lay there in pain.

There may be points where he feels helpless because while he can do things to try and alleviate any physical discomfort, there are just times when he might just grasp at straws.

And, in situations where he can't alleviate your physical discomfort, he will do what he can to distract you.

He keeps his stress managed well enough, but that doesn't mean he won't snap at Lia or Rolan if he is too anxious. If he does get openly frustrated with them, it takes both off guard.

I also think he just holds you. A lot. Part of that is to comfort you, and the other part is to assure himself that everything will be okay.

If his partner is dealing with body image issues after giving birth, I see him being confused. You? The most enchanting person he has ever known?

Cut to him kissing you and holding you whenever possible. He'll ask Lia and Rolan to watch the baby whilst the two of you go on outings when your health permits. If it helps you to hear it, he'll remind you how lovely you are. Frequently. Hourly. Every five minutes? Not quite, but close enough.

Personally, I don't think his doting goes away after the pregnancy. And, if it is too much, it might make you feel like he views you as helpless.

If you give voice to this, he goes into immediate mediation mode. He will be extremely apologetic. He loves you and never wants you to think he perceives you as anything other than the phenomenal person you are.

Rolan

Ugh. My beloved.

He might be more stressed about having a child than you are.

He never anticipated being a father, and that might be for 15+ reasons, but he feels drastically unprepared (even if the pregnancy was planned).

He reads every. Single. Book. On pregnancy. He is the parent who gives himself nightmares when he reads about birthing complications.

Every sign of discomfort that you show is a catastrophe on the horizon.

And if it's a difficult pregnancy? Yeah. Dial that up by five notches.

He is preparing for all worst-case scenarios.

If it weren't for Cal and Lia keeping him in check, he would be safety-proofing everything in the tower.

He crafts sending stones so you can call for him if you need anything. ANYTHING.

But also, he starts shadowing midwives and asking lots of questions. If the worst were to happen and you couldn't reach a professional, he wants to be there to help you.

After giving birth, I see him splitting his anxiety between your health/recovery and the baby's overall well-being.

"The baby sneezed. That might indicate five different lethal illnesses. I'm fetching the cleric."

This is another situation where you, Cal, and Lia might have to remind him that, yes, babies do sometimes sneeze, and not everything that lands in the diaper spells doom.

Rolan might not initially understand why you're feeling self-conscious about any weight gain. Of course you're lovely. Also, isn't that what happens with pregnancies? (His words--not mine).

He assures you that you're lovely, but words might not be enough here. He might shove his foot in his mouth while trying to make the situation better.

But the best thing for him to do is remind you, repeatedly, that you are lovely. And that might not have been something he was accustomed to even saying to you prior to you conceiving. He would assume you knew that he was attracted to you.

It honestly might be the strangest (and most endearing) thing to have him say "You look very lovely today. Yes, even with the baby's spit up on your shirt."

Zevlor

*nervously staring at the tiefling I am the most unsure about writing.*

*cracks my knuckles and cries because it hurt like hell*

Zevlor has been through some of the most heinous things that can be thrown at someone. He is a seasoned soldier. A Hellrider. Surely he can help his partner through pregnancy. After all, there were plenty of soldiers in the barracks who has pregnant spouses. He's heard enough stories that he feels prepared.

He survived the Elturel's Descent. It's possible that he helped safeguard someone who was in the middle of giving birth or guided expecting parents to safety. Maybe he had to fight off the devil's skulking the streets if they caught wind/heard that person enduring birthing pains?

So maybe, he thinks, he has already seen some of the worst births ever. Maybe, he thinks, in this time of relative peace, in this home that he and his love have created, it'll be easier?

My personal headcanon for Zevlor is that he put EVERYTHING into being a Hellrider/paladin. It was his life. It was his every breathing moment. And when he became an oathbreaker, it destroyed him. His life was devoted to protecting others, and he feels that he failed in the worst of ways possible.

He certainly had friends and very possibly family that he would see on occasion, but I think that, if you didn't fight alongside him/live in the barracks too, you very likely didn't see much of him.

So maybe he has heard a great deal about pregnancies. And maybe he knows about the complicated ones--just a bit. But he himself is at a loss for when his partner tells him that they are pregnant.

Is he excited? Absolutely. Is he terrified. Oh yeah.

Regardless of how complicated the pregnancy is, he is nervous. He is worried that he will slip up in all the ways that matter, and he is terrified of letting you down.

He's a soldier though, and he prepares for everything.

He has additional blankets and pillows next to the bed.

Hot and cold compresses are ready to go.

He makes sure that he accounts for your cravings whenever shopping.

He has medicine for when the pain is severe. And when the medicine doesn't cut it, he tries his best to distract you--his mileage varies.

And this man adores you. So after the pregnancy, if you are feeling self-conscious, he will worship your body.

Dammon

I could see Cal and Dammon both being very doting, but Dammon would be juggling the forge and helping you.

If you spent a lot of time in the forge with him prior to pregnancy but find that being in there now makes you feel ill, he will absolutely feel lonelier. He is definitely the sort of person who gets very absorbed in his work, and I think this makes him feel guilty. Especially if he feels like him being there could have made things easier for you.

He becomes a meal prep king. Will cook several comfort meals for you to eat while he is working.

Massages swollen ankles and feet and anything else.

While he might have worked later hours in the forge before, he makes a point to wrap things up sooner to spend evenings with you.

That doesn't mean he isn't nervous--you're about to have a child, and he does worry if there will be enough money.

He worries that if he does slow down, commissions will dry up, and then where will that leave the three of you?

If the pregnancy is difficult, he feels guilty for leaving you alone and looks for hundreds of ways to make things easier.

Eventually, he creates a small sitting space for you near the doorway to the shop itself. It's not so close to the forge that you'll be uncomfortably hot or so close that the smell will make you sick, and he sets up a small tarp to create some shade.

If you helped Dammon in the forge before the pregnancy, he is likely hesitant to have you come back and immediately help. Especially if the birth was difficult.

But what you need, more than anything from him, is time

And Dammon wants to be a parent who is present in your life and the baby's, so he does everything to be there.

But money is still a stressor. And he might worry about you being in the forge again. So he's stressed on all fronts.

And while I don't see him commenting or changing how he treats his partner because of weight change, I do see him being VERY reluctant to have you work in the forge with him.

And this may lead to an argument. You know he is stressed about commissions and being there for you and the baby, but you still want to help.

So Dammon dials it back several notches and agrees that you know your body best. So long as you feel comfortable working in the forge, and so long as you listen to your body, the two of you can start it from there.

And it gets easier to balance the forge and child rearing. While the baby isn't allowed close to the open heat/flame until they fully understand why they must be careful (and until their lungs are developed), you and Dammon create a small swing/play area nearby.

[nostalgebraist]

notes on ada or ardor, from the "summer of ardor 2013" reading group

This post contains my notes on the novel Ada or Ardor: A Family Chronicle by Vladimir Nabokov, which I wrote in 2013 in connection with a small reading group for the book that I hosted for a few of my friends.

I've posted these notes online before, in several places. However, I recently discovered that all of its incarnations had disappeared, lost in the devouring maw of Web 2.0 you-are-the-product enshittification. (It was originally posted through "Facebook Notes," a feature that doesn't exist anymore; I also put it up as a series of "Goodreads Stories," a feature that also doesn't exist anymore.)

So, I'm putting them up again here, on tumblr.

I'm not under any illusions that tumblr will be around forever, and eventually I expect this copy to go the way of the others. Maybe when it does, I'll finally do the right thing and put it up on my (currently unused) personal website. But pasting it into the tumblr box is slightly easier, so here we are.

Looking back over these notes, I feel quite proud of them. I think I was underselling them in the original intro to the Goodreads edition, which (for the record) said the following:

These notes are certain [sic] inferior in comprehensiveness and erudition to, say, Brian Boyd's notes on Ada Online, or the Kyoto Reading Circle notes. In place of those qualities they mostly substitute bad jokes and webcomic references. The reasons you might, however, want to read this notes in addition to the existing sources are as follows: 1) Unlike everyone else, I try to avoid spoilers 2) I'm just a regular guy writing notes for his friends to read, which may be a good thing if you're an ordinary reader who doesn't want their face blasted off by endless scholarly discussions of minutiae

In fact, I actually went much further into "scholarly discussions of minutiae" than this would seem to suggest – with extensive citations of Boyd and others as needed – and I think I did a pretty good job of it, while not losing sight of bigger themes and stuff.

More generally, I feel like these notes really showcase my love and enthusiasm for the book.

----

The notes are divided into 11 sections, each of which covers a block of chapters we read in a particular week of the reading group. The goofy thematic titles for each of the weekly chapter blocks (e.g. "Oh, Inverted World" for the first one) are my inventions, part of my notes rather than the book itself.

I tried to avoid spoilers for later chapters when writing about earlier ones, though of course if you read the notes all the way through, you'll eventually get fully spoiled.

Except for one small added note (clearly signposted), these are given in their original 2013 form without any edits.

1. Oh, Inverted World (Part 1, Chapters 1-8)

GENERAL REMARKS (Chapters 1-8)

Let's review what we know so far. The story is apparently set on another planet (called "Demonia" or "Antiterra" -- I don't think these terms have come up yet, but I'm mentioning them for the sake of ease of reference). Its history and geography are quite similar to those of earth, although names are often different, and the dates of historical events can vary by up to 100 years. On Antiterra the northern reaches of North America have a mild, warm climate and, politically, form not an independent country (Canada) but a subsection of the U.S. called "Canady," which contains a "province" called "Estoty" which is inhabited largely by Russian-speakers in the west ("Russian Estoty") and Francophones in the east ("French Estoty"). What we call Russia on earth is called "Tartary" on Antiterra, and was settled by Tartars after the Russians were expelled to North America. (If you want some clarification on all of this, there is a very nerdy page about it called "The Geography of Antiterra" at http://www.dezimmer.net/ReAda/AntiterraGeography.htm .)

The mentally ill on Antiterra often have hallucinatory visions of our earth, which they call "Terra." This tendency began in a sort of fad in the Antiterran 1860s. A mysterious event called the "L disaster," which caused electricity to be banned, was responsible in some unspecified way for caused the Terra mania. At the time our protagonist, Van Veen, is writing, electricity has been made legal again, but in the story so far (covering the 1860s and 1880s) it is illegal and electrical devices have been replaced with hydrodynamic equivalents, such as the "dorophone" (hydrodynamic telephone). On the other hand, on the evidence of Ch. 6 at least, Antiterrans in 1884 (the date of Van and Ada's first meeting) have flying carpets and household robots. What little we see of conventional religion on Antiterra is peculiar: people say "thank Log" (short for "logos," maybe?) rather than "thank God," mention is made of "Faragod" ("the god of electricity"), and demons are seen as good rather than evil figures.

That's the setting; what about the story? The first three chapters are a convoluted and uninviting description of Van and Ada's ancestry, as well as (in Ch. 3) an account of the Terra mania and some of the differences between Antiterra and Terra. These three chapters make numerous but oblique references to the fact that Van and Ada, the two romantic leads, are not actually cousins -- as the family tree at the start of the book says -- but brother and sister: they are both actually the children of Demon and Marina, not of Demon and Aqua (Van's putative parents) and Dan and Marina (Ada's putative parents). After a description of Van's first amorous and sexual experiences in Ch. 4, we finally get some narrative traction in Ch. 5, where we start following 14-year-old Van in 1884 as he visits his relatives in Ardis Hall and meets his "cousin"/sister Ada -- who's a pedantic weirdo, but Van's, like, totally into it. That's pretty much it so far.

All of this is being described retrospectively, in the third person, by a very (implausibly?) old Van (he was born in 1870 and Ch. 4 says he "started to reconstruct his deepest past" in "the middle of the twentieth century"), with some notes in the margin by a similarly old Ada. The notes have been preserved in the text we're reading, which is curious in itself (an unedited, or partially edited, manuscript?).

One big question this book presents to the reader is whether Antiterra is real or whether it's something Van (who, in this latter conception, actually lives on our earth) has made up. When I first read the book, I thought "Antiterra is fake" was a plausible theory but by no means certain. Now, upon re-reading, it seems more and more obvious to me that Antiterra is just clearly fake -- the alternate Antiterran names are constantly shifting, for instance. So some of my notes below will talk about why I think Antiterra isn't real. (There is no critical consensus on this point, but that may just be because not enough people are paying attention.)

SOME RELEVANT TEXTS

As you probably know, Brian Boyd has been annotating Ada on his website. The annotations aren't done, and may never be -- he's up to Chapter 34 now, which is only a few chapters further than he'd gotten to when I first read the book two years ago. I will quote from these annotations often, but if you're worried about spoilers (for plot or for discoverable secrets) I don't recommend looking at them (although I used them heavily on my first read-through).

Boyd has also written a critical monograph called "Ada: The Place of Consciousness." I don't strongly recommend it, as it has the typical Boyd faults (justifies inherently implausible theories with over-complicated webs of evidence, expects first-time readers to have super-naive responses that no first-time readers actually have in practice, etc.) and in terms of the Boyd virtues (e.g. obsessive attention to detail) it has nothing to recommend it over the annotations. A better, and shorter, book is "Nabokov's Garden" by Bobbie Ann Mason (published -- really -- by Ardis Press in Ann Arbor), which gets closer to the heart of what Nabokov is doing than Boyd ever seems to.

There is also a set of annotations that Nabokov prepared himself to aid translators, called "Notes to Ada, by Vivian Darkbloom." Your copy may include them at the back. These are pretty sparse and pedestrian, but they are worth mentioning from time to time.

Ada makes a whole bunch of references to books and to visual art. According to Boyd and Mason, some of the more important textual reference points are:

Pushkin (Eugene Onegin) Tolstoy (Anna Karenina, War and Peace, Childhood/Boyhood/Youth) Chateaubriand (Atala/Rene)

Of these I have only read Anna Karenina.

NOTES

A note on pronunciation: "Ada," as Chapter 5 indicates, is pronounced "ahh-dahh," so that it sounds like "ardor" spoken in a non-rhotic accent. "Van" has the same type of "a" sound, since it is an abbreviation of "Ivan." "Veen" is, I think, pronounced like "vain," both for resonance with the word "vain" and because that's how it's pronounced in the Dutch surname "van Veen," which Van's name is supposed to remind us of. I've heard some people pronounce it like the first syllable of "Venus," though, and "Venus" is another intended resonance of the name.

" 'All happy families are more or less dissimilar; all unhappy ones are more or less alike,' says a great Russian writer in the beginning of a famous novel (Anna Arkadievitch Karenina, transfigured into English by R.G. Stonelower, Mount Tabor 3.05 Ltd., 1880)." (1) -- this inversion of the opening sentence of Anna Karenina (which Nabokov, incidentally, insisted should be called Anna Karenin in English) is many things. It's Nabokov making fun of bad translations. It is our narrator, Van Veen, declaring that his family, although sui generis (so to speak), is a happy one. It is an indication that we are entering a mirrored world in which some things may be different from what we're used to -- indeed, may take precisely the opposite form. It's an indication that this book will be (among other things) a parody of 19th century novels. Above all, it is a bizarre opening line that sets the tone for this bizarre book.

"Demon's twofold hobby was collecting old masters and young mistresses. He also liked middle-aged puns." (4) -- now that's my kind of 19th-century libertine! (Note, incidentally, that since Antiterra is also known as Demonia, Demon is effectively named after the earth [or the version of the earth he lives on], which is a good match for names like Marina and Aqua.)

" 'I deduce,' said the boy, 'three main facts . . . " (8) -- this first (textually, not chronologically) conversation between Van and Ada is wonderfully and implausibly dense. The upshot here is that the two have discovered the secret of Van's birth: Marina substituted her baby, whom Demon fathered, for Aqua's dead son, and the mentally impaired Aqua believed that the baby really was her child. This makes Van the son of Marina and Demon (rather than Aqua and Demon), and since the pair already knows that Ada's true father is Demon rather than Dan, this means they are both children of Marina and Demon -- full siblings. (This contradicts the family tree printed at the beginning, and -- despite numerous hints in the coming pages -- was actually missed by some early reviewers of the novel, who went through the whole thing believing that Van and Ada were cousins. Martin Amis, writing in 2009, thinks they are "half-siblings." My nerdrage knows no bounds.)

"by the sea, his dark-blue great-grandmother" (8) -- here's Boyd with the genealogy of this phrase: "Van says 'the sea, his dark-blue great-grandmother' in allusion to the opening chapter of another famous novel, Ulysses (pub. 1922), by James Joyce (1882-1941). In the opening chapter Buck Mulligan, looking seaward, and like Van and Ada also showing off in the first conversation in the novel, exclaims: 'Isn't the sea what Algy calls it: a grey sweet mother? The snotgreen sea. The scrotumtightening sea. Epi oinopa ponton' ([Harmondsworth: Penguin, 1986], 4; 1.77-78). 'Algy' here is Algernon Charles Swinburne (1837-1909): 'I will go back to the great sweet mother, / Mother and lover of men, the sea' ('The Triumph of Time,' pub. 1866, ll. 257-58). 'Epi oinopa ponton' means 'over the wine-dark sea,' a Homeric formula recurring throughout the Odyssey. Notice that Nabokov's 'dark-blue great-grandmother' wittily combines the 'grey' color term in Joyce's recycling of Swinburne's phrase and the 'great sweet mother' in Swinburne, with the 'great' again wittily given an improbable new value in 'great-grandmother.' "

Chapter 2 -- according to Boyd, the bad play Marina acts in here is a parody of bad translations/adaptations of Eugene Onegin. Unlike some of you, I haven't read Eugene Onegin, so the jokes are lost on me.

"the Baron, a physical wreck and a spiritual Samurai, had gone over to Japan forever" (14) -- for some reason I can't stop laughing over the weird, unexpected use of the word "Samurai" here. (It seems ripe for being turned into some sort of surrealist compliment/insult, e.g. "Rob, you are a physical wreck and a spiritual Samurai!")

"Van, I trust your taste and your talent but are we quite sure we should keep reverting so zestfully to that wicked world which after all may have existed only oneirologically, Van? marginal jotting in Ada's 1965 hand; crossed out lightly in her latest wavering one." (15) -- this is the first of what I think of as "moments of instability," moments when the book suggests that there is some crucial secret of its nature that we are not privy to. What is it that "may have existed only oneirologically"? Van and Ada's highly detailed ideas about what their parents' courtship was like? Antiterra as a whole? (If the latter, this would explain why Ada later crossed out the comment, since Chapter 3 makes it clear that Van is determined to stick with the Antiterra idea.) "Reverting" suggests regression (towards something worse, more immature) as well as turning something over (from the root "vert") as images are turned over by a mirror.

"The details of the L disaster (and I do not mean Elevated)" (17) -- strange that he would have to point the latter out in a world in which the L disaster is "well-known historically." "L" can stand for "electricity" (the L disaster has caused electricity to be banned) -- also "Ladore"? (Or Lenin. Or other, more spoilery options.)

"1869 (by no means a mirabilic year)" (19) -- Boyd's annotation for this reads as follows: "a pun on annus mirabilis (Latin, 'wonderful year,' applied especially to 1666, the year of London's Great Fire, in John Dryden's 'Annus Mirabilis,' 1667); on aqua mirabilis, sometimes shortened simply to mirabilis, 'a distilled cordial made of spirits, sage, betony, balm and other aromatic ingredients' (W2), since Aqua is about to be introduced; and as Proffer suggests on Russian mir, 'peace,' and Latin bellum, 'war,' since 1869 was the year Tolstoy's War and Peace was completed." Now that's a pun!

"Marina, with perverse vainglory, used to affirm in bed that Demon's senses must have been influenced by a queer sort of 'incestuous' (whatever that term means) pleasure (in the sense of the French /plaisir/, which works up a lot of supplementary spinal vibrato), when he fondled, and savored, and delicately parted and defiled, in unmentionable but fascinating ways, flesh (/une chair/) that was both that of his wife and that of his mistress, the blended and brightened charms of twin peris, an Aquamarina both single and double, a mirage in an emirate, a geminate gem, an orgy of epithelial alliterations." (19) -- And that is a sentence!

"Demon Veen married Aqua Durmanov -- out of spite and pity, a not unusual blend." (19) -- Karkat would be proud!

"Abraham Milton" on p. 18 becomes "Milton Abraham" on p. 21. Curiouser and curiouser.

"this our sufficient world. . . . Sufficient for your purpose, Van, entendons-nous. (Note in the margin.)" (21) -- second moment of instability. What is Van's "purpose"? This one is easier to make sense of under an "Antiterra isn't real" theory, since in that case Antiterra is sufficient for Van's purposes (i.e. for the reasons that led him to invent it), but not, e.g., for the purposes of other people whose real actions might be misrepresented there. If Antiterra is real, then Ada is either reminding Van of the general fact that some people are less satisfied with the world than he is, or reminding him in particular of people who hope their souls will transmigrate to Terra after death.

With its mystical manias and its college students dropping out to join 'fashionable' social causes, the Antiterran 1860s seem to imitate the Terran 1960s, in which Nabokov was writing.

Strange to have "Anna Karenin, a novel" (25), with that helpful explanatory clause, when on the first page the same novel (with a less accurate name) was "famous." "Manipulate each other" sounds more sexual than what actually happens in A.K., fitting for Ada's combination of 19th century stylings and sexual frankness.

" ' . . . it would have been so much more plausible, esthetically, ecstatically, Estotially speaking -- if she were really my mother.' " (30) -- an enigmatic outburst. Boyd's annotation for "Estotially" says "given the incest laws in Estoty?"

"such details of his infancy as really mattered (for the special purpose the reconstruction pursued)" (31) -- third moment of instability. (What is this "special purpose"? Is is the same as "your purpose" on p. 21?)

"He knew she was nothing but a fubsy pig-pink whorelet and would elbow her face away when she attempted to kiss him after he had finished" (33) -- this will turn out to be pretty representative of how Van sees women.

Chapters 5 and 6 -- we are now past the abstruse genealogical/scene-setting chapters, and, suddenly and somewhat incongruously, we're dropped into a Wes Anderson movie or something. Everything is visually lush and sort of cutesy. Something like this tone will persist, with various interruptions, for quite a while, but don't be fooled into thinking this is all the book has to offer.

"Ardelia" (36) -- Van's misremembering of "Adelaida" (Ada).

"the tiny, tremulous poodlet" (37) -- I present this phrase without comment.

" 'I used to love history,' said Marina. 'I loved to identify myself with famous women. There's a ladybird on your plate, Van. Especially with famous beauties -- Lincoln's second wife or Queen Josephine.' " (38) -- that's Marina for you. Also we can now add "Lincoln" to the two variants of "Abraham Milton."

" . . . jikkers were banned by the airpatrol; but four years later Van who loved that sport bribed a local mechanic to clean the thing, reload its hawking-tubes, and generally bring it back into magic order . . . " (44) -- I'm 99% sure the jikkers with their "hawking-tubes" were the inspiration for the flying carpets called "Hawking mats" that appear in the Hyperion series by science fiction writer Dan Simmons, which I coincidentally happened to be reading concurrently with Ada in summer 2011. (Simmons is a Nabokov fan and uses the name "Ardis" in the series as well. Of course when he uses "Hawking" it's also a reference to Stephen Hawking.)

"Owing to a mixture of overlapping styles and tiles (not easily explainable in non-technical terms to non-roof-lovers)" (45) -- "non-roof-lovers" is certainly not a category that enters my mind very often.

"le Docteur Chronique, I mean Crolique" (49) -- [insert weed joke here]

"Les Amours du Docteur Mertvago" (53) -- Vivian Darkbloom explains: "play on 'Zhivago' ('zhiv' in Russian means alive and 'mertv' dead)."

"Did he like elms? Did he know Joyce’s poem about the two washerwomen? He did, indeed. Did he like it? He did." (54) -- Apparently Finnegans Wake existed in 1884 on Antiterra. Boyd says: "The famous lyrical prose passage involving two washerwomen by the Liffey, at the end of the 'Anna Livia Plurabelle' chapter (I.viii) of Finnegans Wake (1938) -- a passage Joyce recorded in his own voice -- includes the refrain 'Tell me,' which in its last transformation becomes 'Tell me, tell me, tell me elm! Night night! Telmetale of stem or stone.' (216.03-04). Though a great admirer of Ulysses, Nabokov thought Finnegans Wake 'a formless and dull mass of phony folklore, a cold pudding of a book, a persistent snore in the next room. . . . Finnegans Wake’s façade disguises a very conventional and drab tenement house, and only the infrequent snatches of heavenly intonations redeem it from utter insipidity.' (Strong Opinions 71)"

"The retractile head and diabolical anal appendages of the garish monster that produces the modest Puss Moth" (55) -- "Diabolical Anal Appendages" is a great band name.

"Les Malheurs de Swann" (55) -- Vivian Darkbloom: "cross between Les malheurs de Sophie by Mme de Ségur (née Countess Rostopchin) and Proust’s Un amour de Swann."

2. Youth in Revolt (Part 1, Chapters 9-16)

GENERAL REMARKS (Chs. 9-16)

So, starting around Ch. 10 or so, we find ourselves REALLY CLEARLY situated inside the mind of a teenage boy. Everything is openly sexualized, even the food ("enormous purple pink plums, one with a wet yellow burst-split" [62] -- eww). Nabokov usually isn't this overt about this kind of stuff (if he includes it at all), and it was pretty startling to me the first time I read this book.

Back then these chapters startled me in a number of ways, really -- most of them having to do with the way they realistically, perhaps too realistically, take us into the world of adolescents with all their horniness and haughtiness. Van and Ada, who were likable enough in the previous section, begin to grate in this one. Take, for instance, the way their sense of superiority to Mlle Larivière infects not only their own dialogue but also the narration:

". . . the story lacked 'realism' within its own terms . . . That was the fatal flaw in the Larivière pathos-piece, but at the time young Van and younger Ada could not quite grope for that point although they felt instinctively the falsity of the whole affair." (87)

If we take this as an editorial comment from Nabokov himself (rather than just from old Van), it seems pretty self-indulgent: he has created a character who is an incompetent writer, has attack her writing in the voices of his other characters, and now attacks her in the narration itself -- pointing out flaws that he created to begin with! What's even worse is how close Van, and especially Ada, are to Nabokov in various ways -- e.g. Ada's interest in botany and entomology and her distaste for bad translations -- which makes this close to self-congratulatory self-insert 19th-century-novel fanfiction.

Is this interpretation false? Well, I think so, but for reasons that only become clear later on. For the moment, I'll just say that if your reaction to these chapters is "get off my lawn, you damn kids," your reaction is valid, and probably what Nabokov intended. (I mean, not to say their romance doesn't have some appeal; of course it does.)

NOTES

"punctuating Ada’s discourse with little ejaculations" (62) -- see what I mean about sexualizing everything?

" 'It was sort of long, long. I mean (interrupting herself)… like a tentacle… no, let me see' " (62) -- I rest my case.

Chapter 12 is beautiful and odd in its own unique way.

"among the instruments in the horsecart" (72) -- "horsecart" is an anagram for "orchestra." Darkbloom: "horsecart: an old anagram. It leads here to a skit on Freudian dream charades ('symbols in an orchal orchestra')."

"Children of her type contrive the purest philosophies. Ada had worked out her own little system. Hardly a week had elapsed since Van’s arrival when he was found worthy of being initiated in her web of wisdom. An individual’s life consisted of certain classified things: 'real things' which were unfrequent and priceless, simply 'things' which formed the routine stuff of life; and 'ghost things,' also called 'fogs,' such as fever, toothache, dreadful disappointments, and death. Three or more things occurring at the same time formed a 'tower,' or, if they came in immediate succession, they made a 'bridge.' 'Real towers' and 'real bridges' were the joys of life, and when the towers came in a series, one experienced supreme rapture; it almost never happened, though. In some circumstances, in a certain light, a neutral 'thing' might look or even actually become 'real' or else, conversely, it might coagulate into a fetid 'fog.' When the joy and the joyless happened to be intermixed, simultaneously or along the ramp of duration, one was confronted with 'ruined towers' and 'broken bridges.' " (74) -- I like this passage, and this system. I've forgotten a lot of stuff from this book but this has always stuck in my mind.

"The wasp was investigating her plate. Its body was throbbing. 'We shall try to eat one later,' she observed . . . " (75) -- Ada, you are so WEIRD.

" . . . the child was permitted to wear her lolita . . . a rather long, but very airy and ample, black skirt" (77) -- how Japanese of her. Seriously, though, this is one of the many throwaway references to Lolita in Nabokov's later work, which have always gotten on my nerves for some reason. I guess it's poking fun at the public's perception of him as primarily "the guy who wrote Lolita," but it also seems like more fuel for that very perception? I dunno.

" . . . thus dubbed after the little Andalusian gipsy of that name in Osberg’s novel" (77) -- Osberg is an anagram of Borges, to whom Nabokov has often been compared.

"with red poppies or peonies, 'deficient in botanical reality,' as she grandly expressed it, not yet knowing that reality and natural science are synonymous in the terms of this, and only this, dream. (Nor did you, wise Van. Her note.)" (77) -- another moment of instability at which I can only smile and nod. No clue what this means.

"[thus in the MS. Ed.]" (79) -- so the manuscript has been edited, but in a hands-off way, preserving errors and marginal notes rather than removing them or smoothing them out.

"'But, my poor Mathilde, the necklace was false: it cost only five hundred francs!' " (83) -- this story is the Antiterran equivalent of Maupassant's La Parure (thanks, Boyd). I do wonder if there's any intended parallel here to Van being substituted for Aqua's child.

"Being unfamiliar with the itinerary of sun and shade in the clearing, he had left his bicycle to endure the blazing beams for at least three hours." (86) -- even the most trivial details in this book are just so entertainingly described.

Chapter 15 -- I really like the way this chapter seems to be a parody of "loss of innocence" scenes, complete with the heavy-handed Tree of Knowledge symbolism. Since it rings true that Van and Ada might retrospectively view their lives in parodic terms, the scene also works "normally," as characterization, even while it also works as a parody.

"to snatch, as they say, a first shy kiss" (95) -- the innuendo pile doesn't stop from getting taller, if you believe Boyd: "Pun. Cf. Boyd 1985/2001: 243: 'seems to allude to a stock expression -- but the actual idiom is "steal a kiss." Why then that "as they say" just after snatch? Because, of course, there is one colloquial use of "snatch" ': vulva." (On the other hand, I remember the phrase "snatch a kiss" appearing in the romance-novelly chapter of Ulysses, so unless that was the same joke, it may just be an antiquated idiom . . . )

"with only that stray ardilla daintily leavesdropping" (98) -- hard to read even a few words of this book without encountering some sort of mischief. "Ardilla" means squirrel in Spanish, FYI.

3. And I'll Bury My Soul in a Scrapbook (Part 1, Chapters 17-24)

GENERAL REMARKS (Chs. 17-24)

Van and Ada's romance begins in earnest with an appropriately pyrotechnic backdrop; DIY sex ed is facilitated by the vast Ardis library; poems are transmogrified and crossbred; Lucette gets in the way; the style is sometimes gorgeous and sometimes playful or jokey to the point of tedium. The attic scene at the end of Ch. 1 fits somewhere in here, chronologically speaking. Meanwhile, the density of references has gone up precipitously, so I've written a lot more notes, most of which are quoted or cribbed from Boyd. There is the feeling of a steady rise in difficulty after the easy early Ardis chapters, like a musical piece that slowly builds in complexity.

If you're up to date, can you leave a comment saying whether you like the book so far? Just curious. I know this book is polarizing, and I don't want to feel like I'm leading you down a very long blind alley.

NOTES

Compared the leering and arch chapters directly preceding it, Chapter 17 is rather lovely. The tone in much of Part 1 seems to waver between romantic and satiric, with one of the two dominating the other in each chapter (speaking roughly).

"Their lips were absurdly similar in style, tint and tissue. Van's upper one resembled in shape a long-winged sea bird coming directly at you, while the nether lip, fat and sullen, gave a touch of brutality to his usual expression. Nothing of that brutality existed in the case of Ada's lips, but the bow shape of the upper one and the largeness of the lower one with its disdainful prominence and opaque pink repeated Van's mouth in a feminine key." (102) -- just felt like noting this down because it's an example of this book's excellent descriptions of sensory detail. Note the motif of Van's "brutality" (Ada's reaction to Van's hand-walking performance in Ch. 13: "I felt there was something dreadful, brutal, dark, and, yes, dreadful, about the whole thing" [86]).

"Nose, cheek, chin -- all possessed such a softness of outline (associated retrospectively with keepsakes, and picture hats, and frightfully expensive little courtesans in Wicklow)" (103) -- unsubtle foreshadowing: apparently Van will be soliciting courtesans later on.

"pascaltrezza" (103) -- Darkbloom: "pascaltrezza: in this pun, which combines Pascal with scaltrezza (Ital., 'sharp wit') and treza (a Provençal word for 'tressed stalks'), the French 'pas' negates the 'pensant' of the ‘roseau’ in his famous phrase 'man is a thinking reed.' " Sick pun, bro!

"Remembrance, like Rembrandt, is dark but festive." (103) -- okay, I'm going to have to stop noting down every cool or cute line in this chapter or else I'll just be noting down the whole thing. Boyd quibbles: "Rembrandt . . . is generally much less festive than such compatriots and contemporaries as Franz Hals (c.1581-1665) and Jan Steen (1625/6-1679). Van may particularly have in mind the decidedly festive 'Self-portrait with Saskia' . . . "

"What (Ada asks) are eyes anyway? Two holes in the mask of life. What (she asks) would they mean to a creature from another corpuscle or milk bubble whose organ of sight was (say) an internal parasite resembling the written word 'deified'?" (104) -- my quote moratorium has lasted less than a page, it seems.

" . . . the most tragic and almost fatal point of my life . . . How I used to seek, with what tenacious anguish, traces and tokens of my unforgettable love in all the brothels of the world!" (104) -- this chapter seems intent on briefing us about the shape of the overall plot. Note that a moment ago we got a reminder that Lucette died young ("at eight, twelve, sixteen, twenty-five, finis" [104]), though technically that could be deduced from the family tree at the beginning.

" 'I am sentimental,' she said. 'I could dissect a koala but not its baby. I like the words damozel, eglantine, elegant. I love when you kiss my elongated white hand.' " (105) -- Boyd: "Damozel is an archaic variant of 'damsel,' revived by Sir Walter Scott and other romantics after him 'to express a more stately notion than is now conveyed by damsel' (OED). Eglantine, especially [sic? -Rob] the sweetbriar (Rosa eglantera). Edmund Spenser (c.1552-1599) in The Faerie Queene (1590-96) uses both words toward the end of Book III, Canto VI (The Garden of Adonis), 'eglantine' in stanza 44, 'damozel' in stanza 54."

"a cad" (105) -- presumably Demon.

"after Mlle Larivière had threatened to smear poor Ada's fingertips with French mustard and tie green, yellow, orange, red, pink riding hoods of wool around them" (106) -- Boyd cites Jay Alan Edelnant's Ph.D. thesis, which notes that "this sequence implies 'green thumb' and 'pinkie.' ".

"born between Paris and Tagne (as he'd better, said Ada, who liked crossing orchids)." (106) -- Boyd notes that "Tagne" is not a real place and "seems a back formation from 'montagne' in the poem (106.25), as if it were 'mon Tagne,' 'my Tagne.' " The poem that follows is a hybrid ("crossing orchids") between the most famous poems of Baudelaire and (the actual) Chateaubriand (the latter poem will show up again in Ch. 22, where V&A will play with various phrases of the form "mon [X]"). Darkbloom translates it as "my child, my sister, think of the thickness of the big oak at Tagne, think of the mountain, think of the tenderness -- "

"Lucette’s and Lucile’s" (106) -- "Lucille, incidentally, was the true name of Chateaubriand’s sister, with whom he was in love" (Vera Nabokov).

" . . . and briefly attaining a drugged beatitude into which, as into a vacuum, the ferocity of the itch would rush with renewed strength." (107) -- a good description of this familiar experience.

"Nowadays it seems to be getting extinct, what with the cooler climate" (108) -- apparently the Antiterran climate has been growing closer to the Terran one?

"Suddenly Van heard her lovely dark voice on the staircase saying in an upward direction, 'Je l’ai vu dans une des corbeilles de la bibliothèque' -- presumably in reference to some geranium or violet or slipper orchid." (125) -- Ada's utterance, "I saw it in one of the wastepaper-baskets of the library," is actually (presumably) a response to Blanche asking about the location of her slipper, which she lost at the start of Ch. 19 ("Yes, she rushed down the corridor and lost a miniver-trimmed slipper on the grand staircase." [114]).

"She wore -- though not in collusion with him" (126) -- Boyd's annotation reads: "Why might we have thought that Ada had donned her black shorts and white jersey in collusion with Van?" I dunno, man.

From Boyd's Forenote to Ch. 21: "The prohibition against knowing about sex matches the Edenic prohibition against tasting of the Tree of Knowledge, and the theme of Ardis as Garden of Eden somehow resounds even amid the hush of the library. Just as the solitary couple in the left panel of Bosch’s Garden of Delights gives way to the throngs of sensualists, fructivores and sexual acrobats in the triptych’s central panel, in an endless slow merry-go-round of desire, so Van and Ada returning now as lovers to the library sample sex as something endlessly repeated through time: in evolutionary terms, from Serromyia flies and the lowliest farm animals to geishas and Casanovas; in cultural terms, from Oriental erotica, Shastras and Nefzawis, to litterateurs and sexologists."

"May 1, 1884 . . . 14,841 items" (130) -- I quote Boyd's annotation here because it's the kind of hyper-minute and hyper-trivial analysis only Boyd, for better or for worse, can provide: "The echo of the date ('1, 1884') in the number of items in the library (which would have been even closer had Nabokov chosen April 1, 1884: 1-4-1884: why did he choose 'Mayday' rather than April Fool’s Day?; and see 133.01 and n.) and the palindromic quality of '14841' (which also happens to be the sum of the squares of 120 and 21, the latter the number of the chapter -- is this significant, in this self-referential section? -- and the former a near palindrome of it, with 'nothing' added -- was that intended?) reflect Nabokov’s abilities as mathematical prodigy in his infant years, and his preoccupation with pattern in both nature (butterfly wing-markings, for instance) and art (versification, for instance)."

"A bawdy critic in a collection of articles which she now could gleefully consult (Les muses s'amusent)" (133) -- Nabokov's invention, title means "The Muses Have Fun." (Boyd)

"Ivan Ivanov" (134) -- sounds like a reference to Van, but Boyd notes also: " 'Ivan Ivanovich Ivanov' is the archetypal Russian; see for instance Bernard Guilbert Guerney’s translation of Gogol’s Dead Souls (but not in Gogol himself), ch. 11: 'why, on several occasions caricatures had actually been put out depicting Ivan Ivanovich Ivanov talking with John Bull' (1942; New York: Holt, Rinehart and Winston, 1966, 252.)"

"Kapuskan patois" (136) -- Boyd: "Kapuskan patois: Which, judging by the sample, seems to consists of a mix of French, American and Spanish, the European languages (except for Portuguese) of Earth’s Americas. Kapuskasing is a town in northern Ontario (49.25N, 82.26W), in an area of Ontario where French and English are both widely spoken." As for the "Kapuskan" quote itself: "This comically transparent macaronic passage yields: 'The only sure method of deceiving nature is for a strong-guy to continue-continue-continue until the pleasure brims; and then, at the last moment, to switch to the other groove; but because an ardent or a heavy woman cannot turn over quick enough, the transition is helped by the position of torovago.' "

"Heinrich Müller" (136) -- Darkbloom: "author of Poxus, etc." Of course this is Henry Miller, author (on Terra many decades later) of Sexus, etc. (For a good time, check out Gore Vidal's review of Sexus.)

"My sister . . . " (138) -- for the song by Chateaubriand on which this is based (which was crossbred with Baudelaire back in Ch. 17), see here. (If you want to avoid a quotation from a later chapter of Ada, stop reading at the sentence beginning "The poem, with score and tune . . . ")

"Ma soeur, te souvient-il encore / Du château que baignait la Dore?" (138) -- straight from the Chateaubriand: "My sister, do you still remember / The castle bathed by the Dore?"

"Sestra moya, tï pomnish' goru / I dub vïsokiy, i Ladoru?" (138) -- Darkbloom's trans.: "my sister, do you remember the mountain, and the tall oak, and the Ladore?"

"Oh! qui me rendra mon Aline / Et le grand chêne et ma colline?" (138) -- Darkbloom's trans.: "oh who will give me back my Aline, and the big oak, and my hill?" Slight alteration of the final sestet of the Chateaubriand: "mountain" has been changed to "hill" and "Helene" has become "Aline," the name of Chateaubriand's elder brother's wife (significance?). Darkbloom on the original: "The final (fifth) sestet begins with 'Oh! qui me rendra mon Hélène, Et ma montagne et le grand chêne' -- one of the leitmotivs of the present novel."

"Oh! qui me rendra, mon Adèle / Et ma montagne et l'hirondelle?" (138) -- now the name is "Adele" (now the addressee rather than the object) and the "great oak" is the "swallow." Adele brings "Adelaida" (Ada's real name) to mind just as "Lucile" below does for Lucette/Lucinda.

"Oh! qui me rendra ma Lucile, / La Dore et l'hirondelle agile?" (139) -- now it's "the Dore" and "the agile swallow." Lucile is the real name of Chateaubriand's sister. "Agile swallow" comes from an utterance of Mlle Lariviere's ("And see that agile swallow!" [87]), as do some other bits here.

"Oh, who will render in our tongue" (139) -- pun on earlier "rendra" ("give back").

"say 'chort' (devil) . . . which he had never heard her do before" (139) -- Van's forgetting that he had her say "chort" on p. 96. Speaking of devils, note that "Ada" means "of hell" (i.e. it's the genitive of "hell") in Russian.

"To the average physiologist, the energy of those two youngsters might have seemed abnormal" (139) -- part of a motif about Van and Ada's exceptional nature; cf. the earlier mention of the "demon blood" (20) they inherited from their father (which brings us back, thematically, to hell).

"yclept" (141) -- "Meaning 'called,' 'named,' this word, elsewhere obsolete, survived as an allowable archaism in poetry." (Boyd)

" 'I kept for years -- it must be in my Ardis nursery -- the anthology you once gave me; and the little poem you wanted me to learn by heart is still word-perfect in a safe place of my jumbled mind, with the packers trampling on my things, and upsetting crates, and voices calling: time to go, time to go. Find it in Brown and praise me again for my eight-year-old intelligence as you and happy Ada did that distant day, that day somewhere tinkling on its shelf like an empty little bottle. . . . ' " (146) -- well, that's heartbreaking. Note that Van, typically (as we shall see), does not comment on the pathos of the situation.

"Here, said the guide . . . " (146): Nabokov wrote, in third person, to Bobbie Ann Mason: "The poem Peter and Margaret is of course Nabokov’s own composition. Not a single reader (as far as he knows) has understood that it is a stylized glimpse of a mysterious person visiting the place, open to tourists, where in legendary times ('legendary' in Antiterra terms) a certain Peter T. had his last interview with the Queen’s sister. Although he accuses the old guide of being a 'ghost,' it is he, in the reversal of time, who is a ghostly tourist, the ghost of Peter T. himself. It is a very beautiful little poem, it should send a tingle down the spine of the reader." For a full report on the reference here and the way this poem by the fictional "Robert Brown" emulates Tennyson and Browning, see here.

"But as Van casually directed the searchlight of backthought into that maze of the past where the mirror-lined narrow paths not only took different turns, but used different levels (as a mule-drawn cart passes under the arch of a viaduct along which a motor skims by), he found himself tackling, in still vague and idle fashion, the science that was to obsess his mature years -- problems of space and time, space versus time, time-twisted space, space as time, time as space -- and space breaking away from time, in the final tragic triumph of human cogitation: I am because I die" (153) -- death has poked its head into the frame a number of times in these chapters ("the most tragic and almost fatal point of my life" [104], "a fatidic shiver" [146], " their . . . in many ways fatal romance" [148]), and it does so again in this remarkable sentence. Et in Arcadia ego?

"just finished reading her new story" (154) -- this one is based on Maupassant's "La Petite Roque" (AKA "Little Louise Roque"). There's a summary here.

4. The Second Law of Thermodynamics (Part 1, Chapters 25-34)

GENERAL REMARKS (Chs. 25-34)

In which Van learns you can never really recapture your childhood.

The story now shifts into a new phase: where Van's preoccupying monomania used to be his attraction to Ada, it is now his jealousy of anyone who might, conceivably, have designs on her. There is a newly neurotic tone to many of these chapters, and Van's characteristic allusiveness starts to seem defensive rather than expressive or simply playful. Meanwhile, Lucette herself has become infatuated with Van. (What is it with this family?)

NOTES

"kitchen Kim with his camera" (156) -- pay close attention to Kim and his camera.

"Tel un lis sauvage confiant au désert" (157) -- "Thus a wild lily entrusting the wilderness" (Darkbloom). A quote from Les Trois Règnes de la Nature by Abbé Jacques Delille (in context: "Thus a wild lily / Entrusting to the wilderness the perfume it exhales, / Hides its virginal beauty from the indiscreet winds"). Delille seems to have been one of the many, many authors on Nabokov's shit list.

" . . . and this attire was hardly convenient for making klv zdB AoyvBno wkh gwzxm dqg kzwAAqvo a gwttp vq wjfhm Ada in a natural bower of aspens; xliC mujzikml, after which she said: . . ." (157) -- just when you thought this book couldn't get any weirder, it just starts throwing glitchy gibberish at you with no warning whatsoever. Of course, all is explained in the next chapter, but I really like the audacity of it. (The joke here is that if you actually decode the text, it's completely tame, at least on a surface level: "making his way through the brush and crossing a brook to reach Ada in a natural bower of aspens; they embraced.")

"the letter scene in Tschaikow’s opera Onegin and Olga" (158) -- Boyd: "Nabokov mocks here the inaccuracies of theatrical adaptations of literary texts, including the Chaikovsky adaptation of Pushkin’s Eugene Onegin (see 10.11-12.20 and nn. and 511.34: 'the preposterous libretto'). The letter scene, itself specifically parodied at 11.02-20 (and nn.), of course focuses on Tatiana as letter-writer. A version that had misconstrued Pushkin’s story enough to have her sister Olga share the title with Onegin might even omit Tatiana altogether. In Pt. 1 Ch. 2 the show in which Marina plays the letter-writing role seems to be called Eugene and Lara (13.22), which at least preserves as well as distorts some of Tatiana’s surname (Larina); but by now, the disintegration has become even more complete, as the other Larina girl takes over the title role."

"I don't know. I adore you. I shall never love anybody in my life as I adore you, never and nowhere, neither in eternity, nor in terrenity, neither in Ladore, nor on Terra, where they say our souls go." (158) -- "adore"/"Ladore" here resonates nicely with the unspoken (but, in this book, always present) "ardor."

"Stumbling on melons, fiercely beheading the tall arrogant fennels with his riding crop" (159) -- Darkbloom: "allusions to passages in Marvell’s 'Garden' and Rimbaud’s 'Mémoire.'" (From Marvell's Garden: "Stumbling on melons, as I pass, / Ensnared with flowers, I fall on grass.") [TV narrator voice] "Previously on Ada or Ardor": Rimbaud's poem was referenced a number of times in Van and Ada's esoteric lunch-table conversation in Ch. 10.

In Chapter 27 we begin to get a sense of Van's conventionally masculine double standard about infidelity.

"Villa Armina: Marina never realized it was an anagram of the sea, not of her." (163) -- Ouch!

"garbotosh" (165) -- reference to a famous poster for the film Anna Christie, which pictures Greta Garbo wearing a macintosh. As it happens, all of the physical characteristics listed later in this passage are consistent with the idea that Cordula is supposed to look like Garbo. Garbo was rumored to have had affairs with women. (She also -- perhaps relevantly? -- played the title character in the 1935 adaptation of Anna Karenina.)

"ambivert" (165) -- apparently this means "a type of person intermediate between the introvert and the extrovert," though of course it sounds as though it means "bisexual."

"by his amour-propre, not by their sale amour" (168) -- "amour-propre" can mean either "self-love" or "clean love"; the former appears to be the actual meaning here, but the latter allows the phrase to appear to contrast more directly with "sale amour" ("dirty love"). Darkbloom: "pun borrowed from Tolstoy's 'Resurrection.'"

"On the contrary: a private picture of their fondling each other kept pricking him with perverse gratification." (168) -- another "yep, Van sure is a teenage boy" moment. (It wasn't until I copied this quote down here that I noticed the retrospectively obvious innuendo in "pricking." Maybe it's best to assume that every word of this book is some sort of innuendo until proven otherwise . . . )

"Adula" (168) -- resonates of course with "adulation."

"the entire treatment of the Marcel and Albertine affair" (169) -- Van refers to the theory that the character Albertine in In Search of Lost Time is really a gender-swapped male, i.e., that her affair with Marcel is actually a veiled depiction of a male homosexual affair.

"(On fait son grand Joyce after doing one's petit Proust. In Ada's lovely hand.)" -- the previous sentence links up to Joyce's Ulysses in several difficult-to-catch ways, described by Boyd here. Note that Van's monologue about Proust was itself in the style of Proustian dialogue.

"He could solve an Euler-type problem" (171) -- an insignificant detail, but as a math guy I'm of course curious what exactly is meant by this phrase. There are many problems associated with Euler, who was one of the most prolific mathematicians ever. In the French translation of Ada this becomes "a problem in Euler integrals." Euler integrals are certain special mathematical functions, which doesn't nail down what the problems in question are, but gives us a general idea of what sort of knowledge is involved -- calculus, probably. (Van is 10!)

"I have often wondered why the Russian for it" (175) -- by "it" he means "cheating."

"Van worked under Tyomkin, at the Chose famous clinic, on an ambitious dissertation he never completed, 'Terra: Eremitic Reality or Collective Dream?' " (182) -- the nature of the Terra pathology, along with the nature of time and space, will be one of Van's major interests as an adult.

"a triumph, in a sense, over the ardis of time" (185) -- "ardis" means "point of an arrow" in Greek, so this is a modification of the conventional phrase "the arrow of time."

"Thus the rapture young Mascodagama derived from overcoming gravity was akin to that of artistic revelation in the sense utterly and naturally unknown to the innocents of critical appraisal, the social-scene commentators, the moralists, the idea-mongers and so forth." (185) -- yep, we're definitely reading a Nabokov book here.

"Van on the stage was performing organically what his figures of speech were to perform later in life -- acrobatic wonders that had never been expected from them and which frightened children." (185) -- this makes explicit what might already have been clear: the connection between Van's interest in card tricks, acrobatic feats, etc. and his penchant for playing tricks with words.

"and (I have a note here, for the ghost of a novel) 'the low cut of her black dress allowed the establishment of a sharp contrast between the familiar mat whiteness of her skin and the brutal black horsetail of her new hair-do.'" (188) -- a vertical A-B-A (or, equivalently, A-D-A) pattern. The novel in question here is presumably Ada itself, which apparently means that this bit is some earlier note or thought that has been incorporated into the text. Note that the dramatic arc of Ada follows something like an A-D-A pattern, and that the title itself contains more than one such pattern (the word "Ada" is one, and the fact that "Ada" sounds like "Ardor" makes the phrase "Ada or Ardor" another).

"'My teacher,' she said, 'at the Drama School thinks I'm better in farces than in tragedy. If they only knew!'" (191) -- a self-conscious nod to the tension between comedy and drama in this novel?

"her only true love, the head of the arrow" (192) -- another ardis.

"I'll have them reassembled in Ladore when I motor there one of these days." (193-4) -- and here's another attempt to triumph over the ardis of time, this one much closer to the sort of examples found in introductory physics textbooks. The collecting of the necklace pieces seems like a pretty transparent metaphor for the lovers' attempt in this scene to recapture what they had in 1884.

Note that Ada has become less interested in biology (nature) and more interested in acting (artifice). Bobbie Ann Mason sees this as an effect of the corrupting influence of her "unnatural" affair with Van.

"Her director, G.A. Vronsky" (197) -- Vronsky is Anna's lover in Anna Karenina. His name is combined here with "the 'common Russian-Jewish name' Gavronsky" (Boyd citing Alfred Appel). Cf. Marina's lover "Baron d’Onsky" (13).

"what begins with a 'de' and rhymes more or less with a Silesian river ant" (199) -- "Since the Oder is the main river of Silesia, a historical region of eastern Europe now mostly in Poland although with small portions in Germany and the Czech Republic, the riddle spells the hint: 'deodorant.'" (Boyd).

"She smelled of damp cotton, axillary tufts, and nenuphars, like mad Ophelia." (199) -- cool sentence. Nenuphars are water lilies.

"The indecent 'telegraph'" (201) -- the banning of electricity has had amusing consequences for Antiterran profanity.

"(reversing the action of Dr. Ero, pursued by the Invisible Albino in one of the greatest novels of English literature)" (203) -- Darkbloom: "thus the h-dropping policeman in Wells’s Invisible Man defined the latter’s treacherous friend." Could additionally be a reference to Ellison's Invisible Man. (In an interview, Nabokov discusses the notion of meeting literary figures in heaven: "It would be fun to hear Shakespeare roar with ribald laughter on being told what Freud (roasting in the other place) made of his plays. It would satisfy one's sense of justice to see H. G. Wells invited to more parties under the cypresses than slightly bogus Conrad.")

"the sunglasses of much-sung lasses" (203) -- that's a pretty good one.

"two black and one golden-red head" (204) -- a possible A-D-A, although it seems more likely that Van is in the middle (in which case it's an A-D-A by gender, I guess).

5. Father Lucifer (Part 1, Chapters 35-38)

GENERAL REMARKS (Chs. 35-38)

The Ardis of 1888 continues to be awkward. Scrabble is played. Demon stops by and wants to ask whether Van and Ada are involved, but never manages to.

To be honest, with the exception of the Scrabble scene, I'm not that fond of these chapters -- the plot has been lagging lately and the reader could be forgiven for wondering whether any of this is going anywhere or whether the rest of the book will be comprised of minor, unpleasant Veen family interactions described at great length. Mark my words, though: the next section (the rest of Part 1) is utter gold, and is what convinced me I loved the book the first time around.

And as always, no matter how slow the plot is, there's plenty of trivia to note! Speaking of which, Boyd's online notes end at Ch. 34, although note that there are some interesting notes (composed with Boyd's help) here that go up through Ch. 38. After this, we're flying blind.

NOTES

"the oars crippled by refraction" (217) -- nice metaphor.

"my acarpous destiny" (219) -- "acarpous" means "fruitless."

"A diligent student of case histories, Dr. Van Veen never quite managed to match ardent twelve-year-old Ada with a non-delinquent, non-nymphomaniac, mentally highly developed, spiritually happy and normal English child in his files, although many similar little girls had bloomed -- and run to seed -- in the old châteaux of France and Estotiland as portrayed in extravagant romances and senile memoirs." (219) -- a self-conscious nod to the implausibility of Ada the character. Minor evidence for theories of the "Van invented Ada" variety (of which I am fond).

"Captain Grant's Microgalaxies" (220) -- Darkbloom: "known on Terra as Les Enfants du Capitaine Grant, by Jules Verne."

"ailleurs" (220) -- "go away" (?), lit. "elsewhere."

The ending of Ch. 35 has been "scrawled on a separate writing-pad page" and is apparently by a very old Van, possibly on his last night before death. It is appropriately (?) strange. Mentions of the process of composition sometimes coincide with especially abstruse and odd passages (cf. the sections alternately written by Van and Ada in Ch. 12). Is this an indication that these were written last, by an older senile Van / Ada, who either wrote strangely because they were senile or simply died before having the chance to revise this material (or both)?

"and now a century later seems to be again in vogue, so I am told, under the name of 'Scrabble,' invented by some genius quite independently from its original form or forms." (222-3) -- cf. earlier " 'We [Van and Ada in 1884] played mostly Scrabble and Snap,' said Van." (163)

"Lucette would later recall how her sister's triumphs in doubling, tripling, and even nonupling (when passing through two red squares) the numerical value of words evolved monstrous forms in her delirium during a severe streptococcal ague in September, 1888, in California." (223) -- like the Noodle Incident, this is all the more hilarious for its lack of specificity. ("Evolved monstrous forms"?)

"Baron Klim Avidov" (223) -- anagram for "Vladimir Nabokov" (Kyoto Reading Circle notes).

"Avidov . . . at a particule" (223-4) -- "The gist of this short incident is that Avidov was accused by the Englishman Keyway of his pretentions to aristocratic lineage by using the French 'de' before his name (d’Avidov)." (Kyoto Reading Circle notes)

"By July the ten A's had dwindled to nine, and the four D's to three. The missing A eventually turned up under an Aproned Armchair, but the D was lost" (224) -- A-D-A reference, of course, and maybe another arrow of time / entropy thing? (The "A" of paradisiacal Ardis lost and then regained.)

"it was pitiful to see Lucette cling to her last five letters (with none left in the box) forming the beautiful ARDIS which her governess had told her meant 'the point of an arrow' -- but only in Greek, alas." (225) -- I'm sure you could do some "clinging to Ardis" / "arrow of time" thematic stuff with this. (I have kind of a one-track mind today, it seems.)

"the amusing VANIADA" (226) -- this coinage will turn up again.

"TORFYaNUYu" (227) -- there is a peat motif (yes, you heard me, a peat motif) in this book: "Veen" for instance means "peat bog" in Dutch. (Boyd has written an article called "Ada, the Bog and the Garden: or, Straw, Fluff, and Peat: Sources and Places in Ada.")

V&A's virtuosic triumphs over Lucette in Ch. 36 leave me wondering exactly what they feel they have to prove (numerous decades later!).

"some 'blue' (peat-bog) land" (236) -- peat again.

"his "prebrandial" brandy (an ancient quip)" (238) -- cf. "he liked . . . middle-aged puns" (4).

"You look quite satanically fit, Dad." (239) -- I wonder what exactly "satanically" means on Antiterra, where religion seems to have been tweaked somewhat, and demons are benign figures. (Note the reference to the Eden story later in this chapter, and the Eden reference that dominates Ch. 15.)

" 'You’ll live to reach Terra, and come back a wiser and merrier man' " (241) -- this may be fortune-teller frivolity, but it is interesting to wonder whether it has any deeper meaning in the context of the plot.

"the sweetest word in the language rhymes with 'billiard' " -- Kyoto Reading Circle: "The word is 'milliard,' thousand million, that is, billion."

"That’s very black of you" (241) -- Kyoto Reading Circle: "Converted 'white of you,' a Southern racist compliment which means 'good of you.' "

"Filius aquae" (243) -- Darkbloom: " 'son of water,' bad pun on filum aquae, the middle way, 'the thread of the stream'." But, as the Kyoto Reading Circle observes, this is also a reference to Van's parentage (he is not "filius aquae," "son of Aqua"). This chapter is packed with hints about Van and Ada's parentage, particularly to the fact that Ada is Demon's daughter.

"Tell him I’m the youngest Venutian? Does he belong, too? Show the sign? Better not. Invent." (244) -- in Ch. 28, Dick offered Van a membership to the "Villa Venus Club." Apparently Van is now a member.

"Old Demon, iridescent wings humped" (245) -- one of several references so far to Demon's "wings." Presumably a flight of fancy rather than a literal description, but then so much of Van's tale is difficult to believe that a literally winged father might not be so out of place. (But if the wings really existed we might expect some remark about how he had been named for them, when in fact we just hear that Demon is "a form of Demian or Dementius" [4].)

"which Ada de Grandfief here has twisted into English" (246) -- yet another colorful version of "translate."

" 'Which is amply sufficient," said Demon, "for my little needs, and those of my little friends.' " (247) -- cf. "Sufficient for your purpose, Van" (21).

"the unfortunate plant used to be considered by the ancient inhabitants of the Ladore region not so much as a remedy for the bite of a reptile, as the token of a very young woman’s easy delivery" (247) -- the reference to the pains of childbirth here continues the Adam and Eve reference begun in Ada's preceding line, in which she links snakes and "corruption."

" 'I'm Fanny Price, actually' . . . 'In the staircase scene' " (249) -- not having read Mansfield Park, I can't divine the significance of either of these statements. Google leads me to this: "The stairs leading to the attic also have significance in the novel. A week after Fanny’s arrival at Mansfield Park, Edmund finds his cousin sitting on the stairs that lead to the attic. Her placement on the stairs reinforces the view of Fanny as a person between two worlds. She can no longer live with her family in Portsmouth and does not feel that the Bertram house is her home either. She is never completely part of the Bertram family until later in the novel; and in her first years with the family, Fanny does not feel fully accepted as a member of the household."

"this gemel planet" (256) -- "gemel" is a heraldic term meaning "coupled" or "paired."

"the young hospital nurse Dan had been monkeying with ever since his last illness (it was, by the way, she, busybody Bess, whom Dan had asked on a memorable occasion to help him get 'something nice for a half-Russian child interested in biology')" (256) -- the 12th birthday gift Ada received and hated back in Ch. 13 ("a huge beautiful doll -- unfortunately, and strangely, more or less naked; still more strangely, with a braced right leg and a bandaged left arm, and a boxful of plaster jackets and rubber accessories, instead of the usual frocks and frills" [84]).

"certicle storms" (258) -- Darkbloom: "certicle: anagram of 'electric.' " Electricity may be taboo, but Antiterrans still need a way to refer to natural electrical phenomena. (Also brings "cervical" to mind?)

"Antiamberians" (258) -- apparently some sort of anti-electricity group. The word "electricity" itself comes from the Greek word for "amber." Philip Pullman, thinking along the same lines, had his otherworldly characters in the His Dark Materials trilogy use "anbaric" (from the Arabic for "amber") energy.

"young Bout hurried in dragging the long green cord (visibly palpitating in a series of swells and contractions rather like a serpent ingesting a field mouse) of the ornate, brass-and-nacre receiver" (260) -- a hydrodynamic telephone sure is a funny image.

"his key: 221" (262) -- Demon is linked a number of times in this Chapter to Sherlock Holmes, who lived on 221 Baker Street (Kyoto Reading Circle).

"till dee do us part" (263) -- "dee" is the first letter in Demon's name: when Demon finally discovers their affair, Ada expects him to order them to stop. Also, possibly, a reference to the negative associations of the "D" segment of the A-D-A sequence (if this book is about paradises lost and then regained, "A" is the paradise while "D" is its absence).

6. Van/Ada, Blanche/Van, Rack/Ada, Percy/Ada, Van/Cordula, Hurt/Comfort, Mpreg (Part 1, Chapters 39-43)

GENERAL REMARKS (Chs. 39-43)

Shit just got real.

NOTES

"Speaking as a character in an old novel" (266) -- this "old novel" motif is starting to get a bit worn out.

"One of your aunt's servants is the sister of one of our servants and two pretty gossips form a dangerous team" (271) -- the former servant is Blanche. (Cf. "better than waste them on her, let him give them, she said, to Blanche's lovely sister" [277].)

"Percy, you were to die very soon -- and not from that pellet in your fat leg, on the turf of a Crimean ravine, but a couple of minutes later when you opened your eyes and felt relieved and secure in the shelter of the macchie; you were to die very soon, Percy; but that July day in Ladore County, lolling under the pines, royally drunk after some earlier festivity, with lust in your heart and a sticky glass in your strong blond-haired hand, listening to a literary bore, chatting with an aging actress and ogling her sullen daughter, you reveled in the spicy situation, old sport, chin-chin, and no wonder. Burly, handsome, indolent and ferocious, a crack Rugger player, a cracker of country girls, you combined the charm of the off-duty athlete with the engaging drawl of a fashionable ass. I think what I hated most about your handsome moon face was that baby complexion, the smooth-skinned jaws of the easy shaver. I had begun to bleed every time, and was going to do so for seven decades." (273) -- enjoyably spiteful paragraph. Strange to think of Van, over ninety, having lived with Ada for decades, writing this as though still angry at Percy. (I always tend to assume that Van's uses of the first person indicate heights of emotional intensity or involvement, though that may be too simple.)

"It was, he understood, a collation of shepherds." (274) -- no idea what to make of the shepherds. Suggestions welcome.

"Ada strolled up. 'My hero,' she said, hardly looking at him, with that inscrutable air she had that let one guess whether she expressed sarcasm or ecstasy, or a parody of one or the other." (278) -- doubles, of course, as a description of Ada the book.

"We do not care to follow the thoughts troubling Ada, whose attention to her book was far shallower than might seem; we will not, nay, cannot follow them with any success, for thoughts are much more faintly remembered than shadows or colors, or the throbs of young lust, or a green snake in a dark paradise." (280-1) -- strange to point this out when the book almost never follows Ada's thoughts, and the excuse rings hollow since Van's thoughts are, by contrast, followed relentlessly. I wonder what that "green snake in a dark paradise" means. There have been various Eden references (Shattal tree, dinner party), but none that seem to match up satisfactorily with that phrase.

"Therefore we find ourselves more comfortably sitting within Van while his Ada sits within Lucette, and both sit within Van (and all three in me, adds Ada)." (281) -- all three are in Ada the book, of course . . . "and all three in me" also makes me think of the Trinity. (If older Ada is incarnating in younger Lucette, then Ada is the Father and Lucette is the Son, which would make Van the Holy Spirit, which is funny since the Holy Spirit, unlike the other two, is believed by some to be female. [Is this my silliest line of speculation yet?])

"Van was lying in his netted nest under the liriodendrons, reading Antiterrenus on Rattner." (283) -- cf. p. 230: "Van lay reading Rattner on Terra, a difficult and depressing work." Mirror-reflection motif, of course.

"I've seen him in Sexico" (286) -- now that is a good bad movie title.

"It was not the sly demon smile of remembered or promised ardor, but the exquisite human glow of happiness and helplessness. . . . They stood brow to brow, brown to white, black to black, he supporting her elbows, she playing her limp light fingers over his collarbone, and how he 'ladored,' he said, the dark aroma of her hair blending with crushed lily stalks, Turkish cigarettes and the lassitude that comes from 'lass.' " (286-7) -- the writing has returned to romantic gorgeousness; it's been a long time since we've been here. Note that the style of this passage, and the use of the adore/Ladore pun, recalls the passage on p. 158-9 when Van and Ada part for the first time. Van seems to view his relationship with Ada in the most idealized terms at moments that directly precede their partings.

"That's a beautiful passage, Van. I shall cry all night (late interpolation)." (287) -- not sure what to make of this, but it seems significant.

"she was wearing his diamonds for the first time" (288) -- apparently Van did repair the diamond necklace after all?

I love Chapter 41. Nabokov is very good at rendering the moment when it all comes crashing down, and much of Ch. 41 is a wonderfully well-written, aching and hilarious depiction of what it feels like when your brain hits a fact it just can't deal with. In a lot of Nabokov's novels, though, this moment happens at the end, while here it's right in the middle: the demonic D of the A-D-A pattern ("till Dee do us part"). An A-D-A dramatic arc, if plotted with something like "happiness" on the vertical axis, would form a "V" shape (or, if mirror-inverted -- with both paradises exposed as false? -- an "A" shape).

"her quaint English, elegiac and stilted, as spoken only in obsolete novels" (292) -- this has the form of a diss towards Blanche, but its impact is kind of distorted by the fact that all sorts of things in Ada, including Ardis Hall itself, are describes as reminiscent of "old novels." "Obsolete novels" is kind of a strange notion in the context of this book, which is itself written in an archaic mode.

" 'Van,' she said, 'I must tell you my dream before I forget. You and I were high up in the Alps . . . ' " (296) -- the coincidence of Van and Ada's dreams here recalls dream coincidences in Anna Karenina and Ulysses. (Nabokov, in this interview: "Activist, demonstration-struck students of the present decade would, I suppose, either drop my course after a couple of lectures or end by getting a fat F if they could not answer such exam questions as: Discuss the twinned-dream theme in the case of two teams of dreamers, Stephen D.-Bloom, and Vronski-Anna.")

"Aqua used to say that only a very cruel or very stupid person, or innocent infants, could be happy on Demonia, our splendid planet. Van felt that for him to survive on this terrible Antiterra, in the multicolored and evil world into which he was born, he had to destroy, or at least to maim for life, two men." (301) -- unless I'm forgetting something, this is the first appearance of either of the names of Van's planet. Given that they will appear frequently from here on out, this seems statistically unlikely to be a coincidence. It's as if Van has invented these nasty-sounding terms to express his despair at this particular moment, and only later retconned them in as "official" names for his (fantasy) planet.

I remember reading somewhere that the duel in Ch. 42 is heavily derivative of Eugene Onegin. The author I was reading claimed this as reason to doubt the duel ever actually happened. (Which makes sense if, and only if, you're working in a general framework that says Van has access to something like western literature as it exists on earth.)

"In 1884, during my first summer at Ardis, I seduced your daughter" (309) -- clarifies that Ada is Demon's daughter, in case the reader still hasn't picked up on it.

"Van noticed a speckled movement on his right: two little spectators -- a fat girl and a boy in a sailorsuit, wearing glasses, with a basket of mushrooms between them. It was not the chocolate-muncher in Cordula's compartment, but a boy very much like him, and as this flashed through Van's mind he felt the jolt of the bullet ripping off, or so it felt, the entire left side of his torso" (310-11) -- I feel like this is significant (either Cordula and the boy or their doppelgängers appear as here like angels of [near-]death?), but I have no idea where to go with it.

Van's prepared monologue to Rack (314-15) is so weird I almost want to call it another "moment of instability." Death has been an important motif up until this point; now Van meditates, seemingly without prompting, on the afterlife. The futility of this magisterial proclamation (which Rack doesn't even appear to hear) is hilarious, but the passage is unnerving in a way that goes beyond that comedic function. There is a feeling that the book is going off the rails, that we and Van, not Rack, are in fact plummeting into "the panic and pain of infinite night" (315).

"kissing her rosy hot face and kneading her soft catlike body through her black silk dress" (318) -- to contrast with the swoonyspoony purple prose in the highest-pitch V&A encounters, Van's exciting moments with other women get assigned this down-to-earth porn-novel style. (I may be imagining this contrast -- I'll have to see whether it persists in the rest of the book.)

"But, of course, an invaluable detail in that strip of thought would have been -- perhaps, next to the pitcher peri -- a glint, a shadow, a stab of Ardis." (320) -- of course Van is trying to link the death of Percy -- far away, having nothing to do with him or Ada -- with his own desire to kill Percy and its motivation. Is that all that's going on here, though? Another odd, extended passage which, like the earlier monologue, serves to remind us that we're not in Kansas/Ardis anymore. (Incidentally, in this passage two open parentheses are closed with only one close parenthesis -- this is the case both in my edition and on Ada Online. Is this meant to be unsettling? Stop me before I read into trivial details again!)

"anxious to enjoy Cordula as soon as humanly and humanely possible" (320) -- nice turn of phrase.

"When in early September Van Veen left Manhattan for Lute, he was pregnant." (325) -- a funny piece of trivia: some early editions (including some of the copies at the NYU library) have "he was pregnant" idiotically "corrected" to "she was pregnant." Anyway, this parting shot for Part 1 is a anticlimactic parody of the climactic important of pregnancy in 19th-century fiction. (In the Darkbloom notes, VN says it's specifically a reference to Kitty Levin's pregnancy in Anna Karenina.) The genesis of a creative work is a poor substitute for a real pregnancy as a culmination to a story so concerned with sex and romance -- a fact only accentuated by the relatively minor status of the creative work in question (which we'll learn about in the next section).

7. L. Van Hubbard and the Modern Science of Mental Health (Part 2, Chapters 1-5)

GENERAL REMARKS (Part 2, Chs. 1-5)

This week's section is more varied than some. Van reads letters from Ada; writes a science fiction novel based on his patients' experiences; visits a chain of high-class brothels whose origins and peculiarities are described in more detail than we really need, thank you very much; riffs on dreams; and has an incredibly awkward reunion with Lucette.

NOTES

"I implore you for breath [sic! Ed.] of understanding" (332) -- there are several editor's notes in Ada's letters here (from the fictional, Nabokov-created editor). They call into question turns of phrase that seem like deliberate wordplay, which makes one wonder just who this editor is and whether their competence can be trusted. It also raises the question of why these particular instances of wordplay are being singled out in this wordplay-heavy book. Does the editor, for instance, have some grudge against Ada's (the character's) writing style?

"[Los Angeles, mid-September, 1888]" (332) -- Ada's "severe streptococcal ague," which made her delirious, occurred "in September, 1888, in California" (223). But if this has had any influence upon this letter, I can't discern it.

"He and I have gamed at Nevada, my rhyme-name town" (333) -- apparently either Vegas or Reno has been replaced with a city called "Nevada" on Antiterra. Similarly, the use of the word "Manhattan" in the book seems to indicate that instead of a New York City, Antiterra just has a city called Manhattan.

"Van, you are responsible (or Fate through you is responsible, ce qui revient au même) for having let loose something mad in me when we were only children" (334) -- the idea that Van has somehow corrupted Ada will recur.

"in early Thargelion, 1888" (335) -- Thargelion is . . . apparently the second month of spring in the Attic Greek calendar? Maybe Sam can explain this reference to me.

"as they were bound to be in the long ruin [sic! "run" in her blue stocking. Ed.]" (335) -- another problematic "sic." Also, I confess I don't know what the editor means by "in her blue stocking." Has Ada herself has made this correction in blue pen? [2024 edit: huh, apparently I didn't know the term "bluestocking" (meaning "feminist") back in 2013.]

"When Van retrieved in 1940 this thin batch of five letters, each in its VPL pink silk-paper case, from the safe in his Swiss bank where they had been preserved for exactly one half of a century, he was baffled by their small number. The expansion of the past, the luxuriant growth of memory had magnified that number to at least fifty." (336) -- this seems to call into question much of the book so far, since if Van can misremember a simple fact this severely, how the hell did he remember all of the little novelistic details he's included? Van does provide an excuse for this particular case a moment later, but this is a strong reminder that we aren't supposed to take Ada as a purely factual account.

"the impeccable paranymph" (337) -- a paranymph is an attendant in a ceremony, originally an attendant to the bridge and groom in an ancient Greek wedding.

I really like Chapter 2, mostly for the fact that it sheds light on Terra, one of this book's enduring mysteries.

"In his struggle to keep the writer of the letters from Terra strictly separate from the image of Ada, he gilt and carmined Theresa until she became a paragon of banality." (339-40) -- "carmined" here could indicate that Theresa is an analogue of Lucette, a redhead.

"his anagram-looking name, Sig Leymanksi, had been partly derived by Van from that of Aqua’s last doctor" (340) -- the doctor was "Sig Heiler" (28). Darkbloom on Sig Leymanksi: "anagram of the name of a waggish British novelist keenly interested in physics fiction." The novelist in question is Kingsley Amis.

"with Theresa swimming inside like a micromermaid" (340) -- Michael Maar in his book "Speak, Nabokov" links Lucette with the Little Mermaid of the classic fairy tale. I remember very little of his discussion, but I imagine this was part of the evidence. (The Little Mermaid of the Disney movie, which long postdates Ada, was a redhead, but I can't find any indication that this was a traditional feature.)

"a sumptuously fripped up, trite, tedious and obscure fable, with a few absolutely marvelous metaphors marring the otherwise total ineptitude of the tale." (344) -- anticipates, of course, one subset of the Terran reactions to Van's later work "Ada or Ardor: A Family Chronicle."

"Osberg (Spanish writer of pretentious fairy tales and mystico-allegoric anecdotes, highly esteemed by short-shift thesialists)" (344) -- remember that "Osberg" is an anagram of "Borges." Ouch!

"The Perfumed Garden" (344) -- this book, a "fifteenth-century Arabic sex manual and work of erotic literature" (Wikipedia), actually exists, and according to Bobbie Ann Mason is a significant source for Ada. I don't remember much about Mason's appendix on the subject, though.

Chapter 3 is something else, that's for sure. The best interpretation I can come up with is that it, or some subset of it, is an erotic dream of Van's that has been incorporated into the text. He is clearly half-asleep as he writes the end of Chapter 2. Van's sleepy state of mind may explain the sudden mentions of Eric van Veen and his dream in that section, which at that point have never been mentioned and are a mystery to the reader. If Van falls asleep with thoughts of Eric van Veen in his mind, it makes sense that he would dream of floramors. The narrative action in Ch. 3 (what little of it there is) has the sudden shifts and strangeness of dreams, and the exposition has the implausibility of the sort of "backstory" that dreams often present as given knowledge, as well as the extravagant elaborations often characteristic of sexual fantasies. Having awoken, Van recounts his dream (Ch. 3) and then, inspired, proceeds to riff on dreams in general, and erotic dreams in particular, in an imagined psychology lecture (Ch. 4).

There are problems with this. The most obvious is, of course, that if Van is doing this, why doesn't he tell us? It seems especially perverse to spend a brief paragraph on erotic dreams -- beginning with "Van's sexual dreams are embarrassing to describe" -- if in fact the previous chapter was an extended description of one. There's also the fact that the Venus club has been mentioned before, so we're clearly supposed to believe it exists, even if we don't believe every detail from Ch. 3. And although much of the design of the Villa Venus club resembles a sexual fantasy, there's actually a pre-existing justification for this in the idea that it was the sexual fantasy of a horny teenager, realized in reality after his death.

"David van Veen, a wealthy architect of Flemish extraction (in no way related to the Veens of our rambling romance)" (347) -- a reminder that "van Veen" is, in the real world, usually encountered as a Dutch surname. So if we want to play the plausibility game, it seems more likely that David and Eric van Veen were real names, and "Ivan Veen" a pseudonym inspired by them, than vice versa. (But since so many Nabokov characters have zany names, this is probably a pointless exercise, unless we want to call into doubt absolutely everything.)

"a chain of palatial brothels that his inheritance would allow him to establish all over 'both hemispheres of our callipygian globe' " (348) -- that's definitely the best use of the word "callipygian" I've ever seen. (Not that it has much competition.)

Note that, according to Nabokov in an interview, the image of Van holding a young prostitute in a ruined villa was the first seed of Ada the novel in his mind, and he was pleased with himself for managing to work it into the finished product.

"impeccable buttocks" (351) -- a funny phrase given the etymologically literal meaning of "impeccable": "unable to sin."

"a well-known oneirotic device" (354) -- a hint that this a dream.

"subsidunt montes et juga celsa ruunt" (355) -- "mountains subside and heights deteriorate."

"was not sure if her name was really Adora, as everybody maintained" (357) -- compare to earlier "Adula" (168), formed by merging the names of Ada and Cordula.

"but the soft little creature in Van's desperate grasp was Ada" (358) -- this could mean several things. Most conservatively, Van is trying to recapture Ardis by imagining that prostitutes like this one are Ada. But it is also possible that this is a literal description of a dream shift: a stranger in his dream has just turned into Ada. This seems especially plausible given the way the word "Ada" comes at the end of the sentence, forming the "punchline" of the sentence and perhaps of the whole chapter. This kind of ambiguity is characteristic of Van's style (remember Demon's "wings" -- and there will be more examples).

"Van Veen [as also, in his small way, the editor of Ada]" (365) -- the brackets seem to indicate that this comment is from the editor, but then the lack of an "Ed." seems to indicate otherwise. Maybe Van is imitating the editor.

"At sixteen she looked considerably more dissolute than her sister had seemed at that fatal age." (367) -- the use of the word "fatal" in this book is very odd (see e.g. Ada as "pale fatal sister" [307]). How is sixteen a "fatal" age? "Fatal" can mean something like "fateful" and I assume that's the primary meaning in most of these cases. That the word has another, more common meaning provides resonance with the death motif and a link between death and fate.

"Two ideas were locked up in a slow dance, a mechanical menuet, with bows and curtseys: one was "We-have-so-much-to say"; the other was 'We have absolutely nothing to say.' " (370) -- that's a good way of putting it.

"ejaculated Lucette" (370) -- the beginning (I think) of a series of silly sexual innuendoes in this scene, similar to those in the early Ardis sections. Intuitively enough, this tendency toward innuendo seems to be a hallmark of scenes in which Van is in the presence of an attractive woman and doesn't have a steady girlfriend.

"[thus in the MS. Ed.]" -- we saw this phrase once before, in Part 1 Ch. 13 (p. 79). There, too, Van wrote the start of a paragraph twice. I would conjecture that this mistake reflects the feverish anxiety that characterizes the present chapter -- which Van may be reliving as he writes -- except I don't think anything similar can be said of Ch. 13. (This could also be an indication that these chapters were written late, and thus revised relatively little before Van's death.)

"It certainly came from Lucette's sister. He knew that shade and that shape. "That shade of blue, that shape of you" (corny song on the Sonorola)." (372) -- indication that Ada writes in blue pen? (See earlier "blue stocking.")

"The mental in Van always rimmed the sensuous: unforgettable, roughish, villous, Villaviciosa velour." (373) -- sensuous words for a sensuous sensation. "Villous": "(of a structure, esp. the epithelium) Covered with villi." ("Villi": "small, finger-like projections that protrude from the epithelial lining of the intestinal wall.") "Villaviciosa" is the name of several places in Spain and the Philippines. "Velour": "A plush woven fabric resembling velvet, chiefly used for soft furnishings, clothing, and hats."

"[quite possibly, this is not remembered speech but an extract from her letter or letters. Ed.]" (374) -- this could probably be said about almost any of the speech in this book, couldn't it?

"We were Mongolian tumblers, monograms, anagrams, adalucindas." (375) -- cf. the description of Marina as experienced by Demon: "an Aquamarina both single and double, a mirage in an emirate, a geminate gem, an orgy of epithelial alliterations." (19)

"campophone" (376) -- could be from Latin "campus" (field) or the Greek root "kamp-" meaning "bend." The latter seems more likely, especially since "phone" is Greek and we've seen "dorophone" from Greek "hydro." It's unclear what a "campophone" is, and since it affects the radiators, it seems to be a type of dorophone.

"polliphone" (376) -- could be from Latin "pollex" (thumb) or Greek "polloi" (many, majority). (I don't actually know Greek so I could be screwing up these Greek roots.) Might also be a reference to Pollux, one of two famous twins? The phones are morphing, like Abraham Milton / Milton Abraham / Abraham Lincoln.

"Bergson is only for very young people or very unhappy people, such as this available rousse." (377) -- as I mentioned a while ago, Bergson seems to have been a source for Van's, and Nabokov's, views of time. (From this interview: "At a later period, in Western Europe, between the ages of 20 and 40, my favorites were Housman, Rupert Brooke, Norman Douglas, Bergson, Joyce, Proust, and Pushkin.")

"Vandemonian" (377) -- "a white inhabitant of Tasmania," according to Merriam-Webster.

"A ribald contemporary of Justinus, the Roman scholar." (384) -- at least on Terra, this is false, as Herodas and Justin were separated by several centuries. (That's one thing that's nice about the alternate world: it gives Van an alibi for each lapse in his erudition.)

"campophoned" (385) -- back to "campophone" from "polliphone."

" 'I also know,' said Lucette as if continuing their recent exchange, 'who he is.' She pointed to the inscription 'Voltemand Hall' on the brow of the building from which they now emerged. Van gave her a quick glance -- but she simply meant the courtier in Hamlet." (386) -- Voltemand was the pseudonym under which Letters From Terra was published, hence Van's misinterpretation.

8. Cameras and Obscurities (Part 2, Chapters 6-9)

GENERAL REMARKS (Part 2, Chs. 6-9)

Ardis regained? Peeping Kim. Two sisters and a brother. Three sisters.

NOTES

"He . . . had a structurally perfect stool (its cruciform symmetry reminding him of the morning before his duel)" (389) -- Van has aesthetic standards for everything, it seems. As it turns out, if we go back to Part 1 Ch. 42 -- the morning before Van's duel -- we find the very same phrase ("He shaved, disposed of two blood-stained safety blades by leaving them in a massive bronze ashtray, had a structurally perfect stool" [309-10]). I remember Boyd pointing this out in The Place of Consciousness. Apparently some reviewers complained about the repetition, but Boyd claims that they don't appreciate the "structural perfection" of the whole book, in which repetitions have some special role. (I don't remember this part of Boyd's argument very well -- it struck me as pretty silly and hence I have retained only this, its silliest detail.)

"libellula" (390) -- "a genus of dragonflies, commonly called Skimmers" (Wikipedia). Since Van "broke down on '…ulla,' " what he's actually said is "I saw you circling above me on libel," but I dunno if that has any significance.

"denunciation of demoniac life" (391) -- presumably "demoniac life" means "life on Demonia" (similar to e.g. "earthly existence"), but the associations of the word "demon" in this book are complex and I don't really know what to make of them. There's the planet Demonia (Antiterra), V&A's father Demon, incidental uses of words like "demoniac" and "satanic," and the fact that demons are good rather than evil figures in Antiterran religion. As Maar has noted, there's a longstanding association between demons/hell and pedophilia in Nabokov, perhaps indicating that N identifies pedophilia as some sort of ultimate or absolute evil -- e.g. Humbert Humbert says that the girls to whom he is attracted have a "not human, but nymphic (that is, demoniac)" nature, and in Nabokov's early poem "Lilith," the pedophilic narrator realizes in the last line that he is in hell.

"Veen and Dean" (393) -- this seems to encourage us to pronounce "Veen" to rhyme with "Dean," for symmetry -- but then see e.g. "Vain Van Veen" (299), which gives an identical push in the opposite direction.

"He was omniscient. Better say, omni-incest" (394) -- someone should write an article called "The Omni-Incest Narrator in Ada."

"mossio votre cossin" (396) -- "monsieur your cousin" (Darkbloom).

"Mademoiselle n'aurait jamais dû recevoir ce gredin" (397) -- "should have never received that scoundrel" (Darkbloom).

"Sumerechnikov! He took sumerographs of Uncle Vanya years ago." (399) -- Darkbloom: "His name comes from Russ. sumerki, twilight; see also p. 43." The Darkbloom annotation for p. 43 identifies sumerki as "dusk" rather than "twilight." On p. 43 itself, we find "The late Sumerechnikov, American precursor of the Lumière brothers, had taken Ada’s maternal uncle in profile with upcheeked violin, a doomed youth, after his farewell concert." The Lumiere brothers were real people, the inventors of the earliest motion-picture equipment in history. This all sheds some light on Van's quip "The Twilight before the Lumières" (399).

The density of unusual words ("leering caruncula in the unreticent reticulation" [401]), and of multilingual wordplay, has increased in this chapter, possibly to accompany Ada's return to the frame.

"it was Mr Ben Wright's last petard at Ardis" (401) -- Darkbloom: "Mr Ben Wright, a poet in his own right, is associated throughout with pets (farts)." Wright was "fired after letting winds go free while driving Marina and Mlle Larivière home" (140), and in 1888 he has been replaced as coachman by a guy named . . . Trofim Fartukov (actually from Russ. fartuk, apron). This also (see p. 418) appears to be the true origin of "pet" as V&A's pet name for Lucette. It is perhaps a sign of the basic goodness of our blessed Terra that no scholar, to my knowledge, has written at any length about the intricacies of farting in Ada.

"Bright derision can easily grade, through a cline of glee, into a look of rapture" (402) -- good sentence.

"this Love under the Lindens by one Eelmann transported into English by Thomas Gladstone" (403) -- Darkbloom: "O'Neil, Thomas Mann, and his translator tangle in this paragraph." We can add "transport" to the stack of derisive replacements for "translate."

"But, in the sudden storm, calculations went to the canicular devils." (403) -- cf. "l’ardeur de la canicule" and "the ardor of your little canicule" (95). "Canicule" refers to the "dog days" of summer ("the hot period between early July and early September").

"Art my foute. This is the hearse of ars, a toilet roll of the Carte du Tendre!" (406) -- Darkbloom explains all. "Foute: French swear word made to sound 'foot.' " "Ars: Lat., art." "Carte du Tendre: 'Map of Tender Love,' sentimental allegory of the seventeenth century." ( http://en.wikipedia.org/wiki/Map_of_Tendre )

"I will either horsewhip his eyes out or redeem our childhood by making a book of it: Ardis, a family chronicle." (406) -- trivia note: in Nabokov's last novel, Look At The Harlequins!, the protagonist, an alternate universe version of Nabokov, writes a body of work that strongly resembles Nabokov's own. His equivalent of Ada is titled "Ardis." (The actual book "was entitled at first Villa Venus, then The Veens, then Ardor, and finally Ada," according to this essay.)

"Knabenkräuter" (408) -- Darkbloom: "Germ., orchids (and testacles)."

"She married our Russian coachman . . . Oh she did? That's delicious. Madame Trofim Fartukov. I would never have thought it." (408) -- why doesn't Van remember this from Ada's letter? (" . . . as your sweet Cinderella de Torf (now Madame Trofim Fartukov) used to say . . . " [334].)

"She had never realized, she said again and again (as if intent to reclaim the past from the matter-of-fact triviality of the album), that their first summer in the orchards and orchidariums of Ardis had become a sacred secret and creed, throughout the countryside. Romantically inclined handmaids, whose reading consisted of Gwen de Vere and Klara Mertvago, adored Van, adored Ada, adored Ardis's ardors in arbors. Their swains, plucking ballads on their seven-stringed Russian lyres under the racemosa in bloom or in old rose gardens (while the windows went out one by one in the castle), added freshly composed lines -- naive, lackey-daisical, but heartfelt -- to cyclic folk songs. Eccentric police officers grew enamored with the glamour of incest. Gardeners paraphrased iridescent Persian poems about irrigation and the Four Arrows of Love. Nightwatchmen fought insomnia and the fire of the clap with the weapons of Vaniada's Adventures. Herdsmen, spared by thunderbolts on remote hill-sides, used their huge "moaning horns" as ear trumpets to catch the lilts of Ladore. Virgin chatelaines in marble-floored manors fondled their lone flames fanned by Van's romance. And another century would pass, and the painted word would be retouched by the still richer brush of time." (409) -- this delightful paragraph seems like a particularly overt and silly instance of the kind of tall-tale embellishment that we are supposed to imagine Van and Ada have applied to most parts of their story (to one extent or another).

Chapter 8 starts off with lots of long jeweled sentences, then descends into obscure weirdness after the Veens get drunk.

" 'Van, too, was upset,' replied Ada cryptically and grazed with freshly rouged lips tipsy Lucette's fanciest freckle." (413) -- notice how the sound echoes here (cr[yptically]/gr[azed]/fr[eshly]/fr[eckle], [graz]ed/[roug]ed, lips/tips[y], f[anciest]/f[reckle]) create the sensory impression of the words "grazing" one another.

"Nikak-s net" (415) -- Darkbloom: "Russ., certainly not."

"vorschmacks" (416) -- Darkbloom: "Germ., hors-d'oeuvres."

"in a nulliverse, in Rattner's 'menald world' where the only principle is random variation" (416) -- "menald": "speckled, variegated." Not sure what Lucette is getting at here.

"you cannot demand pudicity on the part of a delphinet!" (416) -- "delphinet" appears to be a Nabokovian coinage. It seems to be a diminutive of some "delph-" word . . . the flower genus "Delphinium"? The name "Delphine"? Suggestions welcome.

"the flat palpitating belly of a seasand nymph" (418) -- Lucette/mermaid connection.

"Thus seen from above" (418) -- the long, elaborate visual description here is the opposite of the quickly escalating action one might expect from an erotic scene like this. The joke is how far this passage is from ordinary sex writing; it's hard to imagine anyone getting turned on by it. (Which recalls the debate over whether Lolita was pornographic.)

". . . but I know somebody who is not simply a cat, but a polecat, and that's Cordula Tobacco alias Madame Perwitsky." (420) -- huh??? Google searching for "polecat slang" reveals only that in the South it means "skunk," and a "perwitsky" is apparently a "tiger weasel." No idea what she means here.

"After a while he adored [sic! Ed.] the pancakes" (420) -- OK, the editor has a point here. If this is wordplay on "ordered," it's pretty feeble. There may be an element of self-parody here -- after all this isn't too far from some of the more frivolous of Van's/Nabokov's clearly intentional jokes.

"Esmeralda and mermaid" (421) -- Lucette/mermaid.

"for the first time in my fire [thus in the manuscript, for 'life.' Ed.]" (421) -- similar to the case just mentioned. I wonder what we're meant to make of the varying frequency of editorial comments -- most chapters have none, but (e.g.) Chs. 1, 5, and 8 of Part 2 have several. Maybe this is an indication of compositional order.

"The whole matter secretly nauseated Van (so that, by contrast, her Natural History passion acquired a nostalgic splendor)." (425) -- there's a wry nod to the nature of adolescent love in the fact that Van, though obsessed with Ada, never actually shares her central passions. First he's bored with her interest in natural history, then he's so bored with her interest in acting that he looks back fondly on the natural history phase.

"I seem to have always felt, for example, that acting should be focused not on 'characters,' not on 'types' of something or other, not on the fokus-pokus of a social theme, but exclusively on the subjective and unique poetry of the author" (246) -- Reminder Number (n+1) That We Are Reading A Vladimir Nabokov Novel

"In 'real' life we are creatures of chance in an absolute void" (426) -- cf. Lucette's "in a nulliverse, in Rattner's 'menald world' where the only principle is random variation" (416). As before, I'm not sure what we are supposed to make of this idea. There's a recurring idea, I think, that Antiterra is variegated/motley/diverse, perhaps in a "random" way ("the multicolored and evil world into which he was born" [301]). Rattner's "menald world" is presumably Antiterra. Does Terra, by contrast, possess some sort of unity or harmony?

"so that the title of the play might have been The Three Sisters" -- this (technically just "Three Sisters") is in fact the title of the real play on Terra. Much of the rest of this chapter probably makes more sense if you've read the play . . .

"We all know those old wardrobes in old hotels in the Old World subalpine zone." (430) -- but of course!

"the rose sore of Eros alone" (431) -- oh my god, this is a double anagram and a really good phrase in its own right. Picture me as Sweet Bro stricken with awe.

9. The Many-Worlds Interpretation (Part 2, Chapter 10 to Part 3, Chapter 4)

GENERAL REMARKS (Part 2, Ch. 10 to Part 3, Ch. 4)

Where Part 1 ended with a parody climax, Part 2 ends with a real climax -- in fact two real climaxes, the latter of which is suddenly defused in one of this weird book's weirdest moments.

Then, after a lurching fast-forward through many Ada-less years, we get yet another cringe-inducing encounter with desperate Lucette in Part 3 Ch. 3. At this point, Van's refusal to indulge Lucette's desires is beginning to seem almost perverse; it's understandable that he doesn't want to lead her on when he doesn't love her, but that kind of consideration hasn't stopped him from becoming involved with other women. For much of the book Van has come off simply as an amoral aesthete, but as we near the end, he is -- between the blinding of Kim and his conduct with Lucette -- starting to seem like something much worse.

This raises a number of questions: how are we supposed to feel about the coming Van-Ada reunion (which we know is happening because of Ada's annotations to the manuscript) if Van is such a bastard? And why, when Van makes up numerous details (e.g. in the Ardis chapters) that he couldn't possibly have remembered, does he allow himself to come off so badly in the latter parts of the book? If he has no commitment to strict factual accuracy, why not just twist the facts to make himself look better in the Lucette scenes? It would be one thing if Van's guilt over his own mistakes were a major theme of his book (and it may in fact be, in some hidden sense), but Van is curiously silent on these issues, as though expecting the reader to take his bad behavior in stride. Issues like these make this book (to me) both fascinating and intensely creepy in a way that would not be possible if Van's flaws were dealt with more overtly.

NOTES

"He set off at once for Manhattan, eyes blazing, wings whistling." -- Demon's wings again.

"The only personage they had not reckoned with was the old scoundrel usually portrayed as a skeleton or an angel" (433) -- so Antiterrans depict Death roughly the same way Terrans do, despite the differences in religion.

"but [Dan's] death had shown an artistic streak because of its reflecting (as his cousin, not his doctor, instantly perceived) the man’s latterly conceived passion for the paintings, and faked paintings, associated with the name of Hieronymus Bosch." (433) -- Dan, like Aqua, has descended into madness before dying. There is a symmetry to this: each of V&A's parents has a sibling (of the same gender) who has died in this way, and madness is now attested to on both the Durmanov and Veen sides of the family. There is an antisymmetry in the content of the madness -- Aqua dies dreaming of heaven-like Terra, while Dan dies haunted by visions out of Bosch's depiction of hell. (According to Boyd the reference here is to Bosch's triptych The Last Judgment. Demon brings up "that other triptych," the Garden of Earthly Delights; Mason's book contains some discussion of The Garden of Earthly Delights as a broader influence upon Ada.) Have Van or Ada inherited the mental illness that plagued their aunt and uncle? (Who are their putative mother and putative father -- and what's the significant of that?) It's interesting that Nabokov encourages us to think about this possibility just before the bizarre ending of Part 3.

"might still be living with dull little Cordula de Prey . . . but Cordula was not dull and had not been present" (434) -- Van invents a thought process for Demon, then disputes it. The point of contention is odd, since Cordula has come off as pretty "dull" in all of Van's own accounts of her thus far.

"looking forward to another day of increasing happiness (with yet another uncomfortable little edge smoothed away, another raw kink in the past so refashioned as to fit into the new pattern of radiance)" (434) -- a nice statement of Van's broader MO.

"According to Bess (which is 'fiend' in Russian)" (435) -- actually, it means "demon" (e.g. Dostoyevsky's novel "Bésy," usually translated "Demons").

"how incestuously -- c’est le mot -- art and science meet in an insect, in a thrush, in a thistle of that ducal bosquet" (436) -- this remark of Demon's calls back to the peculiar phrase " 'incestuous' (whatever that term means) pleasure" (19) used to describe Demon's enjoyment of his mistress Marina's similarity to his wife Aqua.

"what we have to study [in Bosch], as I was telling your cousins, is the joy of the eye, the feel and taste of the woman-sized strawberry that you embrace with him, or the exquisite surprise of an unusual orifice" (437) -- hilarious.

"Jeroen Anthniszoon van Äken" (438) -- the real name of Hieronymus Bosch.

"hell curs, k chertyam sobach’im" (438) -- the Russian is "to hell's hounds" or "to the canine devils" (so roughly the equivalent of "hell curs"). "Canicule" may be relevant here (Ada/hell connection)? The Russian phrase appears two other times in Ada, translated differently each time: "hydrodynamic telephones and miserable gadgets that were to replace those that had gone k chertyam sobach'im (Russian 'to the devil')" (23), and "But, added Ada, just before being whisked away and deprived of her crayon (tossed out by Marina k chertyam sobach'im, to hell's hounds" (151).

"Norbert von Miller" (440) -- mentioned earlier by Marina on p. 261.

"Kim who would have bothered Ada again had he not been carried out of his cottage with one eye hanging on a red thread and the other drowned in its blood" (441) -- so Van did blind Kim after all. (That Van actively did this -- that Kim wasn't just a casualty of coincidence like Percy and Rack -- is confirmed at the end of the chapter.) Boyd, in The Place of Consciousness, makes much of the fact that this gruesome detail is mentioned almost in passing and could easily be overlooked in a book with so many lurid incidental details. To fully grasp the nastiness of Van's character, we must pay attention.

"his father had made himself up as Boris Godunov" (443) -- an play by Pushkin titled "Boris Godunov" was adapted by Mussorgsky into an opera, so this calls back to the bad Eugene Onegin adaptation Demon watches in Part 1 Ch. 2.

"My first is a vehicle that twists dead daisies around its spokes; my second is Oldmanhattan slang for 'money' " (444) -- a "van" is certainly a vehicle, though I can't find anything online about "veen" as slang for money.

"My second is also the meeting place of two steep slopes." (444) -- "ravine"?

"Right-hand lower drawer of my practically unused new desk -- which is quite as big as Dad’s, with Sig’s compliments." (444) -- this Freud joke is one of the several details in this passage that remind us of Aqua's suicide.

"Then, standing before a closet mirror, he put the automatic to his head, at the point of the pterion, and pressed the comfortably concaved trigger. Nothing happened -- or perhaps everything happened, and his destiny simply forked at that instant, as it probably does sometimes at night, especially in a strange bed, at stages of great happiness or great desolation, when we happen to die in our sleep, but continue our normal existence, with no perceptible break in the faked serialization, on the following, neatly prepared morning, with a spurious past discreetly but firmly attached behind. Anyway, what he held in his right hand was no longer a pistol but a pocket comb which he passed through his hair at the temples." (445) -- moment of instability! In the poem Pale Fire, the phrase "[And here time forked.]" appears shortly before Hazel Shade's suicide. In this passage the idea of forking time is used to illustrate a suicide attempt that Van doesn't go through with. But is that all? The idea of changing to a different time track, in which Van is holding a comb rather than a gun, could just be a colorful way of saying that Van putting down the gun. But given the resonances of madness that have build up in the course of this chapter -- and Van's enduring interest in the nature of time -- this could well be more literal than that. One interpretation is that the rest of the book from hereon out is fantasy, and the novel is an elaborate suicide note.

"There are other possible forkings and continuations that occur to the dream-mind, but these will do." (446) -- elaboration of the earlier moment of instability, and a return of the "dream" motif that taunts the reader throughout Ada. On one level, this could be a simple statement that Van is ready to end the chapter (and Part 2) rather than ramble about further in an effectively inexhaustible trove of relevant memories. If we want to adopt something like the "suicide note" theory, this is instead a statement that other alternative futures -- in which Van does not commit suicide -- can be imagined, but the one he has started to sketch here (in which he blinds Kim, is reunited with Ada, etc.) "will do" -- and indeed it forms the basis of the remainder of the novel.

Time has moved more quickly in each successive section of Ada. Part 1 covers four years and takes up half the book. Part 2 does five years in half that length. Now Part 3 Ch. 1 fast-forwards through seven years of Van's life in a few pages. As a reader, it's easy to forget just how much time is elapsing here, and it can be illuminating to remind oneself of it. For instance, the meeting with Greg and Cordula in Ch. 2 seems like a relatively minor scene, not too different from many of the earlier scenes involving secondary characters -- but it is only the second event (after Marina's death) in seven years that Van has deemed worthy of relating in any detail! The most obvious explanation for this is that Greg and Cordula are people he remembers from his Ardis days, and so they are important to him -- and to the central story of this book -- in a way that many of the events of this period were not. (Moreover, it is Greg who tells Van that Lucette is in town, and thus precipitates his much more significant meeting with her.) I also wonder, though, whether Van's feelings for Cordula aren't deeper than he has let on (which would explain that defensive [?] "Cordula was not dull" earlier).

"Three elements, fire, water, and air, destroyed, in that sequence, Marina, Lucette, and Demon. Terra waited." (450) -- another suggestion that Van and/or Ada are destined to end up on Terra ("You’ll live to reach Terra, and come back a wiser and merrier man" [241]).

"She rode it twice. Their brisk nub and its repetition lasted fifteen minutes in all, not five." (457) -- as before with Cordula, the language here is blunt and unromantic.

"Invitation to a Climax" (459) -- this parody of the title of another VN novel invites one to think about "beheading" as a metaphor for male orgasm.

"For a minute he stood behind her, sideways to remembrance and reader (as she, too, was in regard to us and the bar), the crook of his silk-swathed cane lifted in profile almost up to his mouth. . . . a natural masterpiece incomparably finer and younger than the portrait of the similarily [sic] postured lousy jade with her Parisian gueule de guenon on the vile poster painted by that wreck of an artist for Ovenman" (460-1) -- this description of Van standing behind Lucette is meant to remind us of a famous Toulouse-Lautrec poster.

" ' . . I’m like Dolores—when she says she’s "only a picture painted on air." ' 'Never could finish that novel -- much too pretentious.' " (464) -- a joke about Lolita, of course. The phrase "only a picture painted on air" doesn't get any Google hits that aren't related to Ada, incidentally.

"It’s safer and faster by plane" (465) -- as far as I can tell, this is the first mention of planes on Antiterra. (Flight of some sort has always been possible there, however, by means of the "jikkers.") Planes appeared earlier in Aqua's visions of Terra: "she saw giant flying sharks with lateral eyes taking barely one night to carry pilgrims through black ether across an entire continent from dark to shining sea" (21), so this is one indication that (because of the temporal discrepancy between the two worlds) Terran visions can actually foretell what will happen on Antiterra. Several details in this chapter and the next seem to indicate that electricity has recently been unbanned (another noted feature of Terra was that electricity was used freely).

"I have an important, important telephone call to make, but I don’t want you to listen" (466) -- "telephone," not "dorophone," since they're using electricity now.

" 'That’s rich,' said Lucette, 'you’ve gone far enough with me on several occasions, even when I was a kid; your refusing to go further is a mere quibble on your part; and besides, besides you’ve been unfaithful to her with a thousand girls, you dirty cheat!' " (467) -- this all seems pretty undeniable . . . indeed, as I said above, Van's refusal to become involved with Lucette has grown to seem almost perverse given the rest of his personality.

"What was he? Who was he? Why was he? He thought of his slackness, clumsiness, dereliction of spirit." (471) -- both the introspection and the self-criticism in this chapter are utterly atypical of Van, though it wasn't until I encountered them here that I realized just how absent they've been from the preceding 470 pages.

"In his sadder moments, as now, he attributed at least part of his 'success' to his rank, to his wealth, to the numerous donations, which (in a kind of extension of his overtipping the haggard beggars who cleaned rooms, manned lifts, smiled in hotel corridors) he kept showering upon worthwhile institutions and students." (471-2) -- this, for instance, is startling. Until this point, money has very rarely entered Van's thinking (except when e.g. he tells Demon that he isn't financially dependent on him because of his inheritance from Aqua), and his judgments of value have tended to align frictionlessly with the striations of aristocratic rank (e.g. Cordula, whom he doesn't much respect, is "quite a notch below our set" [330], to say nothing of the way he treats various servants, maids, etc). It's hard to imagine the entitled, amoral Van we know agonizing over whether he really deserves his success (if that is indeed what is happening here).

10. Rolling in the Deep (Part 3, Chapters 5-8)

GENERAL REMARKS (Part 3, Chs. 5-8)

Interviewer: There seem to be similarities in the rhythm and tone of Speak, Memory and Ada, and in the way you and Van retrieve the past in images. Do you both work along similar lines?

Nabokov: The more gifted and talkative one's characters are, the greater the chances of their resembling the author in tone or tint of mind. It is a familiar embarrassment that I face with very faint qualms, particularly since I am not really aware of any special similarities -- just as one is not aware of sharing mannerisms with a detestable kinsman. I loathe Van Veen.

(Source: 1969 interview with Time magazine)

Things are starting to become clear -- at least in a sense.

Lucette's death in Part 3 Ch. 5 is arguably the central scene of the book, and it rearranges our conception of everything around it. Lucette begins to seem more important than she had originally seemed (in this book entitled "Ada" -- not "The Veens," which was one of Nabokov's working titles). There is a reality to her plight and Van's shame in that chapter that is lacking in many of the Ada scenes, particularly in the unconvincing and artificial reunion with Ada that follows in Part 3 Ch. 8. Moreover, much of the book's thematic skeleton seems to have radiated outward from Lucette's death rather than from anything having to do with Ada.

Consider, for instance, the influence of Lucette's watery death on Part 1 Chapter 3, in which Van first begins to explicitly lay out the nature of Antiterra. Van's putative mother, really his aunt (just as Lucette is merely a half-sister), named Aqua, encounters a series of comedically negligent psychologists and kills herself by taking an overdose of pills. In Aqua's vision of Terra, people freely use electricity, but on Antiterra electricity is banned, and the only consequence that is mentioned with any frequency over the course of the book is the banning of telephones -- such as the electric telephone on which Van has his shameful conversation with Lucette just before her death. (They have been replaced with devices that use water.) The chapter opens with the sentence:

"The details of the L disaster (and I do not mean Elevated) in the beau milieu of last century, which had the singular effect of both causing and cursing the notion of 'Terra,' are too well-known historically, and too obscene spiritually, to be treated at length in a book addressed to young laymen and lemans -- and not to grave men or gravemen." (17)

Electricity is banned (which pretty much means "telephones are banned") because of "the L disaster" -- and now we can be pretty sure what that "L" really stands for! The book is addressed to "lemans" (lovers) rather than "gravemen": Van is saying that he plans to write about the love between him and Ada, not the grave matter of Lucette's death. But as we know, Van can't seem to keep either death or Lucette from intruding into his chronicle. By Part 3 the original plan seems to have derailed, and in Part 3 Ch. 5 the book reaches its climax in, yes, a "treatment at length" of "the details of the L disaster."

"Gravemen" brings Hamlet to mind, which in turn brings to mind Van's comparison of Lucette to Ophelia. Van's refusal to sleep with Lucette is indeed kind of Hamlet-like. Van explains his behavior not as assumed madness but as a supposed concern for Lucette's own well-being. But this concern clashes with the amoral and sexually uninhibited nature of the Van Veen we have known so far, and ends up seeming as strange as Hamlet's behavior. One could say that Van's interactions with Ada are over-analyzed, and his interactions with Lucette are under-analyzed. My hunch is that the latter are more true to life, and that Van's relentless "concern" for Lucette makes more sense in some real context which he does not deign to give us, instead turning away from Lucette again and again to focus on Ada.

Compared to the intensity and reality of the Tobakoff chapter, the scenes with Ada that close out Part 3 are thin, dull, and artificial. The sense of unreality is heightened by the mentions of "life forking" and Van's fake death. Even by the rather unreal standards set up in earlier V&A scenes, these interactions feel out-of-character: Ada is saddled with some very un-Ada-esque lines ("The poor, poor little man! How dare you sneer?" [530]), while Van's lines are jarringly corny ("Castle True, Castle Bright! Helen of Troy, Ada of Ardis! You have betrayed the Tree and the Moth!" [ibid]). Plausibility -- even plausibility of Van Veen's peculiar sort -- is fraying at the seams; Van's heart just doesn't seem to be in this anymore. The book is almost over, and we know that Van and Ada will (at last!) be reunited by the end . . . but with so little of the book left, there is no hope that this reunion will be a romantic triumph rather than a shambling, perfunctory stumble across the finish line.

Given the significance of telephones in Ada, I'm inclined to think that Van's phone conversation with Lucette might be the very center of the book:

"No doubt he was morally right in using the first pretext at hand to keep her away from his bed; but he also knew, as a gentleman and an artist, that the lump of words he brought up was trite and cruel, and it was only because she could not accept him as being either, that she believed him: 'Mozhno pridti teper' (can I come now)?” asked Lucette. 'Ya ne odin (I’m not alone),' answered Van. A small pause followed; then she hung up." (491)

"I'm not alone" -- the lie that is at the root of all of Van's shame? It's this kind of thinking that leads me to my favorite theory of Ada: that Van only had one sister, who was basically Lucette. Ada Veen, Van's perfect double, is an invention made to justify statements like that "I'm not alone," when in reality Van is alone with only his shame over Lucette's death as company. ("Lucette" comes from "Lucile," the name of Chateaubriand's beloved sister. "Ada" is a palindrome, a mathematical contrivance, a mere mirror-flipping of the Vs in "Van Veen" -- and born from Van's torment ["of hell"].)

NOTES

"Professor Counterstone" (474) -- play on "Antiterra" (stone/earth).

"His gaze, traveling on, tripped over Dr. Ivan Veen and pulled up at the next name. What constricted his heart? Why did he pass his tongue over his thick lips? Empty formulas befitting the solemn novelists of former days who thought they could explain everything." (475) -- an interesting twist on the "old novels" motif. Ada as a whole presents itself as a man's self-conscious attempt to cram his life story into the conventions of "old novels," and now here is a detail that he feels he can't fit into the mold.

"Van interrupted Lucette’s nervous patter by asking her if her bath taps bore the same inscriptions as his: Hot Domestic, Cold Salt. Yes, she cried, Old Salt, Old Salzman, Ardent Chambermaid, Comatose Captain!" (477) -- huh?

"To most of the Tobakoff’s first-class passengers the afternoon of June 4, 1901, in the Atlantic, on the meridian of Iceland and the latitude of Ardis, seemed little conducive to open-air frolics: the fervor of its cobalt sky kept being cut by glacial gusts" (477) -- could be a reflection of the Antiterran climate getting colder at the latitude of Ardis. Then again, it could just be a cold day.

"Spring in Fialta and a torrid May on Minataor, the famous artificial island, had given a nectarine hue to her limbs" (477) -- "Spring in Fialta" is the title of a famous Nabokov story. Note also "Pale Fire with Tom Cox Up" (477).

"Van peeled off his jersey and stayed on for a while, brooding, fingering the little green-gemmed case with five Rosepetal cigarettes, trying to enjoy the heat of the platinum sun in its aura of “film-color” but only managing to fan, with every shiver and heave of the ship, the fire of evil temptation." (482) -- temptation here is "evil" . . . strange how normally dissolute Van hews to something like a moral principle in this one case, with no clear motivation and with disastrous consequences. Why?

"He discovered an insidious omission in his galleys where an entire line was wanting, with the vitiated paragraph looking, however, quite plausible -- to an automatic reader -- since the truncated end of one sentence, and the lower-case beginning of the other, now adjacent, fitted to form a syntactically correct passage" (484) -- since the book we are reading is an incompletely edited manuscript, the suggestion seems to be that this sort of insidious error might also be present in it. Maddening!

"had he not recollected (a recollection confirmed by his typescript) that at this point should have come a rather apt, all things considered, quotation: Insiste, anime meus, et adtende fortiter (courage, my soul and press on strongly)." (484) -- from Augustine's Confessions. Seems to underscore how out-of-character Van's stoicism is, since Van and Augustine are normally polar opposites in many respects (e.g. self-esteem).

"It’s crowded and gay down there, with a masturbating jazzband." (484) -- amusing nod to the origins of the word "jazz."

"As he gloomily looked at her thin bare shoulders, so mobile and tensile that one wondered if she could not cross them in front of her like stylized angel wings" (485) -- interesting parallel to Demon's wings. Remember that Lucette, unlike Van and Ada, doesn't have "demon blood."

"He could describe her dress only as struthious (if there existed copper-curled ostriches)" (486) -- struthious: "of or relating to the ostriches and related birds." You learn something new every day.

"Dolores, a dancing girl (lifted from Osberg’s novella, as was to be proved in the ensuing lawsuit)" (488) -- recall that on Antiterra, Osberg (anagram of Borges) is the author of a book that resembles Lolita.

One can probably a lot of interpretive mileage out of "Don Juan's Last Fling," the movie that Van and Lucette watch. Low-hanging fruit: is Van (rhymes with Don) himself sort of a combination of Don Juan and Don Quixote, like the protagonist of DJLF?

"In a series of sixty-year-old actions which now I can grind into extinction only by working on a succession of words until the rhythm is right, I, Van, retired to my bathroom, shut the door (it swung open at once, but then closed of its own accord)and using a temporary expedient less far-fetched than that hit upon by Father Sergius (who chops off the wrong member in Count Tolstoy’s famous anecdote), vigorously got rid of the prurient pressure as he had done the last time seventeen years ago." (490) -- both first and third person appear here in the same sentence, perhaps a sign of Van's state of agitation while writing this passage. I'm not sure what "succession of words" he's referring to. Is there a rhyme in this sentence or somewhere in the surrounding passages?

"He welcomed the thought which suddenly seemed so absolutely true, and new, and as lividly real as the slowly widening gap of the sitting room’s doorway, namely, that on the morrow (which was at least, and at best, seventy years away) he would explain to Lucette, as a philosopher and another girl’s brother, that he knew how agonizing and how absurd it was to put all one’s spiritual fortune on one physical fancy and that his plight closely resembled hers, but that he managed, after all, to live, to work, and not pine away because he refused to wreck her life with a brief affair and because Ada was still a child." (491) -- the similarity of Van and Lucette's situations is interesting. As an excuse for not becoming involved with Lucette, this is pretty transparently feeble, since Van is still so clearly invested in getting back together with Ada.

"At that point the surface of logic began to be affected by a ripple of sleep, but he sprang back into full consciousness at the sound of the telephone." (491) -- if Van invented Antiterra, then it's possible that stye presence of telephones (not dorophones!) at several important moments late in the book, such as this one, gave Van the idea that telephones should be banned in the earlier parts of the story. (Remember that telephones were banned on account of something called "the L disaster." It's now becoming quite clear what that "L" probably stands for.)

"No doubt he was morally right in using the first pretext at hand to keep her away from his bed; but he also knew, as a gentleman and an artist, that the lump of words he brought up was trite and cruel, and it was only because she could not accept him as being either, that she believed him: 'Mozhno pridti teper’ (can I come now)?' asked Lucette. 'Ya ne odin (I’m not alone),' answered Van." (491) -- seems like a crucial moment, perhaps the seed of the many earlier descriptions of Van and Ada's unique similarity, symmetry, etc. This shameful statement can perhaps be vindicated if Van is somehow always not alone, because of the very existence of his double/twin/soul mate.

"Dimanche. Déjeuner sur l’herbe. Tout le monde pue. Ma belle-mère avale son râtelier. Sa petite chienne" (493) -- Darkbloom: "Sunday. Lunch on thé grass. Everybody sticks. My mother-in-law swallows her dentures. Her little bitch, etc. After which, etc. (see p. 375, a painter's diary Lucette has been reading)" [my copy says 375, which by our pagination here should be around 479-80, but I'm not sure if that's right?]

"Although Lucette had never died before—no, dived before, Violet" (493) -- "Violet" appears to be Van's typist. Their interactions have been typed verbatim in this passage -- why?

"As she began losing track of herself, she thought it proper to inform a series of receding Lucettes—telling them to pass it on and on in a trick-crystal regression—that what death amounted to was only a more complete assortment of the infinite fractions of solitude." (494) -- good sentence; cf. Van's "I'm not alone." Interesting and unnerving that Van has made up the experiences related here, since he can't possibly know Lucette's actual final thoughts.

"She did not see her whole life flash before her as we all were afraid she might have done; the red rubber of a favorite doll remained safely decomposed among the myosotes of an unanalyzable brook" (494) -- reference to the brook scene in Part 1 Ch. 23. Of course the doll swept away by the current foreshadows the means of Lucette's death. Boyd, who seems to have taken that "unanalyzable" as a challenge, devotes much of The Place of Consciousness to the doll scene and its echoes.

"As a psychologist, I know the unsoundness of speculations as to whether Ophelia would not have drowned herself after all, without the help of a treacherous sliver, even if she had married her Voltemand." (497) -- the replacement of Hamlet by Voltemand (an ambassador and very minor character in Hamlet) is a reference to Van's use of Voltemand as a pseudonym.

"In other more deeply moral worlds than this pellet of muck, there might exist restraints, principles, transcendental consolations, and even a certain pride in making happy someone one does not really love; but on this planet Lucettes are doomed." (498) -- important for the Terra/Antiterra divide.

"Cher ami [etc.]" (499) -- the Darkbloom notes translate Cordula's entire letter (which is in French -- why?): "Dear friend, my husband and I, were deeply upset by the frightful news. It was to me - and this I'll always remember - that practically on the eve of her death the poor girl addressed herself to arrange things on the Tobakoff, which is always crowded and which from now on I'll never take again, slightly out of superstition and very much out of sympathy for gentle, tender Lucette. I had been so happy to do all I could, as somebody had told me that you would be there too. Actually, she said so herself; she seemed so joyful to spend a few days on the upper deck with her dear cousin! The psychology of suicide is a mystery that no scientist can explain. I have never shed so many tears, it almost makes me drop my pen. We return to Malbrook around mid-August. Yours ever." There is a very Nabokovian twist to the statement "the psychology of suicide is a mystery that no scientist can explain" -- it sounds like a banal commonplace at first, but in fact Van's inability to foresee Lucette's suicide is a major source of shame.

"[This letter] would not have been written at all if your last line, your cry of unhappiness, were not my cry of triumph." (500) -- the "last line" in question is "I cannot express, dear Van, how unhappy I am, the more so as we never learned in the arbors of Ardis that such unhappiness could exist." Why is this a "triumph" for Van? Simply because it is a restatement of the supposed Edenic innocence of Ardis?

"Artistically, and ardisiacally, the best moment is one of the last" (500) -- cf. the much more opaque "esthetically, ecstatically, Estotially speaking" (30).

"And o’er the summits of the Tacit / He, banned from Paradise, flew on: / Beneath him, like a brilliant’s facet, / Mount Peck with snows eternal shone." (502) -- Darkbloom: "parody of four lines in Lermontov's The Demon."

No clue what to make of the strange "Andrey Vaynlender" letter.

"Mont Roux" (508) -- a version of Montreux, the region of Switzerland where Nabokov lived while writing this novel. "Roux" means red, so this might be a Lucette reference?

"Vrubel’s wonderful picture of Father, those demented diamonds staring at me, painted into me." (509) -- refers to Vrubel's paintings of the titular figure from Lermontov's poem "Demon." (See e.g. "Demon Seated in a Garden.".) "Demented" resonates with the early identification of "Demon" as "a form of Demian or Dementius" (4).

"and on the opposite shore of Leman, Leman meaning Lover, loomed the crest of Sex (Scex) Noir, Black Rock." (509) -- cf. the first sentence of Part 1 Ch. 3: "The details of the L disaster (and I do not mean Elevated) in the beau milieu of last century, which had the singular effect of both causing and cursing the notion of 'Terra,' are too well-known historically, and too obscene spiritually, to be treated at length in a book addressed to young laymen and lemans -- and not to grave men or gravemen." (17)

"A dead and dry hummingbird moth lay on the window ledge of the lavatory. Thank goodness, symbols did not exist either in dreams or in the life in between." (510) -- cf. "You have betrayed the Tree and the Moth!" (530)

"His reply was inept, and the whole episode had a faint paramnesic tang—and next instant Van was shot dead from behind (such things happen, some tourists are very unbalanced) and stepped into his next phase of existence." (510) -- what the fuck? Perhaps Van is simply contending, in jest, that another meeting with Ada could not happen except in heaven and thus that he must be dead. But this is also another intimation of unreality, or potential reality, like the mention of "life forking" at the end of Part 2 and at the end of this chapter.

"cygneous" (511) -- "curved like the neck of a swan." Cf. Lucette's "struthious" dress.

"As Andrey’s crumpled forlorn face came closer, one could distinguish various wartlets and lumps, none of them, however, placed in the one-sided jaunty position of his kid sister’s naric codicil." (513) -- "naric": "of or relating to the nares [the pair of openings of the nose or nasal cavity]." So a "naric codicil" would be a sort of "supplement" to the nasal openings.

"During that dismal dinner (enlivened only by the sharlott and five bottles of Moët, out of which Van consumed more than three) he avoided looking at that part of Ada which is called “the face”—a vivid, divine, mysteriously shocking part, which, in that essential form, is rarely met with among human beings (pasty and warty marks do not count)." (516) -- good sentence.

"(A pause.)" (517) -- Darkbloom: "This and the whole conversation parody Chekhov's mannerisms."

"in my works, I try not to ‘explain’ anything, I merely describe." (519) -- perhaps applicable to Ada itself, Van's final "work."

"and then he pounced upon her new, young, divine, Japanese neck which he had been coveting like a veritable Jupiter Olorinus throughout the evening." (520) -- Darkbloom: "Olorinus: from Lat. olor, swan (Leda's lover)."

"Somebody said, wheeling a table nearby: “It’s one of the Vane sisters,” and he awoke murmuring with professional appreciation the oneiric word-play combining his name and surname" (521) -- reference to "The Vane Sisters," a famous Nabokov story in which the first letters of the words in the final paragraph carry an acrostic message from the beyond.

"Rufomonticulus" (522) -- presumably the Latin name of Mont Roux.

"Then a robed person who looked like an extra in a technicolor incarnation of Vishnu made an incomprehensible sermon." (523) -- cool sentence.

" 'Ne ricane pas!' exclaimed Ada. 'The poor, poor little man! How dare you sneer?' " (530) -- this whole exchange, though presented as a kind of tragic culmination of Van-Ada exchanges (e.g. with the recapitulation of the "Qui me rendra" stuff), seems oddly out-of-character: Van's lines are self-parodically Romantic while Ada's are unusually simple and banal.

"As had been peculiar to his nature even in the days of his youth, Van was apt to relieve a passion of anger and disappointment by means of bombastic and arcane utterances which hurt like a jagged fingernail caught in satin, the lining of Hell." (530) -- good sentence!

" 'Castle True, Castle Bright!' he now cried, 'Helen of Troy, Ada of Ardis! You have betrayed the Tree and the Moth!' " (531) -- the Tree might be the Shattal Tree, or perhaps the tree that Ada stands with her back to in Part 1 Ch. 39 (p. 272), and which later forms an integral part of the agonizing image of her that Van carries away with him when he leaves Ardis in 1888. The Moth could be one of the various moths Ada enthuses about at Ardis in 1884, or the dead moth mentioned earlier in this chapter?

"Ardis the First, Ardis the Second, Tanned Man in a Hat, and now Mount Russet" (530) -- V&A's two summers in Ardis (1884 and 1888), their time in Manhattan, and now their rendezvous in Mont Roux.

"Ach, perestagne!" (530) -- intentionally or not, this provides a new variant: "Ach, perestagne" replaces "Et ma montagne" (138).

"Life forked and reforked." (531) -- this again.

11. And Much, Much More (Part 4 to Part 5, Chapter 6)

GENERAL REMARKS (Part 4 to Part 5, Ch. 6)

If Van Veen were to record a hip-hop album -- under the name "Mascodegama," of course -- it would be titled "The Texture of Rhyme." Possible subject matter: being the youngest Venutian, blinding Kim Beauharnais, the important difference between his own sick flow and the non-passage of Pure Time . . .

So now we've come to the end. There is all kinds of weird stuff going on Part 4 and Part 5. First we have Van's philosophical treatise (which espouses views very close to Nabokov's own and seems to have been intended as an attempt at serious philosophical writing, however silly much of it may strike me and various other readers). Then we have Part 6: a bizarre, at times rapturous but just as often petty and underwhelming account of Van and Ada's last years together.

What should we make of the fact that, faced with decades of romantic satisfaction to describe, Van tells us about the bodily annoyances of old age and the charms of his cute typist (and the "gipsy girl" next door)? Is he simply asserting that his and Ada's connection is ineffable, mystical, impossible to explain to non-Vaniadans? (Whereof Van cannot speak, thereof he must be silent? Ada's final line in Part 4 supports this interpretation, if we take the entirety of Part 5 to be the completion of her sentence "It is like -- ": Vaniadan experience is as ineffable as Time.) Or is Van giving up, pencilling in the very crudest sketch of a "happily ever after" ending that he knows is totally unconvincing? His suggestion that he has regained the earliest days of Ardis -- "Their life together responded antiphonally to their first summer in 1884" (574) -- is belied by the formal design of the novel, as Part 5 is the shortest of the Parts, the most sparing with detail. Time's arrow remains undefeated. How can he be so vague when describing recent months when he was so fantastically precise about stuff that happened when he was 14? Is this how memory really works? Surely not.

We are adrift. What on (anti-)earth did we just read? The hilarious ending, in which Van (?) imagines a blurb that sells Ada as a work of grand entertainment, simply underscores how far we are from anything resembling an ordinary novel. The text seems to be Van's attempt to squeeze his life story into the novel format (specifically, into the form of a big, dramatic Russian classic like Anna Karenina). There are numerous indications that he is willing to go to great lengths of invention. It is pretty much impossible to take the story straight; it continually pokes and prods the reader with its own implausibility, instability, inconsistency ("Abraham Milton / Milton Abraham / Lincoln"). In some tricky novels there is a clear "standard model" from which one can defiantly deviate (e.g., in Pale Fire, the various "Shade invented Kinbote or vice versa" theories are replacements for the basic interpretation of the book that any ordinary reader comes to, in which S and K are real, distinct people). Ada, by contrast, has no stable top layer -- and perhaps no bottom. As readers we have to figure out what in Van's story is real and what is invented. But to do so, we must speculate about the psychology of the "real Van" -- and that psychology will depend on our opinions about what is real and what is invented!

An ideal start for someone contemplating these problems is David Auerbach's blog post "Kinbote Triumphant in Hell: The Riddle of Nabokov’s Ada." It's where I've gotten a lot of my own ideas about the book, like the significance of Lucette's last call. I'll just quote a few paragraphs here:

I won’t attempt to figure out precisely what is real and what is not in the book because I don’t think I stand much of a chance, but I will make some broad guesses. I am inclined to be extremely skeptical of the mostly unchronicled decades of happiness with Ada, as well as of the success of Van’s book. The happier the events, the more dubious I am. The tragic events–Lucette’s death being the central one–most likely hold greater reality. Ada’s intrusions throughout, but especially at the end of the book, seem more likely to be a voice within Van, not an actual person. I think it highly unlikely that Van and Ada are ever happily reunited. Nabokov did not intend to redeem Van Veen through suffering, but particularly in the later novels, Nabokov’s rotten characters do tend to be spared any real happiness. I strongly suspect that to be the case here. The idyllic, hermetic, and very long Part 1 is a pastiche or a parody of the 19th century Russian novel. Inverting Tolstoy’s maxim turns it into a joke. Hence from the beginning Van is protecting himself and not being straight, and the offputting nature of the whole text is a reflection of Van’s solipsism. He is building a sealed coffin for himself that he intends no one to penetrate. He will avoid unpleasantness as much as possible, even at the cost of making himself unpleasant. With each subsequent section things get more miserable, the length gets shorter, and different strategies of avoidance are invoked. The late years of happiness with Ada are more likely years of self-torture, any success in love or life a delusion on Van’s part. By Part 4, he has abandoned plot in favor of mere allusions to wish-fulfillment and philosophical self-indulgence. At his supposed happiest he is least able to describe anything that happened to him.

(Auerbach ends up speculating that the text might actually have been written by Andrey Vinelander, which strikes me as almost uniquely unlikely . . . )

Ada is my favorite Nabokov novel, and probably tied for my favorite novel overall. In the end, it's one of the darkest and creepiest novels I've ever read, precisely because of the bottomlessness of its potential horror. Other books tell us about nasty characters and nasty situations; this one merely shows us a bunch of fanciful wishful thinking and leaves us to guess the real situation from which it is as escape (with plenty of suggestive references to hell, in case we need some general pointers). It is a closed system, standing securely upon its own head, self-contained, self-referential, self-possessed. There is a risk in this. The book is purely itself, and Van is purely himself, from the first page to the last. It does not provide a convenient ledge on which the author and reader can congregate and snicker at the far-off characters. It's written in third person (because that's how Van wrote it); there is no voice there untouched by Van's, no world untainted by Antiterra. As Auerbach puts it:

. . . we don’t see anything pushing back against Van Veen. All opposing forces tend to dissolve away sooner or later. The marshaling of fantasy to defy reality becomes a structuring principle of the book even to the point of alienating readers from it, lest they crack open Van’s coffin and discover his secrets. Where there is little reality, there is little sympathy to be had, hence the uninvolving nature of so many of the characters, not least Van himself. While Van puts up a good front to a point, ultimately he knows he’s not fooling anyone with his “happy family chronicle.” What starts off in Part 5 as the joyous introduction ends with solipsistic torment in a self-fashioned hell. And what better analogy for a solipsistic world than incest?

Or, as Martin Amis puts it, under the impression that he is criticizing the book rather than pointing out one of its design features:

And then, too, with Ada, there is something altogether alien – a sense of monstrous entitlement, of unbridled, head-in-air seigneurism. Morally, this is the world for which the twisted Humbert thirsts: a world where "nothing matters", and "everything is allowed".

But I love the closed system of Ada because it feels real, in the sense that it feels psychologically authentic. People really do create great systems of private associations like this; people really do neurotically rearrange and sanitize their memories like this. We all have it within us to fetishize the past like this, to take a few key moments and make of them an Ardis that exerts a grotesque influence on our lives -- one which ends up having less and less to do with real arbors or Adas. And when we do this it is not simple or straightforward; it is not pleasant to read about; it is the kind of convoluted, obsessive, opaque, obscure personal mythology that Auerbach calls "uninviting" and that we find all throughout Ada.

And of course the book is gorgeously written -- in a way that is often obscure but never feels obscurantist. I remember one reviewer saying that they enjoyed every sentence in Ada, even the ones they didn't understand; this seems to apply more generally to every aspect of the book. Even when I have no clue what he's doing, I never feel like Nabokov is just trying to fuck with me. Every element of the closed system is authentic, on the unique terms of that system.

The final words of the book are a characteristically brilliant flourish: Nabokov finishes off his hilarious parody of ad copy by repurposing an advertising cliche -- "and much, much more" -- so as to lend it a new meaning that is stunning, moving, and even terrifying in a sort of Lovecraft way. How many strange and unsettling details this book contains! How many the reader must undoubtedly have missed! (The blurb encourages the reader to go back and re-read.) This book teems. "And much, much more" -- too much! Too much!

To remind us that there's always (much, much) more to discover, I'll let the master have the final word -- and in the process claim "loathed" Van Veen as one of his "favorites" (?):

I wonder if there is really so much doom and "frustration" in my fiction? Humbert is frustrated, that’s obvious; some of my other villains are frustrated; police states are horribly frustrated in my novels and stories; but my favorite creatures, my resplendent characters -- in The Gift, in Invitation to a Beheading, in Ada, in Glory, et cetera– are victors in the long run. In fact I believe that one day a reappraiser will come and declare that, far from having been a frivolous firebird, I was a rigid moralist kicking sin, cuffing stupidity, ridiculing the vulgar and cruel -- and assigning sovereign power to tenderness, talent, and pride.

(Nabokov, interviewed for Bayerischer Rundfunk, 1971)

(Okay, okay. One last thing from me. The book opens with the following note: "With the exception of Mr. and Mrs. Ronald Oranger, a few incidental figures, and some non-American citizens, all the persons mentioned by name in this book are dead. [Ed.]" Who are these "non-American citizens"? The phrasing seems to imply that they are not "incidental figures," yet I can't think of any characters of any importance, besides the Orangers, who might have outlived the Veens.)

NOTES

"novo-sapiens" (536) -- seems like it should be "novus-sapiens," but I guess Nabokov/Van wanted the similarity in sound.

"Man, in that sense, will never die, because there may never be a taxonomical point in his evolutionary progress that could be determined as the last stage of man in the cline turning him into Neohomo, or some horrible, throbbing slime." (536) -- reminiscent of the speculations about quasi-mystical future forms of mankind that were popular in science fiction at the time (e.g. in Arthur C. Clarke's "Childhood's End").

"One can be a lover of Space and its possibilities: take, for example, speed, the smoothness and sword-swish of speed; the aquiline glory of ruling velocity; the joy cry of the curve; and one can be an amateur of Time, an epicure of duration. I delight sensually in Time, in its stuff and spread, in the fall of its folds, in the very impalpability of its grayish gauze, in the coolness of its continuum." (537) -- nice passage.

"Aurelius Augustinus" (537) -- Saint Augustine, whose discussions of the conscious experience of time are similar to Van's.

"The direction of Time, the ardis of Time, one-way Time, here is something that looks useful to me one moment, but dwindles the next to the level of an illusion obscurely related to the mysteries of growth and gravitation." (538) -- and yet the directionality of time has been one of the main themes of the whole book. Van gives up the game when he uses the word "ardis." Maybe he doesn't intend irreversibility to fall within the scope of this treatise, but when that treatise is written as an account of his journey toward his final and lasting reunion with Ada, surely irreversibility can't be truly irrelevant . . . ?

"The irreversibility of Time (which is not heading anywhere in the first place) is a very parochial affair: had our organs and orgitrons not been asymmetrical, our view of Time might have been amphitheatric and altogether grand, like ragged night and jagged mountains around a small, twinkling, satisfied hamlet." (538-9) -- or, in cross-section, something like a "V" shape.

"But beware, anime meus, of the marcel wave of fashionable art; avoid the Proustian bed and the assassin pun (itself a suicide -- as those who know their Verlaine will note)." (540) -- a flurry of spurious references (Augustine, Proust, Procrustes, Verlaine) that seems intended to warn by example: puns and allusions will get you nowhere in this business, no matter how fun they are. Darkbloom: "assassin pun: a pun on pointe assassine (from a poem by Verlaine)."

"We, poor Spatians, are better adapted, in our three-dimensional Lacrimaval" (541) -- for "Lacrimaval" Google only turns up full text versions of Ada. Presumably it's a version of "Vale of Tears."

" 'Space is a swarming in the eyes, and Time a singing in the ears,' says John Shade, a modern poet, as quoted by an invented philosopher ('Martin Gardiner') in The Ambidextrous Universe, page 165." (542) -- an Antiterran reversal of the real fact that, on Terra, Martin Gardner (not "Gardiner" as in the text) quoted John Shade in his book The Ambidextrous Universe. The appearance of John Shade (invented poet from Pale Fire) as a real person in Antiterra is Nabokovian fan service along the same lines as Professor Pnin's cameo appearance at at the university in Pale Fire.

"Minkowski" (542) -- mathematician who contributed to special relativity and first introduced the modern/relativistic version of four-dimensional space-time.

"At this point, I suspect, I should say something about my attitude to 'Relativity.' It is not sympathetic. What many cosmogonists tend to accept as an objective truth is really the flaw inherent in mathematics which parades as truth." (543) -- astonishingly, Nabokov himself actually believed this. ("While not having much physics, I reject Einstein's slick formulae; but then one need not know theology to be an atheist." [1968 BBC interview]) Since he loved mimicry and other trickery in biology, it's surprising that he didn't see the same appeal in the way that the strangeness of relativistic space-time hides behind a nicely intuitive Newtonian veil until one gets close to light speed.

"Alice in the Camera Obscura" (547) -- seems to be a mixture of "Alice's Adventures in Wonderland" and "Camera Obscura," the original title of the Nabokov novel usually called "Laughter in the Dark." Also an allusion to Kim taking pictures of Ada? Another example of shifting Antiterran names, since on p. 53 the Antiterran equivalent of Carroll's book was "Palace in Wonderland." (See also "Ada in Wonderland" [127], "Ada's Adventures in Adaland" [568] -- which leads us to conclude that Van is working from something like the actual earthly title, since where else could he have gotten that "Adventures" from?)

"Dr. Froid of Signy-Mondieu-Mondieu" (549) -- compare to this from Ch. 3: "A Dr Froid, one of the administerial centaurs, who may have been an émigré brother with a passport-changed name of the Dr Froit of Signy-Mondieu-Mondieu in the Ardennes" (27).

"Now blows the wind of the Present at the top of the Past -- at the top of the passes I have been proud to reach in my life, the Umbrail, the Fluela, the Furka, of my clearest consciousness!" (549) -- as one might expect from context, these are all passes in Switzerland.

"Here they are, the two rocky ruin-crowned hills that I have retained for seventeen years in my mind with decalcomaniac romantic vividness" (551) -- "Decalcomania, from the French décalcomanie, is a decorative technique by which engravings and prints may be transferred to pottery or other materials. Today the shortened version is 'Decal'. " (Wikipedia)

"He transmitted by the new 'instantogram,' flashed to the Geneva airport, a message ending in the last word of her 1905 cable" (552) -- unless I'm missing something, the word is "rainbows"? (508)

"Now it so happened that she had never -- never, at least, in adult life -- spoken to him by phone; hence the phone had preserved the very essence, the bright vibration, of her vocal cords, the little 'leap' in her larynx, the laugh clinging to the contour of the phrase, as if afraid in girlish glee to slip off the quick words it rode." (555) -- another significant telephone call, and another possible source for the banning of telephones -- although this one isn't connected with the "L disaster" in any way I can discern, and the psychological motivation for inventing a ban on telephones would be less clear here.

"lucubratiuncula" (559) -- "The act of working by night; lucubration, nocturnal study, night work." (Wiktionary). Apparently it's a diminutive of another Latin word meaning the same thing? "A little night work"?

" 'To be' means to know one 'has been.' 'Not to be' implies the only 'new' kind of (sham) time: the future. I dismiss it. Life, love, libraries, have no future." (559) -- more Hamlet. Also, I wonder what Van's denial of the existence of the future (expressed here and earlier) has to do with the themes of the novel? Perhaps nothing: at various points in Parts 4 (like the irreversibility comments mentioned above), Van dismisses as irrelevant certain issues that are very relevant to the novel's story, as though Nabokov is trying to tell us that we're supposed to read this as an actual, serious philosophical treatise rather than a thinly veiled expression of personal anxieties. But then it's hard not to deem it significant that these thoughts about the future come right after Ada's departure . . .

"But the future remains aloof from our fancies and feelings. At every moment it is an infinity of branching possibilities." (560-1) -- more of the "forking" motif, though it's not clear to me what this claim has to do with Van's deadpan (though presumably? non-literal) descriptions of branching possibilities earlier in the book.

" 'I told him to turn,' she said, 'somewhere near Morzhey ('morses' or 'walruses,' a Russian pun on 'Morges' -- maybe a mermaid’s message). And you slept, you could sleep!' " (562) -- Darkbloom, uncharacteristically, points out something that should already be clear: "mermaid: allusion to Lucette." Boyd, in The Place of Consciousness, goes wild with this idea and claims that Lucette, acting from beyond the grave, actually told Ada to turn back. He would later espouse an analogous theory of Pale Fire. Yes, according to Brian Boyd that is the secret of both these books: when women commit suicide they come back as ghosts who send the protagonists helpful messages. I'm sorry, but I don't exactly find this kind of thing adds much to the books . . .

"My aim was to compose a kind of novella in the form of a treatise on the Texture of Time, an investigation of its veily substance, with illustrative metaphors gradually increasing, very gradually building up a logical love story, going from past to present, blossoming as a concrete story, and just as gradually reversing analogies and disintegrating again into bland abstraction." (563) -- I might be reckoning this wrong, but my impression is that Part 4 begins the process of "disintegrating again into bland abstraction" after Ada leaves, and the only thing that prevents Van's original plan from running to completion is the eucatastrophic final reunion.

"I wonder if the attempt to discover those things is worth the stained glass. We can know the time, we can know a time. We can never know Time. Our senses are simply not meant to perceive it. It is like -- " (563) -- what is the significance of this? Is Ada completing the "reversal of analogies" by supplying her own analogy, hence completing Van's original plan after all (and thus reconfirming the fundamental unity between Van and Ada)? Is Nabokov inviting us to consider the whole of the following Part 5 as an account of something unknowable? ("It is like [Part 5]"? Or perhaps "it is like [the many years skipped between Parts 4 and 5]"?) IIRC, Look At The Harlequins! ends, with a dash, in the middle of a sentence of dialogue; I wonder if the same is true of some of the Nabokov novels or stories I haven't read.

"This Part Five is not meant as an epilogue; it is the true introduction of my ninety-seven percent true, and three percent likely, Ada or Ardor, a family chronicle." (567) -- interesting choice of proportions. Note how the notion of Part 5 as the "true introduction" works as an instance of the time-reversal motif, and also as a nod to Nabokov's idea that books can only be truly appreciated upon re-reading. Having reached the final Part of Ada or Ardor, the reader is finally ready to be "introduced" to it.

" 'matches the highest forms of human thought—pure mathematics & decipherment' (unpublished ad)." (567) -- though diminished by that "(unpublished ad)," this is an uncharacteristically -- and pleasingly -- positive reference to the pleasures of mathematics, about which Nabokov otherwise had little good to say.

"a spoonful of sodium bicarbonate dissolved in water that was sure to release three or four belches as big as the speech balloons in the “funnies” of his boyhood" (570) -- perhaps meant to recall "the Sunday supplement of a newspaper that had just begun to feature on its funnies page the now long defunct Goodnight Kids, Nicky and Pimpernella (sweet siblings who shared a narrow bed)" (5-6). There are a number of references in Part 5 to the very early sections of the book. The beginning and the end are one: the tips of the "V" or "A."

"the bedside light (a gurgling new surrogate -- real lammer having been forbidden again by 1930)" (572) -- another callback to the beginning: " the extremely elaborate and still very expensive hydrodynamic telephones and miserable gadgets that were to replace those that had gone k chertyam sobach'im (Russian 'to the devil') with the banning of an unmentionable "lammer." (There Darkbloom glosses "lammer" as "allusion to electricity.") The re-banning of electricity is produces an A-D-A. (And now that the two significant telephones calls had passed, what purpose could it serve on Antiterra / in Van's story?)

"Their life together responded antiphonally to their first summer in 1884" (574) -- confirms what had been implicitly made clear.

"An overwhelming tenderness impelled him to kneel suddenly at her feet in dramatic yet utterly sincere attitudes, puzzling to anyone who might enter with a vacuum cleaner." (574) -- another instance of overly romantic corniness. These seem to cluster near the end of the book; it's hard to imagine young Van doing anything like this, even in his imagination.

"She was (and still is -- ten years later) an enchanting English blonde with doll eyes, a velvet carnation and a tweed-cupped little rump […..]" (576) -- it's not clear to me whether the editor has omitted something or is merely expressing, through indicated silence, his offense at this comment about his wife.

"she had supported for ten years her mother’s children from two marriages, besides laying aside [something]" (576) -- but apparently Ronald Oranger doesn't want us to know what. (What does this mean? Am I just being dense?)

"this strange, friendless, rather repulsive nonagenarian (cries of “no, no!” in lectorial, sororial, editorial brackets)." (577) -- strange: who did write this? And hasn't it been quite a long time since we saw a note from Ada? (If I'm not mistaken it was back in Part 2 Ch. 2, p. 338, about Letters From Terra: "I disagree, it’s a nice, nice little book! Ada’s note.")

"one of his last papers (1959) entitled The Farce of Group Therapy in Sexual Maladjustment" (577) -- a joke about the threesome scene.

"Ada, who amused herself by translating . . . John Shade into Russian and French" (577) -- John Shade on Antiterra again.

"E, p, i -- why 'y,' my dear?" (578) -- Darkbloom explains that this is Violet trying to spell the word "epistemic," which occurs earlier on this page.

"That work [The Texture of Time], she said, always reminded her, in some odd, delicate way, of the sun-and-shade games she used to play as a child in the secluded avenues of Ardis Park." (579) -- another callback to the beginning. Suggests that a certain appreciation for the subtle "texture" of conscious experience is a key part of V&A's connection to one another. (Remember Ada's towers/bridges system?)

"They found the historical background absurdly farfetched and considered starting legal proceedings against Vitry—not for having stolen the L.F.T. idea, but for having distorted Terrestrial politics as obtained by Van with such diligence and skill from extrasensorial sources and manic dreams." (581) -- and yet the account of earth history given here is much more accurate than the one that Van gives in LFT (described in Part 2 Ch. 2).

"in a flashback to a revolution in former France, an unfortunate extra, who played one of the under-executioners, got accidentally decapitated while pulling the comedian Steller, who played a reluctant king, into a guillotinable position" (581) -- this death, along with the scope of the project ("some said more than a million, others, half a million men and as many mirrors") link the LFT film with the real-life film Ben Hur.

"From the tremendous correspondence that piled up on Van’s desk during a few years of world fame, one gathered that thousands of more or less unbalanced people believed (so striking was the visual impact of the Vitry-Veen film) in the secret Government-concealed identity of Terra and Antiterra. Demonian reality dwindled to a casual illusion. Actually, we had passed through all that. Politicians, dubbed Old Felt and Uncle Joe in forgotten comics, had really existed. Tropical countries meant, not only Wild Nature Reserves but famine, and death, and ignorance, and shamans, and agents from distant Atomsk. Our world was, in fact, mid-twentieth-century. Terra convalesced after enduring the rack and the stake, the bullies and beasts that Germany inevitably generates when fulfilling her dreams of glory. Russian peasants and poets had not been transported to Estotiland, and the Barren Grounds, ages ago -- they were dying, at this very moment, in the slave camps of Tartary. Even the governor of France was not Charlie Chose, the suave nephew of Lord Goal, but a bad-tempered French general." (582) -- I'm sure CML would take me to task if I didn't point out that this is reminiscent of the Borges story "Tlön, Uqbar, Orbis Tertius." It's also a huge moment of instability, and perhaps the most frustrating instance of the ambiguity between literal and figurative in Van's style (e.g. Demon's wings, forking time). Is Van merely saying that the dreams of Terra were surprisingly prophetic, and that Antiterra as of the 1960s is surprisingly similar to the Terra envisioned by patients in the late 19th century? Or is he simply giving up the whole game and declaring, with infuriating insouciance, that the whole story took place in the real world after all? (Incidentally, the period on Terra corresponding to V&A's last years on Antiterra would be . . . the 2010s, i.e., now. To channel C again: "Far out, man, far fuckin' out.")

"Recorded and replayed in their joint memory was their early preoccupation with the strange idea of death. . . . The strange mirage-shimmer standing in for death should not appear too soon in the chronicle and yet it should permeate the first amorous scenes. Hard but not insurmountable (I can do anything, I can tango and tap-dance on my fantastic hands)." (583-4) -- the presence of the concept of death even in the earliest parts of the book is here confirmed. (Compare to Van's attempt to disclaim this side of the story: "a book addressed to young laymen and lemans -- and not to grave men or gravemen" [17]).

" 'As lovers and siblings,' she cried, 'we have a double chance of being together in eternity, in terrarity' " (583) -- cf. this from p. 158: "I shall never love anybody in my life as I adore you, never and nowhere, neither in eternity, nor in terrenity, neither in Ladore, nor on Terra, where they say our souls go." "Terrenity" (unlike "terrarity") is a real word, meaning "Earthiness; worldliness."

"And I knew a girl called Adora, little thing in my last floramor. What makes me see that bit as the purest sanglot in the book?" (584) -- perhaps the fact that that scene was the first one Nabokov came up with for the book, as he revealed in an interview.

"And finally, there is the featureless pseudo-future, blank and black, an everlasting nonlastingness, the crowning paradox of our boxed brain’s eschatologies!" (585) -- good sentence!

"And if you land then on Terra Caelestis" (585) -- "caelestis" means "heavenly" or "celestial" in Latin. May be a reference to "Harmonia Caelestis" ("a cycle of 55 sacred cantatas attributed to the Hungarian composer Paul I, 1st Prince Esterházy of Galántha (1635–1713)" [Wikipedia])?

"She insisted that if there were no future, then one had the right of making up a future, and in that case one’s very own future did exist, insofar as one existed oneself. Eighty years quickly passed—a matter of changing a slide in a magic lantern." (585) -- seems like a strong suggestion that Van's happy life with Ada is invented? (But of course Ada is saying this as a 12-year-old, and the "eighty years" here are the whole rest of the story.)

The lines given on p. 585 are indeed lines 569-572 of the poem "Pale Fire" (from the novel Pale Fire). I don't know what non-metrical significance the omission of the "boths" could have (claimed by imagined Freudians on p. 586).

"Oh, Van, oh Van, we did not love her enough. That’s whom you should have married, the one sitting feet up, in ballerina black, on the stone balustrade, and then everything would have been all right -- I would have stayed with you both in Ardis Hall, and instead of that happiness, handed out gratis, instead of all that we teased her to death!" (586) -- what should we make of this acknowledgement? If V&A acknowledge their responsibility in Lucette's death, then why hasn't it had more of a footprint in the book? (Of course, it probably has, just covertly.)

"whose principal part is staged in a dream-bright America -- for are not our childhood memories comparable to Vineland-born caravelles, indolently encircled by the white birds of dreams?" (588) -- a possible justification for the invention of Antiterra. Note the double meaning of "principle part" (also a grammatical term) -- part of a motif about how textual/verbal the Ada world is ("old novels," etc).

"Nothing in world literature, save maybe Count Tolstoy’s reminiscences, can vie in pure joyousness and Arcadian innocence with the 'Ardis' part of the book." (588) -- the reminiscences in question are presumably Tolstoy's "Childhood, Boyhood, Youth." Also, "innocence" is (at least in one sense) a hilarious word to use for the randy Veens.

"That the relationship is not simply dangerous cousinage, but possesses an aspect prohibited by law, is hinted in the very first pages." (588) -- I love the awkward, ugly language here: "possesses an aspect prohibited by law."

"Her tragic destiny constitutes one of the highlights of this delightful book." (588) -- the cloying cliche "tragic fate" seems to mock the intuitively appealing interpretation that Lucette's death is supposed to be the emotional climax of the book. This sentence itself parodies the awkwardness of trying to hawk fictional tragedy as an appealing experience -- "tragic" clashes with "highlights" and "delightful."

"It is interrupted by her marriage to an Arizonian cattle-breeder whose fabulous ancestor discovered our country." (588) -- more hilariously awkward/platitudinous language.

"They spend their old age traveling together and dwelling in the various villas, one lovelier than another, that Van has erected all over the Western Hemisphere." (588) -- the word "villa" and the innuendo in "erected" remind us of a different set of villas, the Villa Venus club.

"Not the least adornment of the chronicle is the delicacy of pictorial detail" (589) -- you can say that again.

"a pretty plaything stranded among the forget-me-nots of a brook" (589) -- Lucette's doll lost in the brook again ("the red rubber of a favorite doll remained safely decomposed among the myosotes of an unanalyzable brook" [494]).

"and much, much more" (589) -- see above (in every sense!).

[kindred-spirit-93]

the falcon and the flower

hear ye hear ye, im planning a short story lol and believe it or not storyboarding is significantly more entertaining of a process than actually having to actually write lmao. whodve thunk.

anyways this post exists for a few reasons, mostly so i can map things out in one place (i plan on posting it here eventually hehe) but also for context and references and insight from yall & general yapping so if ur interested take a seat :3

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i. inspiration & background info: the idea came to me after watching this short about a painting that depicts the story of a king and a beggar maid who lived a quiet life together. and i think thats neat lol.

the ballad that inspired the painting is mentioned and was popularised in the works of shakespeare and alfred tennyson respectively among several others, old and new. the 2 paintings (1884 and 1898) belong to edward burne-jones.

the maid in the painting is said to resemble burne-jones' wife (dont be fooled he had an affair. also turns out its kinda his signature way to paint women) which made me realise that the way the ballad was interpreted (and therefore immortalised so to speak) was according to the views of the aforementioned vessels and the norms of the time.

and so it struck me and my 0 knowledge of art history as odd for the love interest to just so happen to appeal to the eurocentric beauty ideals of the time (she is described as having dark hair yet is painted in both as auburn?) and by extension the male gaze (esp in the 1884 painting where her clothes are somewhat translucent and she sports a neckline too scandalous for the era lol).

also the king being specifically described as 'african' (by the narrators? the ballad doesnt specify and i havent found any origin for the name) and then proceeding to ignore that completely. or worse. point is old dead white guys and their pesky world views probably thought slapping a single word last minute and calling it a day was a very progressive move. and i took that personally

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ii. creative liberties taken: point is im giving this my own twist because i can. everyone is entitled to their own views and interpretations (mostly). the beauty of art to me lies in the many ways it can be seen and percieved, and i personally love seeing how ones culture and background reflects in that, so thats what im doing. kinda.

and at the end of the day maybe to someone else my interpretation completely misses the point is biased to what im familiar with. which is absolutely valid and they would be right lol. idk i just wanted to kinda add this as a heads up and a general fyi. we all know how repressed everyone was back then lol. so much so it became a name of a complex. moving on.

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iii. symbolism and stuff: looked up a bunch of birds this morning loll and settled at first for a starling. i might keep the imagery idk i had a very specific idea for the king but then falcons popped into my head and i was like dang this is cooler. so it stuck!

the flower i first had in mind was rosa abyssinica, then the desert rose, finally i decided to switch to maybe my favouritest flower ever: and *cough* the national flower of jordan *cough* the black iris :D

its pretty and rare and not at all realistic to the events of the story but its mine so leave me be lol. if i can sprinkle some of my culture/ heritage and get away with it i will. sue me :p

anyway the cool and not at all pretentious title is a reference to the main characters; a king who loves birbs and the owner of a small flower stall in the marketplace (both of which are now specified)

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and now for the tragic backstory poll!

keeping this up for 3 days, since ill probably draft it out next weekend... if i get to it lol. i appreciate ur contribution in advance :3

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tysm if u read this far lol i didnt expect it to go on this long lol, sorry! will reblog and update this as i go (probably) so yeah. stick around if u want. take care and dont forget to dink ur oiter :)

[pastafossa]

Warning About A Plagiarizing Fic Author

*edit: FIC HAS BEEN TAKEN DOWN OFF AO3! Her blog posts here on tumblr however remain up so I ask that this keep circulating. *Edit again: all accounts appear to have been taken down, and all blogs look down save for her @k-9bails account which she had the audacity to use to try to follow me again. I’ve got a reblog with all the relevant updates but I’m adding it here, too. Original post: Right. Time for the callout post, since the thief has refused to answer my messages or take down the fic. Before we start: do not send her hate mail. At most, I’m looking for firm requests that she take down her fic and, as you’ll see, all the blog posts where she’s stolen content from me. Mostly I’m just trying to apply firm pressure so she takes all the stolen work down, and so that people are aware of what she’s doing so she can’t do this to anyone else. So, let’s start. If you’re in the Daredevil fandom on tumblr and AO3 at all, you might have heard of my fic The Red Thread about a psychic reader/OC referred to as Jane Hind/The Hound, who can see, via third eye, psychic threads of connection between people, animals, and beloved objects. It’s this fic that’s been blatantly plagiarized by @k9bails (who’s blocked me at present, so here’s the link to her main blog which I managed to access before I was blocked). Her fic on AO3 is called Legend, under the username K9bails. She’s also got a side blog called @k-9bails​ which appears less active, and a wattpad profile here, so please, if you write, make sure your work hasn’t been stolen. She’s only got the first chapter as of today, but it’s already full of stolen material, and her blog is absolutely bursting at the seams with things she’s stolen from me. Fortunately, before she blocked me, I was able to get screenshots, both of the fic just in case she edited it later, and her blog (which I had to screenshot on PC, so apologies for messiness).  I’ve made a report to AO3 (please DO NOT report it on AO3, they prefer only one person do the reporting so that the volunteer team isn’t overwhelmed) and I am awaiting word back. But she’s also got my stuff all over her tumblr, and since she’s ignored my messages, it’s time to post it, since she’s active in the fandom and I don’t want her taking anyone else’s work.

Let’s start with the main bit from her fic. Left side is my first chapter, right side is her fic. If you’ve read TRT, you know that the concept of psychic threads seen through the third eye is incredibly important. They connect friends and acquaintances, family, pets, and even beloved childhood objects, with each type of connection denoted by a different color. She’s rotated some colors around, and taken some of the colors I introduce later like white, black, and purple, but this is very much my concept. Note she’s stolen a line almost directly word for word here: ‘Silver threads always struck Scout as the saddest,’ to compare to my, ‘That last always struck you as the saddest.’

In this case, she’s also taken the kaleidoscope effect line from a few chapters later:

I thought this was blatant, but it only got worse: she lifts two of my other original characters, and doesn’t even bother to change their fucking names. In this case, in her very first chapter, she’s lifted both Ciro, my OC’s Italian father figure (I’ve added a screenshot on the upper right from Ch17 of the first time his name is used), and Eli, an OC adopted by Ciro (also added to screenshot, bottom right). Eli doesn’t even appear until ch 36 so this stretches a long ways.

The rest of this I’m going to put behind a see more tag, cause we got a lot to go.

But we’re not done, believe it or not, considering there’s only a single chapter of hers so far - a single chapter containing a very similar opening line, and a bizarre lift of my frequent End Note message that leads to my tumblr??? That one puzzled me because there’s no real reason to steal that.

Yet another: she’s made use of the Hound theme, and made a barebones attempt to change the summary line enough to slide under the radar. If you’ve read TRT then you know, but if not: my OC’s code name is Hound, she’s frequently referred to as Hound or the Hound of Los Angeles, there are Hound metaphors galore, and Matt has taken to calling her his Hellhound, and those references are honestly so common it’d take hours to list them all. 

I also happened to notice, after all this, that she’d linked to her tumblr, much like I did. So I wandered over. And it only got worse from there. Her own ‘answers’ to asks mimic mine, including lifting answers from posts I made here on tumblr. I’m not going to keep having side by sides because the post will get crazy long but if anyone wants receipts on any of these, I’ll go find it on a case by case basis.

Here’s where she mentions her character using threads to track people down for Bad Figures who want to kill them, along with tracking down threads for information, aka a major plotline of my fic and literally my character’s stated profession. Screenshot:

Here’s where she describes more about how ‘her’ threads and abilities work (starred paragraph is an almost exact summary of how my character’s abilities work, including how she can send them images and feelings, down to how a red thread is needed to control a person, definitely her taking my major plotline involving body jumping via red threads). She also, SURPRISE! Steals my psychic animals that inhabit the threads, that I’ve hinted relate to the subconscious, and that usually have some traits from the character. Oh, and the part about how doing all that makes her sick, yet again lifted from my fic, where my character gets incredibly sick the more she pushes herself doing all this.

Here’s another section in which she lifted Ciro - my Ciro that adopted Jane Hind is a native Italian, founded the particular family-like group he’s a part of, and also basically adopted Eli - who was raised in the US.

This section is where she’s roughly stolen Jane Hind’s mental trauma and the cause: her childhood arc. I’ve discussed at length here on tumblr (going to work on finding those posts in my tumblr history and update here when I can) and in the fic itself all the things she’s missed, using exactly this sort of phrasing. In fact, our major arc we’re currently going through in the fic (chapters 130 or so)... hm, references frequently missed out Christmases, birthdays, and little things we take for granted. This is one reason I’m sure she’s reading the fic as it’s getting posted. On top of that, she decided she’d also lift how Jane had never seen a beach and fell in love with it the first time she did. It’s a small detail but it’s just yet another thing she’s acting like is hers, just like the details about how this is all new and her Nelson and Murdock friends have taken her in. 

Perhaps most bizarrely, her blog has even been reblogging posts friends have tagged me in that I’ve responded to. In this one, though, she gets a little too obvious - not only is she reblogging a post, maybe a few days after another friend tagged me in it and I reblogged it, but she also tried to tag her fic ‘the psychic thread’ as opposed to ‘the red thread’, which is my own series tag.

I have no idea why she’s done this. I have no idea why she was so blatant, why she thought she could get away with it. She also appears to have a few sock puppet accounts - for example, she makes a claim lifted straight from a half-joking post I made about my OC’s potential pokemon and then makes her own post using the same pokemon for her OC, and credits it to another account that seems to just exist to make her look more realistic. It was one of the more bizarre things stolen, since my post about it didn’t get much attention, but it proves she’s actively following me on tumblr quite closely, proven by a friend who snagged a few screenshots of her likes tab where she’d liked my posts.

She’s blocked me now, so I can’t see her main blog. I can’t ask her to take it down anymore, outside of the comment I’ve left on her fic and the report I made to AO3. But she knows, 100%, that she’s stolen my work, and just as frustrating, has gone on at length on her blog about how all your characters should be original, and truly yours, and how you should never imitate other authors. It’s a ballsy move considering how small the Daredevil fic circle is here on tumblr and AO3.

And look. I don’t want her to drown in hate mail. I really don’t. All I want is for her to take down the fic, and remove the posts in which she blatantly stole content from me. I’ve worked on TRT for years, I’ve poured hours and hours and almost a million words into this story, and the fact that this person is still reading it as they’re plagiarizing it is both incredibly insulting and incredibly hurtful. If you’re an author in the Daredevil fandom, I highly recommend blocking her. She’s mentioned a few very popular authors in the fandom in the blog posts, so I know she’s reading your work, too, and I don’t want yours stolen anymore than I do. If you see someone commenting about her fic, tell them its stolen. Warn your DD author friends. And if you’re going to say something to her, let it be a request to take down her fic and delete the blog posts that have plagiarized my content. That’s my end goal - not to burn her life down but to just pressure her to stop stealing something very, very dear to me, and hopefully learn not to do this in the future.

That’s all I want. *Edited 12/20: as of today, her fic on AO3 has been taken down! The scores of comments, or AO3′s plagiarism team, has done the job so this is a huge win, and I’m grateful to everyone that helped! Her tumblr posts on her k9bails account, however, are still up, and she has yet to respond, so let the pressure continue. I’m also hunting for her other accounts since it’s become clear the k9bails account and the @k-9bails​ account are both not her main blog. If anyone has any leads or knows who this person is, please send me a message! I want to find their main blog in case it’s following me so I can block it, and potentially apply pressure there to get her to take my work down on her k9bails account.

[yourlocalbadgerscales]

My OFFICIAL intro post, since I never actually made one!

Hi!! I’m yourlocalbadgerscales ^^ My name is a reference to me being a Slytherpuff 💚💛

Yes, I’m a diehard Harry Potter fan and a Slytherpuff for life!

A little something about me then. I go by she/her pronouns and I am currently questioning my sexuality, but I’m pretty sure I am at least panromantic. And I feel like that’s all you need to know about my sexuality to know that this profile is a safe place for all you fellow queers (:

I feel like it’s also important to know that I am a teenager and therefore a minor, so any predators, please leave my profile immediately (I have already encountered one, sadly, and I’m new here! I made an account on Tumblr last week or so)!

But I do not mind making friends or just chatting with adults ^^

My interests:

• Music! I love singing and I want to learn playing the piano. I also love listening to music and I do it 24/7. My favourite artists right now are Conan Gray and Taylor Swift, but I also love a little bit of Eminem ^^ • Books! I read a lot, lately I have mostly read fanfiction but I want to change that, hehe. I also enjoy writing books myself (and fanfics).

• Harry Potter! I read the books when I was just a little kid, but I never really discovered the charm of Potterverse until last summer (when I btw realised that I was queer). I have strong opinions on many things in Harry Potter but there’s room for discussion! Feel free to comment on my posts and reblog, or just write to me privately so we can discuss!

• Marauders Era! I love the Marauders so much guys you don’t understand 😭 My favourite ships are Jegulus and Wolfstar! My favourite marauders era characters are James and Regulus!

•LGBTQIA+!

These are topics I will post a lot of stuff about on here!

Things I don’t like and won’t accept on my profile:

• Homophobes, transphobes etc.

• Racists

• People against feminism

• Bullies

• Snape apologists (unless you just want to have a polite, nice chat about your reasons and opinions, I love learning new things and trying to see stuff from a different POV!)

• Predators, pedophiles

• Trump supporters

• No picking sides between Israel and Hamas on here ‼️‼️‼️

• Nazis

• People who deny climate change

• People why deny that kids can have depression, anxiety etc.

• People who look down on other people with disorders or diagnoses

• Genuinely just people who look down on other, hate people for things they can’t control or are bullies. Yeah, you get it.

Other things to know about me:

• Don’t assume stuff about me

• I’m from Europe. Wtf is 5’6 and all that shi /j

• I don’t plan on showing my face on here. Ever. But I might reconsider.

• If you want to follow me elsewhere I am also on Pinterest and Spotify. Write to me and I’ll give you the links :)

• I am not diagnosed yet, however I am pretty damn sure I’m autistic and have ADD (ADHD), based on a lot of research and what professionals have said about me. So I am not self-diagnosed :)

• No slander of any kind on here. If you disagree with me or others here, be polite about it. I am kind of sensitive when it comes to destructive critism… learnt that the hard way.

• UNLESS I accidentally say something really hurtful! Don’t be scared to point that out! I can assure you I never meant to hurt anyone, if that’s the case.

Now you know a little more about me! I may have forgotten something so I might add stuff later!

I often follow back, BUT I would love if all my followers are just people who genuinely enjoy my content and not following me only to get more followers themselves.

Have a nice day and drink some water! ;) Your favourite badger xx ❤️

[charles-simmons-fanfiction]

Their very first year at Welton - Described by Steven Meeks

Description: the tittle is kinda self explanatory. [1,3k words]

The prompt is inspired by @i-love-steven-meeks :3 I had fun writing this. It's pretty much just my personal hcs for pre-canon and there's a few more that I didn't include here actually, so I might make more posts on pre-canon stuff. Anyway, hope you enjoy <3

🧡🧡🧡🧡🧡.

The year was 1955. I was twelve, and starting seventh grade.

I had only been in Welton for a week and already missed home. It's not that I wasn't grateful for being at such a prestigious academy, but I had no time to do anything anymore. I had hoped I would at least have the weekends to go explore the library, yet soon I realized weekends were barely enough to finish all the assignments we were given.

The other guys in my class seemed to be in a similar situation, maybe even worse, actually. It didn't take long for some students to start realizing how tough the classes were.

There were a few boys that would stand out, as there usually is. Charlie Dalton and Neil Perry were two of them. They would laugh too loud, talk too much, and generally be disruptive. Charlie, contrary to Neil, was a huge back-talker to the teachers. He got particularly mad at a professor one day, when Neil asked to to go the bathroom and was denied. (I think they even called his parents to complain about him). Both of them mostly talked to each other, and it was clear they were already friends from before Welton.

Every once in a while, the class would be asked to pair up for some project. For as long as it was possible, I did the projects on my own. Pair or groups were always stressful and I like things to be done my way, which was often the right way. Eventually, a professor said no and forced me to look for a pair. That was when I started to get to know my roommate, Gerard Pitts, who also did most of his projects alone.

Pitts was quiet to the point no one actually knew what his voice sounded like. He was the tallest in class and seemed to be a very serious guy. At first, I thought he was intimidating, but soon I realized he was just terribly shy.

Being roommates with him was easy. Most of our interactions could be summarized by "good evening", "good morning" and "can I open the window?". And that was that for at least the whole first month, until the exams started. Pitts barely even slept sometimes, studying for hours on end and still barely getting decent grades.

I offered to help, and that's what I consider the beginning of our friendship. Although Gerard himself would disagree. According to him, we officially became friends when he made a reference to Aslan from Narnia and I actually got it.

As we started to learn how to manage all the school work, we were left with some free time that was mostly used to read and chat outside. Everything seemed boring when it rained though.

It was one of those days. A Saturday without homework was rare, and it was truly a shame how much it was raining. Me and Pitts sat on the stairs, feeling bored while watching the older students pass by.

"Hey, you two," someone called. It took us some time to realize we were the ones being spoken to. I looked up and saw Charlie and Neil, who I still hadn't interacted with before. "Want to play hide and seek? We need more people."

Gerard shrugged, so I said yes.

(Sometimes I wonder how many things would've been different if I hadn't done that. A few days ago, out of curiosity, I asked Charlie what his thoughts were on the matter. His answer was: "nothing, we would've become friends some other way", which is nice to think about.)

We played for pretty much the whole day and probably would've for longer if it wasn't for the chemistry teacher telling us to go back to our dorms at night. Neil won more times than all of us together, and Charlie bruised a knee while he ran from Pitts (who was very unsurprisingly faster), but we hadn't had that much genuine fun in a while anyway and I really needed some reason to laugh at the time. It's a day I hold dear in my memories. Little me had no idea how close I would grow to those people. Heaven knows it was hard for some of us to be away from home for so long.

In a couple months, the teachers already hated our quartet. Even though we didn't even particularly misbehave during class, we were insufferable to deal with if we were all together. I'd be lying if I said I'm proud of how I was, I was pretty stupid sometimes y'know. Not that I ever met anyone who likes their 12 years old self.

Something curious I particularly remember is thinking that Charlie was kind of a bully, and being quite confused on how he was even friends with someone as nice as Neil. As the weeks passed though, I started noticing he only picked on me and Pitts if he knew we weren't upset for real. Turns out Charlie was actually the sweetest out of us, in his own way.

He saw me crying once. I will admit that I did cry a lot in my first year. I missed my room, my old school and my parents. Charlie made some joke about me needing to man up, I don't even remember exactly what he said. I think joking was his first instinct, the guy didn't really know what to do. He apologized later, and stayed with me until I stopped crying.

I mentioned that story to him in tenth grade one time, and he didn't really remember. He had just had a big fight with Neil and they didn't talk for like two weeks. It's the only time I ever saw Charlie cry. I did his homework for him that day and let him stay in my dorm for a while. He ended up falling asleep on my bed, so I had to sleep with Gerard. None of us ever mentioned it again, there was no reason to.

It was in that year that Cameron joined the group, because he was assigned to be Charlie's new roommate. I'm impressed they even let Neil and Charlie be in the same room for that long actually. The two scream so much, no wonder they had to switch rooms.

Knox, on the other hand, didn't share a room with any of us. We became friends in early eighth grade, as far as I can recall. My first impression of him was that he was pretty annoying. Time only proved me right, yet we got along surprisingly well. He became a part of the group quite quickly, although he and Charlie would argue a lot.

I can't quite process it's been four years since I became a student at Welton. It feels like a whole life. What's weird is that as much as I hate this place, I wouldn't change it for the world. Some people are meant to meet, y'know. Right now, I'm currently sitting on my bed as I write this, and Pitts is on his bed, snoring. I'm in eleventh grade now, and there's a new addition to our group. His name's Todd Anderson, he's roommates with Neil. He seems nice, I like him already.

I don't know exactly why I'm writing this. I guess I just want to keep these memories written somewhere, for me to read again someday.

Maybe in the future, like a decade later, I'll be able to bring this up if we still make the dead poets' meetings. I hope we're all still together by then, but I'm not too worried about it. Unless some of us die, we'll be.

I gotta go to sleep now. This was fun to write though.

-Steven Meeks, 1959

🧡🧡🧡🧡🧡.

[demon-of-the-ancient-world]

Other Dune thoughts thrown into one post

So it only really hit me recently that Paul is literally from a planet that is mostly water/very lush and rainy. And ends up in, you know, the desert for much of the story. ik that's pretty crucial but I just never clocked it, ya know?

Also: first time we see him interacting w/sand is in the scene right before they leave Caladan, and he picks up some of the sand that's underwater on the beach. He probably can't even picture sand without the context of being near water. There's something there.

The colours of House Atreides are green and black right? Isn't there a detail where in Paul's vision of the holy war he sees the fighters with his family's banner, but then when we actually see that for real in part 2 the banner is a different colour? The *actual* colours shown on the banner in part 2 are white and red. So you know, the exact opposite from what the Atreides banner is. I am Unwell.

Part 1: Reverend Mother walks into the Atreides home like she owns the place and holds a poisoned needle to Paul's neck. Part 2: Paul waltzes into the imperial ship like he owns the place and stabs the baron in the neck. Enough said.

Only noticed this upon watching a gif recently but when Paul grabs Feyd's knife, he doesn't actually try to push it away from himself, just redirects it so he gets stabbed in the shoulder instead of in the neck, and at the same using it as a distraction so he can stab Feyd.

Which is possibly - possibly - a concentrated reference to like. his relationship with fate/his visions in general? He saw terrible things happening if he did nothing, and terrible things happening if he did something. So he did Something, knowing it would lead to terrible things, but I have this idea that part of that is him wanting to at least have some control over what bad things happen - if tragedy and disaster is gonna happen anyway, he'd rather take responsibility for it if it means he can have some measure of control over it. Ergo, redirecting the inevitable into something that still has a bad outcome, but at least it's within his control. That knife is Going Into Him, might as well push it in a direction he can control even if it means still being hurt in the process. Idk. Maybe I'm looking too deeply into this.

The sign language. In part 1, every time it's used, it's either used only by Jessica, or the conversation is initiated by her. Until the scene where her and Paul meet the Fremen for the first time, where he initiates it. And then again in part 2, the first time it's shown he once again is the one who starts it. Shows he's beginning to "take the lead" in their situation.

It's subtle, but you can actually see Paul getting slightly more tan as the second movie goes on. sun, ya know.

Also, I like that his eye colour changes gradually instead of all at once, again it's subtle but you can see it happening in stages

Despite the Fremen being super careful about never wasting their water (i.e. never crying Ever - see Stilgar with Jessica), Paul cries a couple times in front of Chani and she never tells him to be careful about it despite it being so foreign to her. Not sure *exactly* what we're drawing from that yet, but you can definitely get *something* out of it.

Edit: more stuff vvv

Paul leaves Caladan at sunset (or at least they depict *a* sunset on Caladan, appears to be one of the last things he sees of his home planet) and then his final duel also takes place during a sunset - albeit one on Arrakis

I just think it's neat that in the final scene, when Chani remains standing and then turns to leave, Paul doesn't even try to stop her. There's a real look of understanding he's got on his face, like he knows that what he's done is unforgivable (and also possibly that it doesn't matter because she'll come back to him eventually)

[pumpkinpartynoelle]

Deltarune Angel Theory! Who it is, what changes in the weird route, why we do it, + more!

Variable Angel Theory Part 1:

Hi! Noelle Holiday here!

It's my first time posting anything like this so I'm not totally sure how it works, but here's my best shot. Spoilers for everything currently released in Undertale and Deltarune, and hopefully, spoilers for parts of Deltarune that haven't been released yet too!

A quick multi-paragraph intro with like 15 disclaimers:

Okay so I've been binging theorycrafting videos and Deltarune and Undertale playthroughs over and over for the past month and I think I've just cracked the code and seen into the matrix.

So, this started when I noticed that Spamton calls me Angel, which is weirdly specific, right? But then I noticed one of the Addisons also calls me Angel, and both of them only do it in the weird route. So that got me wondering why, of course! And I think I've connected enough dots that I might be able to predict not only who the angel is, but how the weird route changes things, exactly why we do it, what will happen in chapter 3's weird route, and even some mostly-unrelated stuff involving characters like Seam.

I'm more confident in this than almost any other major Deltarune theory I've heard, despite how little we know about the angel. I wouldn't be sharing it, and wouldn't have put this much time into a full writeup, if I didn't believe in it. And, given how limited our information is, don't expect rock solid, undeniable evidence for each point I cover. I'm working with what I've got. This is a theory about stuff we're probably years away from seeing to fruition, so I have to make a lot of predictions.

A lot of this uses @jarujaruj's theorycrafting method, which involves considering the story from a writer's perspective rather than relying on pure hard logic, but we're also going to be going over most of the info surrounding the angel in both Deltarune and Undertale, both stated and implied. So, if you're familiar with Jaru's theories and find them hard to believe, you might not get much out of this one either. I won't go over those theories in much detail in this post, as it's already long enough, and while I'll reference Jaru's theories a few times, even if they're wrong I don't think it would invalidate much of this theory. You also don't need to know them to understand most of what I'll be discussing, however, a few details make more sense with them in mind.

I'm looking for thematic parallels and interesting story implications just as much as the hard facts, but since we have so few hard facts to work with, you'll see more of the former I think. This will take a while, so stick with me if you care about the evidence.

Here's my theory:

The angel changes depending on which route you play, and when you play the weird route, Noelle is the angel.

Not only that, but you end up turning me into the angel yourself, at least in the weird route, but maybe in other routes too. And, borrowing from Jaru, every route (except maybe one) ends in the angel deciding to reset back to the start of the game. Look into his stuff for why I think that part is the case, but it's not quite as relevant to my theory as much of the info I'll be showcasing here. I'll still be discussing it though, as I think it explains a lot of what happens in the weird route. Much like Undertale's merciless route, it makes more sense after a reset.

I'll be going over all the evidence I can think of in this post, and giving my thoughts on who the angel is likely to be in each route, and why I think it varies.

Direct "angel" mentions in Deltarune:

Spamton and Addison call me angel in the weird route

I say I would hypothetically grow angel wings and fly out of the ferris wheel when I'm riding it with Susie

Alphys calls her cat that she may or may not have a "perfect angel"

The ANGEL'S HEAVEN

Discussion of the angel doll in Rudy's hospital room. The doll was made by Dess and I.

Alvin talks about the angel a few times

There's a clear pattern here of angels being associated with me. Not exclusively, but far more than any other character, other than maybe Alvin, but he's a priest of the angel so I'm not sure that counts for as much. Let's go over each one to see what they can tell us.

"Angel" is used here just like a nickname, there's not much clear context beyond that for its use. Spamton says it when you've cleared out all the weird route encounters and talk to him at his dumpster.

Here's that full conversation:

* [Angel], [Angel]

* ARE YOU LOOKING FOR THE [Ring] of [Thorns]?

* THEN [[Why]] GO TO A DUMPSTER!!!

* THat'll be 1997 KROMER.

* HERE'S YOUR [Ring]! CAREFUL, IT MIGHT [Sting] * EAHEAHEAH

* (You got the ThornRing.)

Addison, specifically the pink Addison, though I'm not sure it matters all that much which one it is, calls me "angel" in a similar way, as a nickname with no clear meaning behind it.

Here's that conversation:

Addison: * If you're something else, maybe a Dating Shoes isn't right...?

Addison: * Maybe I could interest you in a FreezeRing?

Noelle: * Huh...? A ring...?

Noelle: * Faha, sorry, I don't think WE need something like that!

Addison: * C'mon, angel! You can't get stronger without good equipment!

Noelle: * Stronger...? R-right, I guess that's how it works here...

Following this, of course, Kris (or the voice associated with them) has me get the ring despite not being able to afford it, presumably by attacking the Addison with iceshock.

So, clearly there's a pattern to this, right? I could see *one* person calling me angel being a coincidence, but the fact that it's two different people, and both only on the weird route, feels too intentional to ignore, but there's not much meaning you can derive from the way it's used here other than establishing a strong connection between me and the angel, and specifically on the weird route. Additionally, the fact that it's associated with acquiring rings both times could mean something, maybe involving the romantic implication of the rings? It's something to keep in mind!

This isn't enough to say I *am* the angel though, even if that might be a possible implication. We can only be confident that there's a connection, so let's keep going.

2. This one is interesting, being an association I have with angels that isn't on the weird route, one that may not mean much on its own but combined with the other two we just went over is clearly important. I've included a bit more context than is probably needed, because I think it's relevant later.

Here's the conversation:

Susie: * So, uh... Ferris wheels, huh.

Susie: * Kinda makes you wonder what car they were built for.

Noelle: * (It's... it's different than riding one with Kris...)

Susie: * ... the hell's wrong, you scared of heights?

Noelle: * No! No, I... I love heights! Haha!

Susie: * You're, uh, shaking.

Noelle: * Well, um, maybe, I'm a little scared, but... I...

Noelle: * To be honest, I... I actually like... scary things.

Susie: * ... what do you mean?

Noelle: * When we were little, me and my sister would stay up...

Noelle: * And go past our bedtime watching horror movies.

Noelle: * At first I cried, but now... it's like... watching them...

Noelle: * Makes me feel... comforted...?

Susie: * Comforted? I guess I do like slime and blood...

Noelle: * It's scary, but I can just turn it off, right?

Noelle: * Now it's mostly... people, that are scary. Haha.

Susie: * You can just say you mean me.

Noelle: * Haha... umm... well... I guess y-you too, but...

Noelle: * But that's... what's... NICE about you, y'know?

Susie: * Nice!? The hell does that mean???

Noelle: * You're the... good kind of scary.

Noelle: * You aren't afraid to... break the rules, y'know?

Noelle: * ... I wish I could do crazy stuff like you.

Susie: * So, um...

Susie: * If YOU could do something crazy right now,

Susie: * What would you do?

Noelle: * U-umm... Well, I... I...

Noelle: * I'd... I'd jump out the window!

Noelle: * It's a dream, right?

Noelle: * I'd grow big angel wings,

Noelle: * And fly as far as I can, gazing back at it all...

Noelle: * The skyline shining like Holiday lights.

Susie: * ... that's kinda... beautiful?

Susie: * Wait, you wouldn't seriously jump out, would you!?

Noelle: * Hahaha!! No promises!

I actually noticed this one pretty late into crafting this theory, it almost felt like a smoking gun at the time, but obviously given what we've discussed so far this isn't enough on its own. It *is* a third instance of my being associated with the angel, undeniably a pattern at this point.

Growing big angel wings could be like not just being the angel, but becoming the angel. Flying above everything and looking down at all of it sounds like what the angel's role may be, to watch over and protect people, as Alvin will hint later. This solidifies the angel association even more and implies that I might become it at some point, but that implication is still a bit weak for now, so let's move on.

3. Alphys's saucer of milk. I was inclined to think this one doesn't mean much, but for the sake of being thorough, let's give it a good once over.

* Oh, this saucer of milk?

* I-It's for my kitty, MewMew! She's a perfect angel!

* ... uh? What does she look like...?

* W... well, I've never actually s-seen her, b-but...

* Ever since I started putting out milk, it's been disappearing.

* S... So I'd like to think that there's a cat.

* M... My cat.

There's enough mystery here that it could potentially mean something significant, but then we get the reveal to that mystery in the next chapter.

* Hey Kris, this free milk? It's amazing.

* It just magically refreshes itself over night.

So presumably, it's just Susie, and may just be a joke. However, this does give Susie a minor association with being an angel as well! Given how serious of a topic the angel is, I'm inclined to think this, while definitely a joke, isn't *just* a joke. We'll come back to it later, because it might be important.

4. The ANGEL'S HEAVEN is a pretty unclear concept. Whatever it is, Ralsei seems to think the heroes will banish it, or at least try to. It seems to be associated with the Roaring, but that's also an unclear concept. I'm inclined to believe Jaru's theory on this, that the Angel's Heaven is the reset at the end of the game, and the Roaring is the release of magic back into the light world, but it could mean something else. However, I don't think we have enough information about it to draw any significant conclusions about who the angel might be from whatever the Angel's Heaven is, unless it's a reset, the potential of which I'll be giving my thoughts on later. It's something to keep in mind either way, because whatever the Angel's Heaven is, it's obviously very important. Moving on!

5. Here's where we start getting into some bigger evidence for the specifics of my theory: the angel doll in Rudy's hospital room.

* (It's an angel doll.) * (Its lack of facial features is unsettling.)

* That angel? * Noelle n' Dess made it in youth group.

* It's kind of like a good luck charm to me now.

* Oh, right, you and Azzy tried to make one too...

* But you wasted the whole time making huge wings for it!

And, with Susie:

* (It's an angel doll.) * (Its lack of facial features is unsettling.)

Susie: * ... so why do you collect creepy dolls?

Rudy: * Hey, Noelle and her sister made that. Respect it!

Susie: * (Noelle's sister...)

So, weirdly, chapter 2's dialogue doesn't really reveal much, at least not much that you can't infer from other information. It tells us that Susie probably cares somewhat about whatever happened to Dess, but that's it.

Chapter 1's dialogue though, WOW there's a lot here, way more than you'd expect from such a short conversation. Let's break it down line by line, since I think we need to. I'll be drawing heavily on the thematics of this since we have so little hard evidence on the topic, and if this means anything at all, which it probably does, it's likely some non-literal foreshadowing.

* (It's an angel doll.) * (Its lack of facial features is unsettling.)

The fact that it's a doll could be referencing the puppet motif, the idea that somehow even the angel is beholden to fate, even its choices don't matter.

The lack of a face could mean that the angel's identity is unclear, could change, or is unimportant. I think all 3 are true. It's unclear because we don't know who it is, it could change because I think the route you take changes who the angel is, and it's unimportant because I think that, no matter who the angel is, they'll probably end the game by resetting back to chapter 1.

* That angel? * Noelle n' Dess made it in youth group.

The doll having been explicitly created by specific people could mean that the angel is created too, like an arts and crafts project. You might build up the angel over the course of the story. Plus, it's another association I have with the angel. This also associates Dess with the angel, but since she's already my sister, that might not mean anything new.

You could maybe argue the same for Susie's association, that she's my love interest, but the connection there is less solid, and Susie is an established main character, so I think there's merit to considering her association to the angel more separately. Don't count this as a full dismissal of Dess's connection though. I'd like to look into it, but we know so little about Dess that it's hard to really say much for it.

* It's kind of like a good luck charm to me now.

This line probably means the least. It could be a reference to the angel's role potential role as a protector, though. There's a decent chance Rudy will die by the end of the game. If he does die, and I become the angel, my resetting at the end of the game to bring him back, and undoing all of the damage done by the weird route, could be considered protecting him, like a good luck charm. However, that's a lot of ifs, too much speculation to be sure just yet.

* Oh, right, you and Azzy tried to make one too...

Kris and Asriel trying to make an angel is another point in favour of the angel being "made". Kris is our way of interacting with the world after all, so it makes sense that if the angel varies depending on the route, it would be Kris that makes them.

As a bonus, if Jaru's theory on the nature of Asriel (and Ralsei) is correct, and I strongly believe it is, this makes even more sense, for reasons I'm sure are clear if you're familiar with it.

* But you wasted the whole time making huge wings for it!

Wings, thematically, are heavily associated with freedom, not just in Deltarune but throughout media in general. Freedom is something we know Kris desperately wants from many sources, most clearly their interactions with the soul and with Spamton. Given the terrible fate this world seems to have in store, it's something everyone might want. This could mean that, if you focus solely on your freedom, you'll run out of time to make the angel, you won't make one that's complete enough to give you what you want, or, more vaguely, you won't achieve what you're after.

6. Father Alvin's dialogue is kind of a lot to go through, just because he's a priest of the angel, and as such, anything he says could potentially relate. However, most of it doesn't seem as relevant as you might expect, and, to be honest, I remembered him having more to say. Either way , there's still some interesting stuff here.

In chapter 1, if you select "Nothing" after he asks you if anything is weighing on your mind, Alvin says this:

* I understand. * I hope in time you may find the words you seek.

* Let the Angel's power light your way.

This associates the angel with "power". It's a very vague word, but it's used consistently at save points, implying the angel has a connection to saving and loading (and thus, potentially, resets). Of course, it's also used in the weird route. The whole purpose of the weird route, seemingly, is to gain power, and specifically for Noelle (me) to gain power. As I'm already the most strongly associated with the angel, this farther strengthens the connection. Kris is also connected to power, of course, but as I believe your actions determine who the angel is, and Kris is who the player acts through to affect the world, that connection is already accounted for in my theory.

While it could probably be assumed, this also tells us that the angel is likely a very powerful entity. If anyone's choices matter, it's theirs, but I'm not convinced even they can break the theme of the game. We'll explore the most powerful entities known in Undertale and Deltarune later, to see if we can draw any parallels.

Next, chapter 2.

Selecting "Gerson" as a conversation topic yields this:

* It's been a few years since my father passed on...

* Fans of his famous book series, Lord of the Hammer...

* We still received condolences from them until just recently.

* A brave man, brilliant, and sharp.

* Kris, it is a shame you were not able to have him as a teacher.

* And, difficult for Ms. Alphys, as his replacement.

* Let us pray that the Angel will smile upon her.

Selecting "Hammer" gives this response:

* As per the ritual, a hammer is buried in the earth here.

* To symbolize his existence.

* To connect his spirit to the divine.

* Originally a smith by trade, he began writing history...

* And made a turn into telling stories,

* As a means to entertain his children.

* That such a story, created for such a simple purpose,

* Could blossom into such a large, wonderful, world-changing thing...

* That is the majesty of words, Kris.

* My father was blessed to have such a talent for writing.

There's probably not too much to get out of this. The angel is associated, seemingly, with watching over people, and protecting or guiding them, and may be associated with Alphys. Specifically though, the angel is implied as distinct from Alphys, so this connection does nothing to support Alphys potentially *being* the angel, just having some connection. As a student in her class, this of course supports my own connection, but it also could support anyone else in the class.

This also seems to support the ritual of placing monster dust on an important item so that the monster's essence may live on, being connected in some way to the angel, or "the divine". This implies a connection with everyone in the graveyard, and anyone still living who may be associated with this ritual.

Again, those who know of Jaru's Asriel/Ralsei theory will understand why I think this may be supportive of Ralsei being connected to the angel, and by extension, maybe Asriel or even Kris. Outside of that speculation though, I see nothing else from this. The undead have yet to clearly establish themselves as much of a presence in Deltarune, as opposed to Undertale.

Alvin's other dialogue discusses sin, but I can't find anything particularly noteworthy in it, other than sin being associated with a couple lines in Sans's boss fight in Undertale, and by extension the merciless route as a whole. I might come back to this later, but right now, it doesn't tell us much.

Direct "angel" mentions in Undertale:

You might be wondering why I'm bothering with Undertale's angel mentions when we're talking about Deltarune. While they're different games, they're parallel stories, so unless a contradiction is shown or implied between the rules and themes of Undertale and Deltarune, I think it's safe to consider Undertale's lore as part of this discussion, and I feel it would be incomplete if I didn't look into it. Plus, Undertale literally has the Delta Rune in it, and a lot of this information is directly related to Gerson's lore on that.

Here are all of the "angel" mentions:

Gerson talks about the angel when discussing the meaning of the Delta Rune

An old inscription on a wall mentions the angel

The Riverman (or is it the Riverwoman?) mentions the angel

First up, Gerson!

While we go over this, we'll have to figure out what we can carry over from Undertale's Delta Rune into Deltarune's Delta Rune, since some of the details apply too specifically to Undertale to transfer easily. However, we can't 100% dismiss ANYTHING said here as unrelated without some serious consideration, as we're discussing the Delta Rune itself. So you can consider this sort of a Deltarune Undertale Delta Rune interlude.

That emblem:

* Eh? * You don't know what that is?

* What are they teaching you kids in school nowadays...? * Wa ha ha!

* That's the Delta Rune, the emblem of our kingdom. * The Kingdom...

* ... of Monsters.

* Wahaha! * Great name, huh? * It's as I always say...

* Ol' King Fluffybuns can't name for beans!

There are several reasons why I don't think Deltarune has a "Kingdom of Monsters". Here are just a few:

No one mentions it

There's a human in Hometown

There's enough intermingling for there to be a book on how to care for humans in the librarby

There's enough intermingling for there to be "monsters 4 humans" dating ads (Kris clicking on Poppup)

Granted, there are probably still tensions between Humans and Monsters, but whatever they are, I don't think it's enough to cause a complete schism like in Undertale.

So, how much lore can we retain? The "Kingdom of Monsters" is probably out. Does Deltarune have an equivalent? Sort of. The "Kingdom of Darkness" is Deltarune's closest counterpart, being trapped in a different plane you fall down into, for example.

However, the Delta Rune seems completely absent from the dark worlds, bar one location: Castle Town. This is also the only place directly called a "Kingdom of Darkness", by Ralsei. As Ralsei was its only inhabitant, and the Delta Runes were already all over Castle Town when we first got there, this associates Ralsei with the Delta Rune, and by extension, the angel.

This is a little strange, since the Delta Rune is otherwise exclusively a light world thing (barring one example we'll discuss in a moment), implying Ralsei has some connection to the light world. Seeing as he looks almost exactly like Asriel, and his name is an anagram, he at the very least has some connection to a specific lightner, so this isn't out of the question, especially given how religious Asriel is.

However, the Delta Rune, seemingly, can't be the emblem of the "Kingdom of Darkness", at least not primarily, given how often it's used by lightners who have, presumably, never heard of dark worlds. However, the "Kingdom of Darkness" may only be associated with Ralsei's Castle Town, rather than all dark worlds, which would explain the Delta Rune's presence there exclusively. This could tell us that Ralsei knows more about the light world than most, something that seems to be true given the specific directions he gives us to the unused classroom at the start of chapter 2, as well as all the strange lore he seems to know.

The weirdest placement of the Delta Rune, the one that seems to break this pattern, is in Seam's seap. It's prominent in the top left of Seam's shop's background. This, combined with the fact that the music that plays is named "Lantern" for no clear reason, gives Seam a weirdly strong connection to light/the angel, at least compared to any other darkner besides Ralsei.

Could Seam be considered a light in the dark because of a potential relationship with a lightner? As a worn down old plush, Seam was probably very beloved. Or, could that light in the dark theming mean that Seam absorbed a lightner's soul at some point? Spamton implies that's a possibility, as he tries to do it with Kris. Whatever the case, it places Seam in a weird spot. We'll consider Seam more later, there's a lot I want to talk about, some parts much more speculative than others, but there might be enough information to take a decent guess at his origins.

Emblem's meaning:

* That emblem actually predates written history. * The original meaning has been lost to time...

* All we know is that the triangles symbolize us monsters below, and the winged circle above symbolizes...

* Somethin' else.

* Most people say it's the 'angel,' from the prophecy...

Ironically enough, despite Gerson knowing they symbolize monsters in Undertale, I'm actually less sure about what the triangles mean in Deltarune than I am for the winged circle. It may still mean just monsters, but that doesn't feel quite right. The implication seems to be that the angel is more powerful than everyone, including Kris, and the disparity of power between monsters and humans doesn't seem to be a thing anymore. Monsters and humans seem to be on a more level playing field in Deltarune than they were in Undertale, seemingly having physical bodies as well, since they can wield determination.

So, I posit that, in Deltarune, the two upward-pointing triangles symbolize humans and monsters, and the downward-pointing triangle symbolizes darkners. It's still just a guess though, we may not know for sure until we get a more direct discussion of the Deltarune Delta Rune in Deltarune.

The prophecy:

* Oh yeah... * The prophecy.

* Legend has it, an 'angel' who has seen the surface will descend from above and bring us freedom.

* Lately, the people have been taking a bleaker outlook...

* Callin' that winged circle the 'Angel of Death.'

* A harbinger of destruction, waitin' to 'free' us from this mortal realm...

* In my opinion, when I see that little circle...

* I jus' think it looks neat! * Wahaha!

As for the circle, that still seems to symbolize the angel, so let's look at what it meant in Undertale. The angel is someone who's seen the surface, and has the power to free monsterkind, some way or another. This could apply to many people. Frisk, Chara, Asriel/Flowey, maybe even the player if you want to consider them enough a part of the world to have a prophecy about them. Freedom, of course, remains relevant, and may be much more relevant in Deltarune than it was in Undertale.

So, the angel is someone with an ambiguous identity, who, through murder or mercy, holds control over the freedom of those below it, perhaps as a protector, perhaps as a destroyer.

This, I think, is another point in favour of the angel in Deltarune potentially changing depending on how you play it. Even in Undertale, their identity was markedly ambiguous, and with how little information we have on the angel, the fact that attention seems to be brought to that ambiguity in both Undertale and Deltarune probably means something.

You could even argue that the angel changes depending on your route in Undertale, too. Frisk is the most prominent in the neutral route, freeing themself in a variety of ways. As they're the apparent player character (though I posit we actually play as Chara possessing Frisk, hence why we name them), they have the most versatility, but it also makes it hard to say there's any particular way Frisk "freed" everyone. Asriel explicitly frees everyone in the pacifist route, and Chara has a greater presence in the merciless route, freeing everyone from mortality. This isn't to argue that Chara is the cause of the merciless route, just that they have a greatly increased presence there. You could consider it "their route", to an extent.

It's not perfect, but it works far better than I'd expect from a pure coincidence, and you could absolutely make the argument that Frisk frees people in some way in the neutral route, or that the neutral route just doesn't count for as much, since it feels less complete and final than either of the other two routes (neutral has been called essentially "boneless pacifist"). You could also argue Frisk and Asriel share the pacifist route, as it's where everyone learns Frisk's name and they first clearly establish themself as distinct from just a nameless vessel for the player and/or Chara.

Either way, the ambiguity of the angel, and it changing based on route, is pretty clearly baked in to Undertale, and given that they're parallel stories that are likely to share a lot of themes (and already do in a multitude of ways), it factors nicely into a potential variation in the angel's identity in Deltarune as well.

What's "the surface" equivalent in Deltarune then? The light world? If so, all serious candidates so far, except for perhaps Ralsei, have seen the light world. Even for Ralsei, it's possible he's seen it, given that he knows the school's layout, and the game seemingly goes out of its way to never explicitly call him a darkner in the narration, menus, or Ralsei's own dialogue, but instead refers to him as a more ambiguous "dark world being", leaving the metaphorical door cracked open just enough for him to potentially be able to traverse the light world. Even if he is a normal darkner, it could still be argued that, as objects in the light world, every darkner has seen it, so this may not tell us much at all.

* However... * There is a prophecy.

* The Angel... * The One Who Has Seen The Surface...

* They will return. * And the underground will go empty.

The waterfall sign doesn't actually seem to tell us any new information. You could maybe see the specificity of the wording implying that the prophecy only applies to Undertale, as it specifically mentions the underground going empty, which seems to apply more to Undertale than it could to Deltarune.

However, even looking at this with more scrutiny, it's possible the angel's heaven, whatever it is, will destroy all dark worlds, or, by the time it happens, the roaring has already begun, all darkners have turned to stone, and the dark world, Deltarune's closest underground equivalent, has gone empty that way. In fact, I think the roaring being first is the implied, or even stated, order of events. There are plenty of ways to spin this that don't feel too farfetched.

* Tra la la. * The angel is coming... * Tra la la.

This tells us basically nothing. Thanks, Riverperson.

Stuff that's not direct "angel" mentions:

This section is going to go over some miscellaneous stuff. I'm not going to cover everything, because I realistically can't, but I'll cover everything that seems the most relevant to my theory.

I won't be discussing the design of the church, because, despite its obvious relevance to the angel, there's not much info I can get out of it besides the resemblance to Christianity. I tried.

First up, the character with the most angel connections, me!

Noelle, And The Purpose Of The Weird Routes:

So, right away we've got a lot of angel indicators in the character design, most clearly the dark world one. There's themes of christmas angels, snow angels, and when Queen's giant mech thing holds me at the end of Chapter 2, I'm strung up not only like a puppet, but like one of those angels you put on nativity sets.

Even my face is unseen, just like the doll, and I don't show it until I'm released from the hand and out of that angel-esque pose.

At this point, there are so many hints that I'm the angel, it feels almost too obvious! Which is why, on top of being called angel explicitly only in the weird route, I think I'm not the angel in a first playthrough. If I were the angel, and the angel's heaven is something we're trying to stop, why would we intentionally make the angel *more powerful* on a first playthrough? We wouldn't, of course!

But on a second playthrough, intentionally making me more powerful in the weird route to replace the previous route's angel makes perfect sense, and I'm the ideal candidate with all of my angel connections anyway. We're doing exactly what Queen did, albeit more harshly, and creating the angel rather than the knight. If the angel doesn't do what we want, we will simply make a new one. It's a reason for the weird route that isn't pure sadism. I don't think we'll have a repeat of Undertale's merciless route, where you do it just to see what happens. It's already been done, and the steps you take for the weird route are much more methodical and precise. This time, there's a purpose.

Plus, on a second playthrough, you'd know I have some hidden power, at least from Queen, but probably from other sources by then too. After all, the part where Queen mentions my power is immediately after the weird route section, you can't see it if you do the weird route to completion on your first playthrough, so anyone playing normally wouldn't know to make me more powerful, they have no reason to. It has to be a second playthrough, minimum, to make sense, just like the merciless route in Undertale.

So, if I'm not there for chapter 3, and it seems like I won't be, what might its weird route hold in store? How could it farther this goal? I believe the next step is to isolate me from my support network, anyone I might go to for help. That's why we killed Berdly in the first place. If I find out that Berdly actually died, the first people I go to would be the police. As such, I think we'll manipulate Toriel into killing Undyne, who is likely nearby watching over the house, as otherwise I doubt Toriel would be able to sleep soundly.

I bet we'll do it by getting Kris's health low and forcing Toriel to "protect" us with force. This is also supported by my mention of Fireshock in the hospital, as we know Toriel uses fire magic in Undertale, so she'll likely have it in the dark world, and it could serve as an equivalent to my Iceshock. We also know from Undertale that Undyne is specifically weak to heat. Over the course of the weird routes, we'll gradually eliminate anyone I could rely on except for Kris (or whoever is possessing them), letting them manipulate and mold me freely.

The fact that the angel themes are only so obvious with my dark world character design may also be meaningful. Only a certain, darker version of me is the angel. The normal me is just me. It's also interesting how much Chapter 2 seems to be trying to push me as a main character, despite my not being a normal part of the team.

As a bonus, though perhaps this is a bit of a stretch, I'm also wearing a white sheet almost like a ghost, possibly foreshadowing the death and destruction that comes with my being the angel? But that could just be coincidence given the clear angel theming the outfit already has. The pose may also invoke the idea of crucifixion. Knowing Toby's penchant for foreshadowing and double meanings, and how much the angel religion seems to share with Christianity, maybe it's intentional? Speaking of which...

Angels, Demons, and Power:

Lore on demons is incredibly sparse, far more than even something as enigmatic as the angel. Chara calls themself one. Kris has probably tried to summon one with Catti. That's it, as far as explicit mentions of the term in any even remotely serious context. However, despite this, I think it may be able to tell us a few things.

In some sects of Christianity, demons are fallen angels. I've been wondering, are demons and angels similar in Undertale/Deltarune? Or even the same thing? Maybe! Perhaps this is a bit, to borrow a term, dubious, but I think there's a case to be made for them being more similar than you might expect.

Chara matches everything we know about the angel in Undertale, and Chara also calls themself a demon. We know that the angel religion in Deltarune bears similarities to Christianity that feel more than coincidental, so angels and demons being one and the same wouldn't contradict that inspiration. What really makes me think this is important though, comes back to Power.

There are 2 beings in Undertale with power far beyond anything else: Chara, and briefly, Flowey. Flowey comes into power through his own actions, and while he couldn't have done it without our help in either route, to say we "made" Flowey into an all-powerful being is perhaps a stretch. Or, perhaps it's not. It depends on your perspective.

To say we made Chara into an all-powerful being however, not only is that perfectly reasonable, but it even seems to be the intended reading! Here's what they say:

Greetings. I am Chara. Thank you. Your power awakened me from death. My "human soul." My "determination." They were not mine, but YOURS. At first, I was so confused. Our plan had failed, hadn't it? Why was I brought back to life? You. With your guidance. I realized the purpose of my reincarnation. Power. Together, we eradicated the enemy and became strong. HP. ATK. DEF. GOLD. EXP. LV. Every time a number increases, that feeling... That's me. Now. Now, we have reached the absolute. There is nothing left for us here. Let us erase this pointless world, and move on to the next.

That's kind of explicit, isn't it? The blame lies with us. We made Chara into what they are, and we do it through mercilessly attaining Power above all else. Chara doesn't even meet the qualifications to be the angel until we make them into a demon. Even though we're making a demon in the merciless route, we're also making an angel. This all sounds pretty familiar to me!

It even ends the same way as I think Deltarune will. Chara takes control, and resets. Or, erases the world and then eventually resets.

You could also say, then, that "god" is an equivalent term to demon and angel, as that's what Flowey/Asriel calls himself in the pacifist final battle, and the angel seems to take the place of God in the angel religion. So, we're making a demon, we're making an angel, we're making a god, we're making frozen chicken, all in an attempt to drink some of that sweet sweet freedom sauce. Plus, what RPG inspired by the classics wouldn't end with confronting a god? All three routes of Undertale did it!

As for the less serious instances of "demon", I don't think Temmie's demon comic or Alphys's mention of demons ruining the later seasons of the Symptons really mean anything relevant. It's possible that the Alphys one has some meaning, so I guess let's give that a brief look:

* But make sure you don't watch past the second season

* Since they just rebooted it as Symptons Turbo

* They all started driving their own motor-vehicles

* And fighting giant giga-demons and stuff

* The main problem about that is that it kind of

* Lost the focus on family that it had earlier

* When their vehicles were shaped like animals

* And they were friends with the animal vehicles too

So, there's a chance that "when their vehicles were shaped like animals" refers to the rollercoaster cars in the second chapter, matching the second season. But the only potential "giga-demons" we might fight are the titans in the roaring, and those don't really give the impression of being things you can fight so much as forces of nature, mountains brought to life by the magic of a dark fountain, and presumably having so much magic in them that their emotions run wild and they wreak havoc (there's a lot tying magic to emotions in both Undertale and Deltarune, look into it if you're interested!). Unless the roaring happens way earlier than makes sense given the current pacing of the story, or we start fighting some giant demonic entity in chapter 3 with some kind of motor vehicle, this probably doesn't mean anything important.

If the Temmie one has any meaning, I can't for the life of me figure out where to even begin in deciphering it.

A Brief Extended Intermission To Talk About Seam:

It's time to talk about that one outlier Delta Rune again. What association does Seam have with light?

One of the possibilities I touched on before is the answer I've come to. Seam is likely the most powerful darkner we've met because Seam's so beloved by lightners.

Seam used to be owned by Catti, and possibly her family as well, passed down from person to person. That explains why Seam's a purple cat, the somewhat gothic aesthetic, why Seam's so worn down yet has been patched up multiple times, why Seam seems so old, and why Seam was the court wizard. Catti is the only lightner to mention magic as a real thing, outside of dark world contexts, and we know she involves herself in it frequently. Seam is like if she had a family member that was "more goth", as she says she wants.

So, how did Seam get to the school? How does Seam have a history with Jevil?

Catti's family is the perfect one to misplace Seam. They probably donated a bunch of items to the school, like a deck of cards, which is why Seam's known Jevil for a while. We know things get donated, because some of Kris's old books are there. I bet dad cat donated them, he's forgetful enough to accidentally miss Seam being in the box of stuff to donate, and their house is messy enough that they might not realize Seam isn't home anymore. That might also be why there are cardboard stands at the bake sale, they could be repurposed from the cardboard box used to bring Seam there.

This, I think, explains a lot of Seam's light in the dark theming. However, I don't think it's quite enough to fully justify Seam having a Delta Rune just from having a strong connection to a lightner. If angels and demons are the same thing, that could help, as we know Catti has an interest in demonology, and has looked into how to summon a demon with Kris. Seam, then, would absolutely be able to have an association with demons, and thus, angels.

I'm not fully confident that this is the only reason for Seam's Delta Rune, but it's the best idea I've got. Either way, while Seam is obviously important, I don't think Seam has enough of a presence to be a very realistic candidate for the angel on a non-weird route. Which brings us, finally, to...

The End:

Much like "kill or be killed", I think "your choices don't matter" is a theme that applies to the whole world, not just to Kris. The difference is, in Undertale, Flowey was proven wrong. In Deltarune, everything seems to be set out to prove its theme right. The secret bosses and Seam, those characters with the most knowledge of the world and its lore, seem to agree that the world's fate is sealed.

Even Ralsei, who also has a lot of lore knowledge he seemingly shouldn't, might agree with this. His approach, however, is not to lose hope, but to try to make sure his adventure with Kris and Susie is the most fun it can be. That's why he doesn't want you to think too hard about Spamton NEO. That's why he almost never asserts his will over Kris or Susie, and lets them make all the choices. When the destination is set in stone, it's best to just enjoy the journey, and he wants to make that happen for Kris and Susie. He doesn't want you to worry about a fate you can't change, so he never brings it up, and he tries to make sure you don't think about it. He only puts his foot down to stop the roaring, something that would cut that journey short, and perhaps he holds out a bit of hope that there might be some way to change fate.

I think the true message of the story isn't really "your choices don't matter", but "in a world where your choices can't affect anything on a grander scale, how will you live your life?". Jevil decides to focus purely on having fun, consequences be damned. Seam loses hope, but finds comfort in those that share his knowledge of the inevitable. Spamton tries desperately to escape his fate, but at the end of the pacifist version of his NEO fight, he finds new purpose in his existence, to live for the sake of himself and his new friends. Even when he fails to be freed, he still gives himself to his friend Kris, holding out hope that, maybe, they can break their own strings, even if he couldn't.

All we have left is figuring out how viable our candidates are for being the angel of a non-weird route. I've touched, already, on why I don't think I'll be the angel in that route (or routes, maybe), so we'll move on to who I think is the most likely:

Susie:

If I had to guess, I'd say Susie is the most likely by far of the candidates we know of to be the angel in a non-weird route.

But why? Isn't she always making her own choices? Doesn't she have the most meaningful impact on the world of any character we know of, besides the one we control? Yes, she does. And that's exactly why I think she'll become the most powerful being in the world, able to do just about anything. As the person who's choices have always mattered the most, what an irony it would be to, in the most important moment, with all this Power, have her choices not matter.

But, aside from the impact, why else do I think this? Well, first, she's the only other character who's ever been explicitly referred to as "angel". Susie is also the most powerful attacker, and will often refuse to equip items that lower her power. Power is practically baked into Susie as a concept, including power over choices. But in this world, your choices don't matter. Your fate is already sealed.

The roaring happens before the end of the world, before the angel's heaven. When Susie gains this power, the roaring will have already started. Lightners will die, darkners will turn to stone, including Lancer. Her hand will be forced. All this power, and she has no option but to reset.

But what even is Power?

I think the heart on Susie's belt may be a clue, not only to what Power is, but to Susie's eventual acquisition of it. Power is vague, but its function in Deltarune seems to at least match Determination. I think power is short for "soul power". Soul power is a very vague concept, but Determination falls under its purview, and thus the ability to save, load, and reset.

It's unclear exactly what sort of Power you gain by becoming LV 20 in Undertale, but the results seem to be much the same: control over the timeline, and perhaps even the power to attack reality itself. So, did Chara potentially retrieve the 6 human souls when we weren't looking? It doesn't seem like it, they were multiple rooms away, under the floor, and we cut immediately to the conversation with Chara after killing Asgore and Flowey, while still in the throne room.

Plus, Chara is a human, and while perhaps they're not one anymore by the end of the merciless route, or perhaps being a spirit means they're not human anymore, it would still feel a bit odd for them to have absorbed the 6 human souls, especially without us even seeing it. We see Flowey do it, why wouldn't we see Chara do it?

As such, I have to assume there are ways to attain this reality warping Power without needing human souls, which means we don't have to account for our candidate killing multiple humans to gain this Power. Or monsters as the case may be, if our candidate is Kris or some other human, as monsters can wield Determination too in Deltarune, though I don't know if that translates to other aspects of soul power.

Of course, LV is still tied to killing, and while Susie so far seems to be the most violent of our candidates, killing people to gain Power seems pretty far out of character for her, especially by Chapter 2. But Deltarune has a second system of LV used in the dark world that isn't tied to killing. You level up at the start of Chapter 2, whether you used violence or not. Maybe that holds the key?

Another piece of evidence, and a bit of a strange one, is the theme of romance with Kris. Both times someone calls me angel, it's when I'm getting a ring, and the romance themes of that are intentionally played up a bit. Kris may have a crush on Susie, that seems to be implied a few times, but most clearly by them liking Susie tea so much, by clicking on a Poppup ad for "monsters for humans in your area", and by them clearly preferring Susie when asked who they'd take to the fair at the end of chapter 2.

As I'm known to like scary things, and I mention Kris's name first when visiting the hospital after the weird route, it's possible I'll develop an unhealthy crush on Kris in the weird route, maybe even replacing my crush on Susie. Spamton even calls me Kris's "side chick" in this route, not only supporting the romance connection between Kris and I on that route, but that Kris has a different love interest as well, a "main" one, rather than a "side" one. As such, who Kris ends up in a romance with may also relate to who becomes the angel.

I can't be sure that Susie will be the angel, and while I think she is far more likely a candidate than anyone else we know of, our evidence is still limited. I'll be thorough and examine the other options as well.

Ralsei:

Ralsei is clearly based on Asriel (or maybe the other way around, as the idea for Deltarune came first), and we know that Flowey, a mysterious being with the essence of Asriel, met all the requirements to be the angel in Undertale. There are many clear parallels between Ralsei and Flowey that are easy to find if you're interested, so many that I don't see how it could possibly be a coincidence. So, if we know someone very similar to Ralsei in a lot of ways was the angel in Undertale, why do I think Ralsei won't be the angel in Deltarune?

Well, first, it feels too easy, and too much of a rehash. Deltarune is a remixed version of Undertale to some extent, right? So it would be odd for someone so much like Asriel to be the angel all over again. We also don't even know that darkners have souls in the first place, and while Ralsei is clearly no normal darkner, it still doesn't help his odds at all.

Ralsei is also never referred to as "angel", while Susie is, despite Ralsei clearly being more fitting to be called "angel" than Susie. He also, of course, knows of the angel's heaven and seeks to stop it, along with a lot of other lore knowledge, including how some future events are supposed to go. If he were the angel, he'd probably know it, and of course, knowing the lore doesn't mean he's the angel, as Jevil, Seam, and Spamton know it too.

So, aside from Ralsei having a clear association with Delta Runes, there's really not much evidence of Ralsei having a strong enough angel connection. There's the fact he has heal prayer, which may be associated with the angel. I also have heal prayer, and I think I'll be the angel. However, I think Toriel will also have heal prayer, as she's the only one to explicitly use healing magic in Undertale. I think you can have heal prayer with any sort of healing/angel association, it doesn't have to be a strong one.

The game does seem to place an odd emphasis on Ralsei being in romantic situations with Kris, like the swan boat ride, but Kris doesn't reciprocate. If romance with Kris is actually connected to who the angel is, it may work for Ralsei as well, giving him a bit more of a connection.

Ralsei is absolutely a possible candidate, I won't dismiss him. He has a few things in his favour, more than anyone but Susie. I just feel like it makes far more sense, especially from a storytelling perspective, to give Susie the role of the angel, unless there's more than one non-weird route so you can do both.

Kris:

Kris has fewer angel connections compared to either of the previous options. We know they've looked into demon-summoning, so if demons and angels are the same thing, that's a connection. They also resemble Chara, much like Ralsei resembles Flowey/Asriel, and while those connections exist and are numerous, they're not as strong as Ralsei's connections with Flowey/Asriel. Kris also has some Frisk connections, and Frisk may also meet the requirements to be an angel in Undertale. So, there's at least something here.

If the power of the angel is achieved through souls, Kris would probably need monster souls, but we don't actually know that monster souls are strong enough to grant that sort of power. They can wield determination, sure, but determination doesn't seem to be the only aspect of soul power, just part of it. After all, Kris is the only one who can seal the fountains, and they do it with their soul. Kris's soul may be unique, and I think it is, Jaru's Asriel/Ralsei theory can tell you how and why, but they don't demonstrate significantly higher power than anyone else on the team, just their own style.

Kris, unlike Susie, has not been called "angel". Kris's house has Delta Runes on it, but that's probably Toriel's design choice, not theirs. Kris is certainly mysterious, and has some unique abilities, but them being the angel feels too off. It feels like it would run counter to "your choices don't matter" if the character we control is the one to have all this Power. And if the normal route ends with them being so powerful, and we get to control it, it doesn't make sense why Seam, Jevil, and Spamton are all so convinced that the world's fate is sealed. Maybe, like Chara, they take control from us? But that, again, feels like too much of a rehash, and to do it, they've always demonstrated needing to remove their soul, seeming to be greatly weakened in the process.

It's not impossible! Certainly not! But there's just not enough evidence for me to think Kris has a strong case.

Anyone Else:

Berdly doesn't seem like an important enough character. If you kill him in a weird route and then abort it, if he's the angel in a normal route, what happens at the end? His personality also doesn't fit well for such a serious role, and we've already defeated him. It doesn't make sense from a writing perspective.

Toriel already had a major role in Undertale, I don't think she'd get one of the most important roles in Deltarune as well. It also would strike me as odd just by the vibe of it. She'll become important in chapter 3, I'm sure, but that feels like it's a little late to start getting to know the character that will become the angel.

Catti is even worse in this regard. She'll probably have a major role in chapter 4 at the earliest, and that just feels way too late to introduce your angel. The same, of course, goes for Jockington, but he also has the Berdly problem of not being suited for such a serious role.

Alvin has clear angel connections, but he doesn't even have a dialogue portrait. He doesn't seem important enough, and I think he's probably more tied up with knight business.

Lancer has nothing going for him. Absolutely nothing. He also, again, has the problem of not being suited for such a serious and dramatic role as the angel, and as a normal darkner, he should turn to stone before the angel's heaven even happens. This also rules out King and Queen.

Asriel might be an option, but again, him being the angel feels too much like a rehash, even more than Ralsei, and if we don't learn about him for a while, it'd feel kind of cheap, especially to pull the exact same stunt again as Undertale's pacifist ending.

That's about it!

Thanks for sticking with me on this, and suffering through all my ramblings about the variable angel theory, even the parts that only sort of related. Or, if you just skipped to the end, how dare you! But here's the TL;DR for you anyway:

The angel changes depending on the route. In the weird route, it's Noelle. In the normal route, it's probably Susie, but might be Ralsei, and probably ends with a reset to undo the roaring. The weird routes are about manipulating Noelle into replacing the normal angel by the end of the game, and removing Noelle's support network so she has no one but Kris to turn to. First Berdly, and in chapter 3, Undyne, so Noelle can't go the police if she finds out that what happened to Berdly was real. Seam used to be owned by Catti, before probably being accidentally donated to the school along with other toys, including playing cards, which is why he has a history with Jevil. "Power" probably refers to soul power, of which Determination is a part, and angels and demons may be the same thing.

Part 2 (it's twice as long)

[gen13ordinaryheroes]

Hi !!! Regarding that recently popular post of yours about female characters always existing to indulge the male protagonist or to get involved in something romantic I COULDN'T AGREE MORE , I don't know if it's bc I'm aromantic but I'm just so tired of getting into a movie, book, series with well written female characters only for the writers to give them some sort of romance that most of the times serves as a weakness , or is there to show that she is indeed human guys look she isn't a bitch who only cares about her work /purpose etc. Like give me a fucking break , women can have other flaws and weaknesses it doesn't always have to be a romance thing . It's almost like female characters can only make mistakes or act flawed only when it comes to romance otherwise they are annoying and problematic. There are so many media comics, books , anime, cartoons with male protagonists that never got them romantically involved and yet they are considered complex and fleshed out characters. GIVE ME FEMALE CHARACTERS LIKE THAT please 🙏. Sorry for my yapping , could you please recommend me some of your favorite media with female protagonists that dont focus on romance . I'll take anything, I'm desperate 😮‍💨

List compiled from checking my back-issues and polling multiple discord servers. Extremely comics-heavy because this is a comics blog.

(*) indicates that I have not personally read/watched/played/etc whatever is listed, so I can't personally vouch for it.

Also, due to the fact that I am not personally familiar with everything listed, I can't provide relevant content warnings. Some of these are significantly heavier than others. Some of these are parts of larger franchises that may not make since without background knowledge.

Comics/Graphic Novels:

Amethyst: Princess of Gemworld (1983), (1985), 1986 one-shot, Amethyst (1987).*

Batgirl (2000)

Batgirl (2009)* (these get separate entries because they're about different characters)

Birds of Prey (1999)* and (2010)*-- some romance, but it's not the focus

"Most Black Widow runs"*

Botticelli's Apprentice by Ursula Murray Husted*

Champions (2018) -- ensemble cast with multiple female characters. Some romantic plots, but not the focus.

Dark Spaces: Good Deeds (2023)

DIE (2018) -- ensemble cast with transfem/genderfluid lead. She is married, but her wife exists mostly off-screen, and romance isn't a major plotpoint.

Exiles (2018) -- team book with female lead, I don't think there's any romance, though characters may reference past romantic entanglements

Gotham Academy (2014)*

Harrow County (2015) -- I don't think there's any romance with the main character

Hawkgirl (2023)*

Huntress (1989) -- some light romance, but it's not the focus.

Lumberjanes* -- there is some romance between the leads, apparently, but the main focus is friendship.

Manhunter (2004)*

Patsy Walker, AKA Hellcat! (2015)*

Powergirl (1988) and (2009)*

Radiant Red (2022)* -- main character has a fiance but I am told this is not a major aspect

Scarlet Witch (2015)

Something is Killing the Children (2019-ongoing)

Unbeatable Squirrel Girl (2015), (2015-2017) -- this does feature some light romance, to memory, but I don't think it's central

Unstoppable Wasp (2017), (2018-2019)* (aspec main character and aspec writer)

Wonder Woman: the Hiketeia

Wonder Woman: Historia

World's Finest (2012)

X-23 (2010), All-New Wolverine (2015), and X-23 (2018)

X-Men (2013) -- almost entirely female cast, no romance

Gwenpool, the character-- I know some of her earlier stuff is rather romance-centered, or at least includes romantic plots, but more recently the character is explicitly aroace, so you might be interested.

Anime/Manga:

JoJo's Bizarre Adventure part 6: Stone Ocean* (some romance, but not the main focus)

Magical Girl Dandelion*

Nausicaa of the Valley of the Wind

"Any Ghibli movie with a female protagonist", Spirited Away*

Witch Hat Atelier

Movies/TV:

Alien

The Descent*

Derry Girls*

Evil Dead (2013)*, and Evil Dead Rise*

Hellraiser*

Video Games (blanket statement: I do not play video games. I am not personally familiar with any of these.)

BloodRayne

Castlevania: Order of Ecclesia

Fatal Fame franchise

Resident Evil 2, 3, Resident Evil 8 DLC: Shadows of Rose, Resident Evil: Revelations 1 & 2, Resident Evil: Code Veronica

Silent Hill 3

Books

Wayfarers series* by Becky Chambers, especially A Closed and Common Orbit, which has 2 female protagonists and 0 romance. Can be read as standalone.

Tamora Pierce's body of work*-- the amount of romance may vary book-to-book.

I hope this is helpful to some extent or another :) -- others are welcome to add their own recommendations in reblogs/comments.

[cloverstarsys]

So I'm gonna just... idk talk

(Putting all this under a cut both bc it's long and bc syscourse)

So some new anti-endos have made their way into the plural tags. We've been mostly ignoring the syscourse stuff recently because it... admittedly isn't great for us, but I forgot just how cyclical and repetitive it is omg.

"DID is a trauma disorder!" We're not discussing having DID. We're discussing being plural. Just because you(/nay (probably)) don't acknowledge non-DID/OSDD/etc plurality doesn't mean it's not still there. This has been said hundreds of times, or at least that's what it feels like

"Hearing voices is common!" Hey, at least this is a new one. Not sure where it's coming from, though. I mean, yes, some level of it is common, but it really depends on the level. And this talk of DID being uncommon is all dependent on the statistics of how many people actually are diagnosed with DID, and that's not a very solid number. There's not one concrete number of, this percentage of people have DID. Psychologists don't know. All the numbers out there are estimates, and also, dependent on diagnoses. Not everyone gets diagnosed. And all this is assuming DID is the only form of plurality, which it's not!

"Sourcecalls are anti-recovery!" ...???? Seriously, what? At the heart of a sourcecall is a fictive (or factive) looking for those who they know from their source, looking for someone who might share similar experiences to them. I don't see how that's an issue. To be fair, the person who posted this seems to believe alters aren't separate from the "person", like, at all. And I'm getting to this.

"Sub/sidesystems are impossible!" OK look, I have no clue how subsystems work, but I'm going to err on the side of "people say it's something they experience, so I will believe them for now" because I believe in NOT EVERYTHING HAS TO BE PROVEN WITH FLAT FACTS IN ORDER FOR IT TO EXIST (sorry, I'm getting heated) everything, before it's proven, still exists. Gravity existed before the first theories about it. Etc etc. And who knows, there might be scientific proof of it out there that i just havent found. And when it comes to sidesystems, as far as I know, it's mostly just a separate group of headmates. How is that impossible?

"Alters aren't separate from you!" This post comes from the view of, alters are parts of a whole personality that could have been there had trauma not occurred that caused the disorder. And while yes, that is technically what alters are in a DID system, I don't think it's a bad thing to think of them as separate. Even if scientifically they're not (which I haven't seen any proof of, by the way, but, honestly, there's so little research on plurality it might be hard to come by or just not exist yet. So look above for my opinion on believing people about their lived experiences without scientific proof yet) I don't see how it could hurt to think of your alters as separate people. One of this person's other posts also claims the reason they're not separate "scientifically" is because new alters cam inherit memories. I'm sure that's true, but I don't see how that means they can't be separate people (to the extent allowed by a single human brain, I mean). And they do say at the top of another post that you can *see* your alters as separate people and that doesn't change the "facts" (those "facts" being "alters aren't headmates" (are those not just two different terms to define the same thing?), "alters aren't separate" (well, yes, to an extent, but alters can be significantly more separate than this person is claiming), and just pretty much claiming parts. And while using parts language is entirely valid, do whatever you want, forcing it on others is not. If someone doesn't want to refer to their alters as parts of themself, then they don't have to) but that doesn't change the actual facts of we have no fucking clue what's going on in the brain half the time and significantly more research is needed on non-disordered plurality. Anyways.

I need to get ready for school now, because this post has taken me almost an hour to write lol.

There's no sources for anything I've said, not because they don't exist, but because this was mostly me shouting into the void to help dispel the feelings seeing these posts gave me. There are so many blogs that provide genuine sources and all that, plus individual research is always an option. But even if there isn't research proving something (or disproving it), I'm going to lean on the side of believing peoples lived experiences.

It's always so funny, seeing so many blogs that claim to "correct misinformation" that literally just spread misinfo themselves. I think I've seen... one blog that actually corrects misinfo and isn't biased (either towards or against endogenic systems, just looking at the facts (which, believe it or not, tend to prove non-disordered/non-traumagenic (yes I'm aware those aren't the same thing) systems are real)).

Although I think the reason so many anti-endo sources can be so easily disproven is because they're all talking about DID. we are not talking about DID. you cannot conflate all plurality with just DID.

Ok, I really have to get going now.

(Unless you're really respectful about it. I'm allowing a discussion here right now, don't ruin it by being a dick.)

(Banners by @/lunaridae)

[enlighten3d]

Hi sorry I know this might be really personal and you obviously don't have to answer if you don't want to but you post a lot about being aroace and I've been thinking about that for myself kind of a lot lately and was just wondering how you know for sure that that's what you are as opposed to not having found the right person yet kind of thing that people always tell you.

Again sorry personal absolutely don't feel pressured.

mmmm okay so! idm answering this, im happy to help (: but for claritys sake: i am asexual by definition, but i dont indentify as such! i only id as aromantic bcs thats the only indentity that actually feels important and like a part of me. might not make any sense but whatever lol

how i knew that im aro? i just. found the label, and was like, 'sure, why not.' and it stuck. its... for the difference between being aro and not having found the right person yet, its that, well. okay, so what if youre not actually aro? you do meet someone you love romantically even after youve ided as aro for years? cool, whatever, you can keep the aro label, or change it. or you never do fall in love romantically, and dont need to do anth abt the label.

what im saying is... mm okay label is a misnomer. i once heard someone say that labels are more akin to fridge magnets - you stick them on, and maybe they stay and you like how they look and make you happy. or maybe you stick them on and they look bad and you dont like them so you take them down. or maybe you stick them on and you like them for a while, but it starts feeling wrong eventually, so you take them down. labels - like magnets - arent permanent.

its impossible to really, truly, make a mistake in finding a label that explains your experiences. even if its wrong, there was smth that felt right abt it at that time. its a part of your journey. we, as people, are ever-changing - its literally impossible to know what will happen tomorrow, nevermind in a few years (sorry the isat reference is mostly unintentional).

so how did i know? i stuck the aro magnet on. and i like how it looks for now, maybe forever. maybe ill find the 'right one' or whatever, or maybe i wont. if i do, then whatever, down goes the magnet. if i dont (and i dont think i will, for the record! i dont have any Reasoning, its just... okay ill explain this next paragraph), then up there it stays. youre free to say youre aro for now and then change it if it ever changes. theres nothing stopping you, nonnie

as for yeah, whatever vague wording i can give to my reasoning, its... standard stuff, sorry. ive never understood romance? i think its completely fucking unnecessary and overrated. stupid, even. i straightup Do Not Get It. i forced myself to say i have a crush on a guy in gr4 bcs everyone else was talking abt crushes. decided i was romantically attracted to this girl in dance class bcs i liked her vibes. trying to conform to actually wanting romance when i just dont. dated this girl in gr8, and then when we broke up (i am bad at communication and unfortunately incredibly fucking clingy), i was like... 'huh, i didnt really feel that different about her than i did abt any of my other friends'. i just really really cared abt her and wanted to be close w her, and the only way i knew how to do that was 'romance'. but that wasnt it. found out abt aro ppl (forget how; memory is Trash), and was like 'oh damn, thats... that makes sense'. i definitely had a crisis and Logic but i do not remember that, sorry. all of this is pieced together from old text messages and half-remembered memories hajdjdzkzos

imo the concept of a 'right one' is pretty damn fucking stupid (/nay; at Society). 8 billion ppl on earth. im not going to find this hypothetical right one who can change absolutely everything about me and my identity. ive got the ppl around me that i already love. im happy w that. chasing after some hypothetical infinitesimal chance of a person whos Perfect for oneself is just a damn waste of time

so just... these decisions dont have to be permanent, nonnie. youre allowed to be wrong and realise that you werent actually aroace. youre allowed to be wrong. so if you want my advice? say youre aroace. stick the magnet on, see if it falls off or not. its still a valid and valuable part of your journey. youre allowed to be wrong. youre always allowed to be wrong.

i mean, afterall, how can one be sure that they ARE allo? that they WILL find that 'right one'? through experience. so fuck around, find out. stick that magnet on.

good luck (: i rly rly hope this is helpful and not just me repeating what youve already heard, sry for yapping so much LMAO. i have a lot to say

[sepublic]

For reference: You know how the GEverse originally started off as an elaborate Ninjago fanfic that evolved into even more elaborate fanon? Everything to do with the Monster Realm, the Council of Warlocks, the new Monster Fighters; That also started off as fanon for another, much more obscure and shorter-lived Lego theme called Monster Fighters.

It only lasted for one wave and I only got one set (the Werewolf one), but MAN I loved the theme's vibes and aesthetic and played the website's game for a bit, too! I liked it so much that I wrote a 'novelization' for the story that I posted on the Lego message boards, although I never finished it alas.

Stuff like the Magestones? Very blatantly the Moonstones, down to identical designs for all save one of them; Since I was changing a few things to make it more my own now that I embraced it as such, that made me realize I could also change the Moonstones, now Magestones.

And so the red one, once sporting a vampire bat as its symbol and giving the power to control one's minions, was instead reimagined as an homage to the Philosopher's Stone, with a bubbling witch's cauldron. I did this to make it more befitting its wielder Kisonus, though in-universe, the Red Magestone's power of transmutation was used by Varney to alter its symbol to that of a bat, to fit HIS aesthetics. The Red Magestone is strange and special like that.

Since vampires in a lot of media can transform into different creatures, I imagine this is how Varney used the Red Magestone; I think in the GEverse that all vampires can turn into bats, but maybe Varney is special in that he can transform into an entire swarm thanks to the Red Magestone. When Kisonus gets it back, she restores its intended appearance.

But yeah, all that lore about how the current Monster Fighters are technically a next-gen story, and how they follow in the footsteps of their predecessors? That story is the one seen in Lego Monster Fighters, with the vampire villain being named just Lord Vampyre, and his wife nameless; In my fanfic, I named her Lydia E. Vampyre and I intend to keep that.

I haven't figured out and finalized everything yet, so I'm still reusing a lot of the same names and appearances as placeholders. So the group is called the Monster Fighters, and the family that our main protagonist belongs to is known as the Rathbones. I'll figure out eventually a new, legally-distinct surname. The same goes for the other OG Monster Fighters, who are currently identical to their Lego counterparts.

Everything to do with the Council of Warlocks was my idea for a sequel to the Lego Monster Fighters story; Like what if after Lord Vampyre was defeated, there was a new set of villains to claim the Moonstones!!! What if we delved into the mysterious origins of the Moonstones, that sort of thing. This story was always meant to be connected with the larger Ninjago universe, more specifically my fanon version of it, and the same applies now that both stories are independent from their source material.

I probably need to change a bit more about this story in case this somehow ever becomes like, a bigger thing and I don't want a lawsuit from Lego. Monster Fighters is relatively obscure and short-lived though, so I wonder how much I could 'get away with' so to speak. Lego Monster Fighters itself is a mishmash of legally-distinct takes on Universal Monsters after all, and a lot of the elements, individually, aren't too unique. But all together, it's definitely a bit obvious.

But if Resident Evil 8 and Metroid Dread can rip off mechanical monstrosities from Frankenstein's Army and Red Planet without any issue, maybe it's not that big a deal. Most of what I'm borrowing is relegated as backstory anyhow, with the main focus being on a new generation and new, original villains; It's mostly the Magestones that carry over, so I might not be seen as 'worth the effort'. If Lego can avoid a lawsuit from Universal by making their blatant homage barely different enough, maybe I'm also safe, though I don't have an army of lawyers. But then again, everyone's done legally-distinct knock offs of Universal Monsters, so it's the Magestones I'm more worried about haha.

[kchasm]

Ryu Number: Xerxes I

Xerxes I, also known as Xerxes the Great, was the ruler of the Achaemenid Empire from 486 BCE until his assassination in 465 BCE. At the time of his ascension to the throne, the Achaemenid Empire ran from the eastern end what's now Pakistan to the west end of what's now Turkey. You might notice that that's about the same amount of empire in about the same location as Alexander the Great had—that's because Alexander the Great was the guy who took over the Achaemenid Empire and made it not-so-Achaemenid anymore.

It was awful big, is what I'm saying.

But let's be honest: You probably know Xerxes I better as the Bad Guy with the nose ring in that one weird Spartan hagiography Gerald Butler was in. Fugging Miller.

Anyway, Xerxes I almost certainly has a Ryu Number of 2, and definitely not a Ryu Number more than 3, but there's some stuff.

The problem with finding a Ryu Number of Xerxes I is that 5th-century-BCE Persian monarchs don't show up in video games that often, for some reason. He makes a historical appearance in the Assassin's Creed Odyssey DLC Legacy of the First Blade...

...but unfortunately, Odyssey takes place too far after the times of myth and legend for anyone big enough to be a Minecraft skin in Greek-mythology-inspired DLC to show up.

It doesn't help, either, that in Assassin's Creed lore, all the "gods" were just members of a Precursor Race pretending to be gods, a la Stargate. No, that's not "Hera," that's a jerk Precursor Person who's taken on the identity of "Hera," all the better to lead mankind around like a clowder of schmucks. She's pretending to be Norse elsewhere. Don't fall for it.

(There's also A Minotaur, which feels like it ought to connect via that Minecraft skin pack, but if I'm understanding the Odyssey lore correctly—and I very well might not be; holler at me—the minotaur the player encounters isn't actually the Minotaur from the myth we know and love, but some random other guy who subsequently got his hands on the Precursor Technology that turns you into a minotaur. Yeah, everything is Precursor People in Assassin's Creed. It's kind of disappointing.)

Of course, you can still get to Xerxes through Odyssey if you want to—a handful of historical characters who don't have Minecraft skins show up—but you'll need an extra step. And if we're going to have an extra step anyway, I'm going to go for the route that doesn't need Assassin's Creed, partially because I haven't played the games yet but mostly because I'm still really disappointed about the Precursor People thing.

Which means, unfortunately, it's back to Miller.

I'll say this: For all that 300: March to Glory is Not A Very Good Video Game, it left me the impression that someone behind the scenes actually did the bare minimum research into the Greco-Persian Wars. Persian commanders Hydarnes and Mardonius make appearances (if only to provide something unique to hit), and Mardonius even survives the movie-equivalent events of the game until an epilogic, post-movie level that takes place during the Battle of Plataea—which is, indeed, where the historical Mardonius bit it. It's not much, but I had to watch the whole dang thing, so I'll take what I can get. Gets me more names for The Chart, besides.

As for connecting this game to Ryu, you can, of course, count on the Ol' Dependable of Games With Historical Figures:

...Or maybe you're not a fan of Anime And Things That Look Like Anime, in which case, try this, instead:

I'm not sure I can explain how weird Spartan: Total Warrior is—by which I'm referring to its existence more than anything in the game itself, though the content's pretty weird, too. For context, Total War is a series of strategy games featuring a combination of turn-based strategy, resource management, and real-time tactical control (so sayeth Wikipedia). There are a coupla Warhammer entries in the franchise, sure, but the vast majority of the games focus on real, historical campaigns and factions.

Spartan: Total Warrior, on the other hand, is a hack-and-slash that took one look at a history book and immediately took a pair of shears to it. The story starts in 300 BCE: The Roman Empire, led by Emperor Tiberius, has conquered almost the whole of Greece, with only Sparta remaining, and Leonidas leads his men into battle to oppose him. Later, the Romans reveal a superweapon powered by the imprisoned Medusa. Sejanus, Tiberius' right-hand man, is a powerful necromancer who kills and resurrects Castor's brother Pollux. One mission involves protecting Archimedes, leader of the Athenian resistance, from assassination.

To quote someone on Discord, this is a game supposedly set circa 300 BCE that "has one side led by a king who died 200 years before, and the other by an emperor who reigned 300 years after (never mind the fact that Rome was still a senatorial republic)." If you forced a too-serious historian to play this game they'd end up on the floor in a frothing heap of rage and/or despair (actually, someone should totally do that; I want to see the Greco-Roman history version of Jonathan Ferguson having to analyze the firearms of Team Fortress 2).

Oh yeah and Beowulf is there.

At some point you've got to appreciate—no, admire, even—the Xena:-Warrior-Princess-level decision to just Don't Worry About It.

And now that we have finished with the indisputable, let us proceed with the first of the hinky. Which is to say: Let's look at God of War: Chains of Olympus.

Chains of Olympus begins with an attack by the Persian navy on the Greek Attic peninsula (where Athens is, incidentally). The opening sequence features (among a whole lot of faceless Persian mooks) this prone-ish fella, who doesn't quite get to operating a ballista, irresponsibly leaving the work for Kratos instead.

(Credit: Migeman)

Inspecting the body after all the local ruckus is over identifies him as "Eurybiades," the "leader of the Athenian army."

Eurybiades was—according to historical record—a real person, though God of War doesn't exactly nail it on the head. Herodotus (who historians depend on more due to him being one of a Very Small Number of sources rather than anything to do with actual reliability) names Eurybiades as a Spartan who, during the second Persian invasion of Greece, was given command of the Greek navy due to some political whatuppery (the Spartans said that if a Spartan didn't lead it they'd be Awfully Uncooperative).

Following this bit, Kratos confronts the King of Persia (identity unspecified), who is apparently personally leading the invasion himself, which seems dumb but was apparently the norm back in those days. I bet we'd have a lot less wars if we made our Presidents actually serve on the front lines whenever they started feeling belligerent.

(Credit: Ibid.)

Anyway, Kratos kills the King of Persia, because if the King of Persia killed Kratos the game would be a lot shorter. Now, there's no watertight confirmation that this is the second Persian invasion—the first one also featured attempted Persian inroads into Attica, and was recent enough that it's not inconceivable for Eurybiades to have shown up, there, too—but if this is the second Persian invasion, and that is the King of Persia that was King of Persia during the second Persian invasion, then that King of Persia is Xerxes I.

And now, I think, you peer up at me, gaze beseeching. "But KC," you say, anxious and afraid, "Xerxes I didn't die during his invasion of Greece! After Greek victory at the Battle of Salamis, Persian forces were forced to withdraw from Attica, including Xerxes I himself, after which he focused on lavish construction projects until he was assassinated fifteen years later for unrelated reasons! He didn't die in the Greco-Persian Wars at all!"

To which I say: You know who else didn't die in the Greco-Persian Wars? Eurybiades. And you know who definitely didn't die in a fit of paranoid, obsessive overwork in the heart of a monumental statue of Apollo on the isle of Delos?

What I'm saying here is that God of War's relationship with historicality is fleeting at best, so maybe Don't Worry About It here, too.

(Incidentally, if it's the first Persian invasion of Greece that Kratos is mucking around in, then that king is actually Darius the Great, who also didn't die in Greece in real life. Darius is in Civilization V, though, so getting his Ryu Number is a lot easier.)

And speaking of Civilization, I've finally come to the shortest route I've found that, for all its likeliness, isn't as definite as I'd like, which is why I've saved it for last. You know how Civilization works, I think—you play a historical civilization (with a historical leader to match), and go up against other historical civilizations with their leaders. Like Darius, just now—he's your leader if you decide to play as the Persians.

Civilization III is like that...but unfortunately not as much like that as a fellow'd prefer. Sure, it's got its civilizations and leaders...

...But there's the occasional glaring unspecificity that's apparently there to make life difficult for me in particular. Yeah, sure, Montezuma here is most likely the second one—the one everyone knows, the one that had the real bad experience with Spain—but are you sure he isn't the first one instead? Like, absolutely sure? The instruction manual doesn't say, you know. How sure are you? Sure enough to bet a dollar? Two dollars? Fifty dollars? Your firstborn child? Why would I want your firstborn child, anyway? I don't want to look after a child; that's literally more work for me.

The Persian civilization exhibits the same problem here. Yeah, of course that's Xerxes I! If the team behind the game is picking out a historical figure named Xerxes to represent the Persians, it's got to be Xerxes I. But at the same time, there's technically nothing saying this isn't Xerxes II, a separate 5th-century-BCE Persian ruler of the Achaemenid Empire. I mean, it's terribly unlikely, seeing as Xerxes II ruled for 45 days before being killed by his half-brother, who ruled for six months before being killed by his half-brother, making him Not Exactly The Sort Of Individual You'd Put The Spotlight On, but Mahatma Gandhi and Joan of Arc are the leaders of Indian and French civilizations in this game, and that's weird, too. Gandhi was never the Prime Minister of India or anything like that, and Joan of Arc was a military leader, not a monarch.

Still, if you're willing to follow the reasonable assumption that the Xerxes here is Xerxes I, then the path that results is pretty dang optimal:

...If this is how you found out that Mahatma Gandhi is in Minecraft DLC, I'm sorry.

[tohjwcc]

Who am I? INTRODUCTION

Alright, so I've been here for like..half a year now? I actually don't entirely know, but ish 6 months. But I feel like I want to introduce myself. Idk why.

- So. Hi. I'm tohjwcc.. I honestly wanna change it, but I'm scared people won't recognize me if I do so haha. So, I guess I'm stuck with it for a lil while longer. Guess I'm just a "normal" (heck I'm not, I'm weird as f-) teenager...ehm, well, going to highschool after summer. Yasammy/cc/ct nerd, basically.

- My personality is complicated. For any camp cretaceous fan, I can easily describe myself as a softer version of Yaz. I have a strong Yaz side, but another big piece of my personality is just quirky and weird and funny (people say I'm funny.. so I hope they're telling the truth lol). But also, I've been told... SO. MANY. TIMES.... That I'm too nice for my own good. I'm kind and nice to everyone. I can't be mean to anyone. At least not on purpose. That is one thing that separates me and Yaz from being completely identical (personalitywise) (which again isn't entirely true, my quirky and weird side is bigger than my serious/Yaz side. I'm basically the yasammy icon. That quirky side could be referred to as Sammy lol.) But ofc there are other small stuff that also separates us two a little but yeah. (Tbh idk... I haven't really figured myself out yet. Idk what I am like, I just wanna be like Yaz cuz I love her so deeply and I can really relate to her in so many different ways. Idk, maybe I'm just not like her at all. Maybe I just wanna be like her...? Ugh, I don't know, I don't know myself. Dang it. My dream is to be cool. Like my girl Yaz. Okay, enough rambling).

- English is sadly not my first/native language, so any bad grammar or wrong wording could appear, so I apologize for that. I also like to make up new words, so if there's a word you've never heard before, it's probably one of my new creations. Confusion can appear, you've been warned.

- On this blog.. is it a blog? I don't even know. Anyways, on this account thingy I mostly post about camp cretaceous/chaos theory. That is where my main interest is. That leads us to my next.. ugh, me and words. I don't even know what it's called in my language. Paragraph, maybe? Let's go with that. That leads us to my next paragraph.

- Favorite shows. I've got a LOT, but the ones that might appear on this account are probably just Jwct/jwcc and the owl house. There's a chance like stranger things and heartstopper could be joining us too. I know nothing. I could be posting/reblogging random crap as well, so nothing is for sure.

- I started watching camp cretaceous when season 3 had been released. I was in my "Jurassic world era", so I had been watching all the Jurassic world movies (ish), so I guess I just wanted to rewatch some of them again, and then I saw it. "Jurassic world camp cretaceous". I was like "OoO". I began to watch it, and fell in love with it IMMEDIATELY. Also, a funny fun fact, I started watching it when I was 12. And now I'm 15. This means I was as old as the youngest character when I started watching it, and I am NOW as old as the OLDEST characters are in the show. This show has been with me through all my teenage years so far. I'm so greatful for this show and these campers. They helped me through so much, and I could never thank them enough.

-The jwcc character i can relate most to is Yaz. 10000%. Like I said before, she is so me. My friend says I'm a Yaz, and she once said I even looked like Yaz, which is cool, but idk how cuz I'm not a brunette haha. But these are the bestest compliments I've ever gotten.

Shoutout to anyone who even bothers to read this lmao. I might add stuff to this later, who knows.

Have a great day ^^

[jupiter--dream]

what discoveries have you made since the 2021 ghostkin / cloudkin post ? :p

Omg hi! Little warning for a ramble that might sound incoherent and "weird" to people who don't know how to have fun lol /lh (aka: I'm talking about my non-humanness, lol)

Warning! this gets VERY long, VERY specific and personal (not in a vent way, but in a "I'm rambling about myself" kind of way), and, somehow, incredibly scientific. Like, actually talking about a physics phenomenon and chemical reaction. I don't know, but yk how it is lol, I may be cringe but I am free

Well! I am indeed cloudkin and Ghostkin; rather, I've realized that I mostly feel like a cloud-looking spirit of sorts, inhabiting a human body if you will. I know some of my features (antlers, fangs, multiple eyes and dots and markings) but they're slightly shifting since my form isn't stable in itself!

Also, I know I'm fictionkin to some degree... Except I'm... not? See, I'm part of a system. I keep referring to myself as otherkin instead of just being a non-human sysmate because, despite this not being everyone's experience (completely valid), I technically "am" "the one that was here before the others""", rather, I was just here pre syscovery even if I know I've been plural for longer than that; but I felt so at home with kin terms that they felt right to use even when I don't see many systems referring to their individual members as X-kin. However, I did eventually realize that my connection to a certain character (I'd hide who it is... But I post about Dream sans on an almost daily basis and they've been the mental representation of myself for about five years now, like. They're me) but it didn't feel like being fictionkin to me; I AM some sort of introject, a semi-fictive I'd say. Plus Dream is a little ball of golden energy inhabiting a skeleton body... And so am I, a golden-looking spirit inside a body! So I'm ghost/cloudkin, galaxykin (simply because of the shifting nature and because my mind always feels so -vast-, like my body's too small to contain it, and it felt right to think of myself as a galaxy, and it was a good metaphor until it was just... intrinsically tied to who I am) and starkin for similar reasons (glowing mass of continuous chemical reactions... Me relating myself to chemistry doesn't end here, keep reading and you'll notice lol)

Stupidly enough, because this is so specific and no one ever seems to talk about stuff like this, one of the things I've realized about myself is what I'm made of; as in, which chemical-

It's something I've known for a while, before I went by Júpiter I went by Jay because I knew I wanted a name that started with J bc J and Q are the only letters not in the periodic table and I was like "oh, my name starts with J because I'm the missing element"; and then way before I had my gender figured out, the easiest way to explain my feelings was to talk about myself in pokemon types... I'd be a ghost/poison type, something about poison types always made me relate in a way? fitting lol

I think I had a huge species euphoria moment when we did the gold rain experiment (link leads to page explaining how to do the experiment) in my lab class. To put it simply, it is a mix of lead nitrate and potassium iodide that crystalizes, and then forms this snowball kind of effect, it looks like THIS:

I don't know, the mix of something looking so glittery, yet being so toxic (8g of lead nitrate are enough to kill you lol) made me go OMG ME

I want to also add that as a physics student + chemistry enthusiast, me feeling species euphoria from physics/chemistry concepts extends to more; for example I learnt about the De Broglie wave length and I haven't been normal ever since... idk how to properly explain it, so here's the wikipedia definition lol, shorter than what I was gonna write: "Matter waves are a central part of the theory of quantum mechanics, being half of wave–particle duality. At all scales where measurements have been practical, matter exhibits wave-like behavior. For example, a beam of electrons can be diffracted just like a beam of light or a water wave." And I don't know how to explain the inherent non-human euphoria I got being "related" to waves like light; like, yes!! I feel more incorporeal and more wave-like! I'm a ghost! Of course my specific properties aren't really "realistic" but come on, no one's trying to (dis)prove my existence.

I think I've just become very comfy in being non-human since 2021, maybe it's because my partner is also non-human and we've related a lot to each other in that regard; I just do the things that make me happy about it. I hide in bed with my prized possessions, makes me incredibly happy in an animalistic kind of way!

Other people find where they came from, who they were at some point. Personally, I do not have a spiritual past related to my non-humanity, I am a creature inhabiting a human body, so I don't have hearthomes or kin memories... I have weirdly specific attachments to physics concepts (part of the reason I must study physics, I need to understand the world on a deeper, non-human level) and feel euphoria over the weirdest shit lmfao