#real estate signposts

[powergraphicsinc]

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[powergraphics]

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[osmanthusoolong]

“The lack of heat was just one of the tenants' many complaints.

Records filed in court by the tenants show that last year, the apartment building's property managers forbade tenants from receiving parcel or food deliveries to their units, sought to evict tenants who refused to take down bird netting protecting their balconies from pigeons and banned Halloween trick-or-treating inside the building. The company also filed eviction notices against 21 tenants who had window-mounted air conditioners, saying the appliances put the building's old electrical wiring at risk of fire.

That November day, the tenants held up cardboard signs and took turns speaking from a megaphone. After about 30 minutes, they dispersed to place flyers on windshields and signposts.

"Tenants will not be pushed out of their homes," read the flyers they were posting. "Tenants… demand that [landlord] Anne DeMelo put an end to the harassment and do the repairs they have requested."

Two months later, they were all served legal papers.”

…

“Tenants in many Canadian cities can face a litany of hardships in dealing with landlords: renovictions, steep rent increases, maintenance requests that go unheeded. But now some landlords have turned to a new tactic — suing their tenants for defamation when disputes hit the boiling point.”

…

“Anoop Majithia's company, Plan A Real Estate, took over a low-rise residential building in the city's West End in the spring. Many existing tenants were on high alert owing to his reputation: Plan A was once fined $10,000 by the provincial housing ministry for violating a law 152 times, was found to have acted in bad faith in trying to evict a tenant and has faced more than one accusation of posting photos in rental ads that don't match the apartments tenants end up getting.”

I wonder, do the landlords realize that this response from tenants is in fact the peaceful negotiation that they’ve forced?

No matter, landlords are scum.

@allthecanadianpolitics

[distant--shadow]

The Witch and the Widow - Chapter 6 - Ostrea Edulis

Imogen admittedly doesn’t have much experience steering a horse from the driver’s box of a carriage.

She had done her best to get some practice in, of course; following the reasonable road to and from Fairfield Farm a handful of times, testing which of the horses wore the harnesses, pulled the weight of the carriage, and paired up together with the most ease.

But it is not second nature for her (more like a third), and she does not sit on the wooden bench comfortably; a gnawing anxiety stirring in her stomach as if she were on a boat and at the whims of the sea.

She had only been on a boat once, and it was for quite the journey.

vicious waters

terribly treacherous, with their habits of reciting rumours to estuaries and rivers that feed into the communities.

If she blinks too slowly she is presented pictures on the backs of her eyelids;

broken wheels, head-on collisions, carriage-carved tracks leading paths to final destinations off of the lip of a cliff.

(Not images of the future gifted by her powers - at least she hopes. These such images are only the boons of an anxious mind.)

A number of times she considers climbing over the wooden enclosure shelving her feet and onto the rear of one of the horses; straddling their unsaddled ribcage between her legs and putting more faith in the feedback of a certain halt instructed from direct contact rather than the separation of who knows how many manufacturers’ hands and the mechanical pull of a lever below her seat to a spring to a break to a wheel.

Certain as her pull on Ceviche’s reins when he attempted to buck the Lady - Ms Laudna - off of himself in fright, as a mummified corpse of a horse surfaced from the lake, disrupting its mirroring of the sky.

How much of Ms Laudna’s attention does she divide between the view from the window and what Imogen assumes of a book in her lap? Does she wish to know the route with an accustomed year-round seasonal familiarity as she does the belt around the lake? Or does she wish to hurry the passing of each signpost? Ask Sorcha to read her home-library-loaned paragraphs, praising the girl’s ability in spite of the jostling of narrow wooden wheels-

“I can read the labelling on the grain bags an’ all, I’m a real asset.”

“Absolutely -I must show you the library sometime, though you certainly are an outdoor being, even if a grass-grazer at that.”

praise-

(she hadn’t left what a thorough job Imogen had done of cleaning and buffing the carriage of its years of collecting cobwebs and dust and bringing it back to its ‘former glory’ unremarked.)

-would she identify the family of trees that gave the wheels their timber? Tip her bonnet to them as they pass in communal cluster, communing through touching roots, bordering one stretch of rolling hills as it sprawls into another?

Would Angharad have gotten sick from the motions of her own carriage ride? Imogen can’t imagine that she would feel too timid to entertain herself as a distraction with the presence of whoever it was escorting her.

Perhaps the plan was for that carriage to be the one that veered off track.

Maybe it will be a coincidence;  a convenience that the Lady leaves her estate for the first time at the very least since Imogen had been under her employ, a coincidence that they would pass an opening ploughed through the hedgerow decorated with timber and axel,

Angharad without her apron on; the blood soaking her dress her own

body limp for the next moon’s deadweight to be lifted over the horse-

 “Imogen!” Ms Laudna calls, fortunately not sounding as though alarming her to the approach of another oncoming carriage.

The road stretches out before them uninterrupted, not a hole in the hedgerow to be seen, so Imogen feels somewhat at ease with her decision to turn and look over her shoulder (not that she would have disobeyed her Lady’s call regardless).

“Yes, m’lady?”

Ms Laudna leans outside of the carriage window, holding her hat to the scalp of her tilted head as the wind whistles past her (not quite the bowing of her skull in acknowledgment to the trees Imogen had pictured).

She has never seen her hair so dishevelled-

She likes how it looks on her.

“I think we should stop for lunch!” Ms Laudna projects around a smile, unthreading errant hairs as they try to weave in between her exposed teeth.

Imogen almost forgets to reply.

They stop at the turn-in for a gate to a large and open field, Ms Laudna - with Sorcha’s assistance -laying out a patchwork blanket anchored in one corner by a ribboned square wicker picnic basket.

Imogen does her best to not address Ms Laudna by her name in front of Sorcha; despite the noticeable lack of meats in the spread of cheeses and home-grown fruits and preserved vegetables and freshly-sliced bread.

Their journey resumes; uninterrupted by carriage tracks veering off into the hedgerow.

[dougstevensonmaine]

Economic Indicators and Their Impact on Investment Decisions

Economic indicators serve as signposts, guiding investors through the complex terrain of financial markets. These metrics, derived from various economic data points, offer valuable insights into the health and direction of an economy. Understanding these indicators is crucial for making informed investment decisions, as they provide a snapshot of economic performance and potential future trends.

Gross Domestic Product (GDP) stands as one of the primary indicators, representing the total value of goods and services produced within a country. An expanding GDP often signifies economic growth, encouraging investor confidence. However, rapid growth may also raise concerns about inflation and overheating, prompting investors to adjust their portfolios accordingly.

Employment data, such as the unemployment rate and non-farm payrolls, offer a glimpse into labor market conditions. Low unemployment rates and steady job creation usually suggest a robust economy, potentially prompting investors to favor riskier assets due to increased consumer spending.

Inflation, measured by the Consumer Price Index (CPI) or Producer Price Index (PPI), reflects the change in prices for goods and services over time. Moderate inflation is generally healthy for an economy, but excessive inflation can erode purchasing power. Investors often adjust their portfolios by seeking assets that can withstand or even benefit from inflation, like real estate or commodities.

Interest rates set by central banks, such as the Federal Reserve in the United States, significantly impact investment decisions. Lower rates stimulate borrowing and spending, potentially boosting asset prices. Conversely, higher rates can lead to reduced borrowing and investment, affecting stock and bond markets as well.

Trade indicators, such as the balance of trade and current account, shed light on a country’s international transactions. A trade surplus (exports exceeding imports) can signal economic strength, while a deficit may raise concerns. Investors monitor these indicators to gauge a nation’s competitiveness and the potential impact on currency values and trade-sensitive industries.

Political stability and geopolitical events also influence investment decisions. Uncertainty or conflicts can introduce volatility into financial markets, affecting investor sentiment and asset prices. Additionally, government policies and regulations can directly impact specific industries or sectors, prompting investors to adjust their portfolios accordingly.

The impact of economic indicators on investment decisions varies based on individual strategies and goals. Long-term investors might prioritize indicators that reflect fundamental economic health, while short-term traders may focus on more immediate data releases for quick market reactions.

Economic indicators serve as crucial tools for investors, providing valuable insights into economic performance and potential future trends. Understanding these indicators enables investors to make informed decisions, manage risks, and capitalize on opportunities in dynamic financial markets. However, it’s essential to consider multiple indicators holistically and not rely solely on one metric, as economic landscapes are multifaceted and interconnected.

[imscissorbladez]

General 1 and General 9 for both Rook and Haven? :)

1. Where can your Tav be recruited?  Are they first encountered on the Nautiloid, or in the Nautiloid crash region?  Or are they not recruitable until a later act?

Rook: They’re on the nautiloid, getting attacked by imps. You can throw them a sword to initiate the combat. When they get to the controls of the ship they absolutely ignore the mind flayer and encourage player!Tav to fight both the mindflayer and the cambion: it’s free real estate. Also I want more reasons to signpost the sword he has.

Haven: You can specifically only get Haven if you break her out of the Zhentarim hideout prison, where they have her in an extremely comfortable looking cell and she wants out, as quickly as is physically possible. She tells the player!Tav that she can pay them if they take her to Rivington. She is tadpoled.

9. Does your Tav have any escalating conflicts with one of the other companions, like Lae’zel and Shadowheart’s knife-fight?

Rook: Gale makes them super insecure, so they struggle to connect until their relationship develops, so it’s ongoing until Baldur’s Gate. If Rook eats a tadpole Gale is furious either way, and depending on the choices Gale makes with regards to the Crown of Karsus they are either the proudest friend alive and write him a cool song, or they literally yell at him and basically refuse to address him for the rest of the game.

Haven: It’s with Jaheira! Jaheira knew her parents. It’s a whole thing. If you enter the Last Light Inn with Haven you don’t have to have Marcus or Mol defend you, and it triggers special dialogue. Player!Tav keeps catching them whisper fighting at night as Haven’s personal storyline progresses, and eventually Jaheira tells Player!Tav that someone is waiting for Haven in the guild, which triggers the personal quest beginning.

[kaylawilliams-photography-516]

Gap filling call sheet_week 11

Two things that I picked up on after looking through Altered Landscapes were:

Facilities required to sustain a new development (waterways, roadworks, parks, schools, interenet, power, shops, community centre) > water system in Waikowhai

Infrastructure signposting (roadsigns, cell towers, street names, vehicles, exterior spaces).

So moving into this week (with the hope there is a mild day weather-wise) I've set up a list of more things to photograph.

Water pump station for Waikowhai x 2 down Dominion Rd

Some more shots of signs in the development (road signs, things that can signal parts of the narrative or say more than they do)

Elements of community (i.e. shops, parks) > the mural is May Rd park

May Rd school development

Photograph more of the neighbourhood mix and visual signals of that (house, exterior, flags - signs of lived in spaces, cars etc.)

Elements of construction i.e. scaffolding

Some more 'real estate'-like shots (following Henry Wessel) of housing (use 18-55mm lens) > for shots of old, new + empty housing.

Anymore signs of I can find of development (like the Te Mara sign)

[ringlorn]

"Hiss—hey, watch it!" He's a small monkey, but he's heavier than he looks. With a grimace, Nezha tries to shift his injured chest out of the way before he replies.

"For the record, he threw the signpost at me first." Asking him not to provoke Sun Wukong was like telling the sun to get out of the sky. It wasn't just unnatural, but a fact of life.

It was also the only thing tying them together after the shitstorm in Heaven all those years ago, sad as that sounded.

"I wasn't gonna arrest him," he added petulantly a second later. "Or you. Don't have the authority for that anymore."

"Stupid fuzzbutt still can't think straight when he's angry. What do you think got him into trouble in the fir—cough." Throat burning, Nezha realizes he can't tell this Wukong anything either. Damn.

Was worth a try, though.

He grabs the bag of frozen bananas off his eye next, tearing it open to help himself to the contents inside. He figures it's free real estate if Monkey King's given it to him already.

"He got pissed because I wasn't telling him shit," Nezha grumbled. "Like I'd want him to beat me up. Last time I saw him, he was still trying to eat rocks off the ground because some bastard told him they were peaches."

Old Sun was painful to watch, but at least he was predictable. New Sun was uncharted territory, and Nezha the clueless ship that got tossed in his storms.

He watches Nezha out of the corner of his eye as he drinks. It was something Monkey King noticed when cleaning and bandaging him up: this Nezha's body was a regular mortal one, not made of lotus, and it looks like it heals with the same speed that a normal mortal body would (or close to it at least; he honestly has no idea how fast a mortal would heal). Weird. But he won't ask.

"Just don't make a habit out of this, yeah? This isn't a hospital for infirm gods." And frankly he has better things to do than taking care of a guy he barely knows. Like watching reruns of his shows. Or lying down on his bed and staring at the ceiling for hours.

You know, important stuff.

"That's me." He takes a sip of his soda and hums. Monkey King hasn't tried to call Sun (yet), figuring the guy will come to him when he is ready. But... "If I had to guess, and I think I would be right, he's either at home or with- his partner, feeling bad about beating you up like that."

Leaning back against the couch (and against Nezha's much suffering ribs), he points at the lotus prince with his can.

"Here's a word of advice, bud: Sun doesn't remember you too well and is - rightfully - pissed off about that. So, you know, I wouldn't recommend provoking him unless you actually want to die next time."

[gmaxdepletion]

wavesurfs replied to your post: rate my art

i objectively don’t like the phrase “obstathicc”.

what’s wrong with obstathicc don’t shame the poor lad for his name

[isitgintimeyet]

Just a Friend

Sorry you’ve had to wait a few more days. i had a much needed few days holiday in Devon. And I realised it was the first time since February that I’d travelled more than 20 miles from home!

Anyway, we’re on to chapter 7. Thanks for reading and hope you enjoy

Thanks to @wickedgoodbooks for the beta.

Previous

AO3

Chapter 7: From Feedback to The Force

I can see it clearly in my mind’s eye. A converted barn, situated at the end of a leafy country lane, surrounded by fields full of cows and maybe a horse or two. Jamie’s office will be at one end— all exposed beams with classic mahogany and leather furniture. Perhaps chickens will be roaming around outside as tractors pull up to deliver vegetables straight from the neighbouring fields.

This image begins to fade as I follow my Sat nav instructions and take the next junction off the motorway. Country lanes look to be few and far between in this urban sprawl. Signposts along the tarmacked road point to a series of industrial estates. At the fourth such sign, I’m instructed to turn left and in three hundred yards will have reached my destination.

Having parked up, I make my way towards the large, uninspiring building which resembles some sort of aircraft hangar. Its grey concrete and corrugated iron walls match the overcast sky and the roughly surfaced car park. The only colour in this landscape is provided by the bright orange FraserFood logo emblazoned above the loading bays.

There’s a single door to the right with an intercom. I press it and wait a few seconds.

“Hello, there.” A cheery voice greets me. “Can I help ye?”

“Yes. Hello, I’ve an appointment with Ja— Mr. Fraser, Jamie. It’s Claire Beauchamp.”

“Aye, come on through. Jamie is expecting ye. Down the passage and third door on the left.”

I step into a long corridor, painted an unoriginal white. Fluorescent strip lights hanging from the ceiling cast a harsh brightness. The floor is covered with grey carpet tiles.—the same as in thousands of other working offices across the country.

What sets it apart and brings character to the otherwise anonymous environment is the artwork. Colourful photographs line the walls — a bowl of strawberries, their red glossiness accentuated by the white porcelain; a perfect corn on the cob, rivulets of melted butter flowing around the kernels; a plate of steaming tagliatelle, the parmesan shavings falling gently onto the pasta. Then, as I move further towards the office, the photographs change to a series of images that I instantly recognise, La Boqueria, one of the food markets in Barcelona.

I pause for a moment in front of a picture of one of the stalls selling spices. Strings of different chillies cascade down from the metal frame of the stall. The vibrancy of that market was intoxicating, the noise, the colours, the aromas. I remember wandering from stall to stall snacking on fat, juicy olives, slices of spiced ham and wedges of refreshing melon, just soaking up that atmosphere.

My stomach automatically rumbles at the memory just as Jamie steps into the corridor.

He laughs at this unconventional greeting. “And good day tae ye too. Ye found us alright then?”

“No problem. Sat nav brought me straight here. It’s—“ I stop myself before I say any more, but, as usual, my glass face gives me away.

“C’mon. What is it? It’s no’ what ye were expecting, is it?”

“No— yes—no. It’s fine. It’s just, well, I was expecting something more, er, rural… rustic, you know.”

He sighs, but I can tell that he’s not offended. “What, ye mean like on a farm? Wi’ chickens running around? And tractors bringing the vegetables straight from the fields?”

I nod, feeling not a little bit foolish.

“And down a wee winding country lane, that yer lumbering great vans and lorries have tae drive along? Wi’ no easy transport links fer all the deliveries? And having tae deal wi’ all the food hygiene standards in some great old barn?” He laughs. “Trust me, it may no’ be photogenic but it’s the best place fer the business.”

He takes my arm. “Let’s go intae ma office and I’ll make ye a cup of coffee.”

My stomach rumbles once more. “Don’t suppose you’ve got any of those lovely Spanish biscuits too, have you?”

*********

The display of colourful photographs continues in Jamie’s office. I don’t recognise the scenes, but, I’m guessing these are more local— fields of corn bordered by old drystone walls, hedgerows bursting with dark jewel-like brambles. I pause at a picture of an ancient stone mill, the calm water of the mill pond reflecting the rundown building perfectly.

“That’s a bonny picture, is it no’?” Jamie’s voice is low in my ear.

I turn around. He is standing behind me, gazing intently at the picture.

“It is. Where is it? I’m guessing it’s somewhere here in Scotland.”

“Aye, it’s the old mill at Lallybroch.”

“Where you grew up?”

He nods. “Generations of ma family used that mill tae grind flour fer them and their tenants. It’s empty inside now. The wheel has long since rotted away. Jenny and I would escape there whenever chores were tae be done. She took the photo, weel, most of the photos here actually.”

I study the photograph more closely. “She’s very talented as a photographer. Is that her job?”

“She’d love tae have done that, but once she married Ian and the bairns started appearing, she hasna got the time. Mebbe one day.”

He moves past me towards his desk and I catch a hint of his musky cologne. I find myself comparing it to the slightly synthetic cologne that Frank always favoured. I decide that Jamie’s is preferable. It’s more real, somehow, earthy and, well, more masculine.

“... does that sound ok?”  

I realise that whilst I was considering male scents, Jamie had been asking me a question. “Er, sorry, I was miles away. What did you say?”

“Am I really that boring tae ye?” He laughs. “I said I would make ye a coffee and invite Rupert tae come in and join us. He’s our Head of Product Development. Will ye no’ take a seat?”

I sit down on one of the chairs arranged around a circular meeting table and take a good look at the office while Jamie makes a phone call. The walls and ceiling are the same uninspiring white, livened up by all the photographs. There’s a couple of framed photographs near Jamie’s chair that seem to be more personal. I’m too far away to be able to see clearly, but they look like children... his nephew and niece perhaps?

Jamie’s ‘L’ shaped desk is made of grey wood, as is a tall bookcase and this meeting table. Simple, but clearly a considered purchase, no haphazard grouping of random furniture. The desk itself is remarkably free from clutter— just a laptop with two huge screens and a black leather document wallet. The contrast to the clutter on the desks in my office and home couldn’t be greater. Not that my clutter isn’t important to me—a collection of pots and dishes from my uncle’s archaeological digs plus a paperweight and letter opener that I remember, as a young child, at my parents’ house. Then I realise, looking at the family portraits surrounding Jamie’s desk, that he doesn’t need to gather mementoes from the past. He has a living, breathing close knit family creating memories all the time.

I’m well aware that most of my friends have more of a family than I have, or have ever had, and generally I’m fine with that. But every now and again it hits me right in the gut—this pang of...not loneliness, but more of being disconnected, rootless.

Before I can dwell on this,  there’s a faint tap at the door. It opens immediately and a woman stands in the doorway.  She’s easily past retirement age, quite short and… is sturdy a polite descriptor? Well, short and ‘motherly’ in appearance.

She’s very smiley too. Her eyes crinkle as she grins broadly before speaking. “Jamie, lad. I’ve come tae see if ye both want a coffee. I dinna mind making it. And mebbe a few biscuits?”

Jamie steps away from his desk. “Ah, Mrs. Fitz, how d’ye always ken what I want? Coffee would be grand. And fer ye Claire?”

“Coffee, please. Lovely. White, no sugar. Thanks.”

She looks at me for a moment before Jamie makes the introduction. “ Claire, this is Mrs Fitz. She’s worked wi’ me since I started and I dinna ken what I’d do wi’out her.”

He reaches across and pats her arm gently.

“Mrs. Fitz, this is Claire, a friend of mine. She’s been trying out our Spanish dinner party menu and has come tae meet wi’ Rupert tae give him her opinions.”

“Nice to meet you, Mrs. Fitz.” I hold out my hand.

She takes it in both of hers. “And it’s lovely tae meet ye too, Claire.”

She turns away and heads out the door.

“Right-oh. Two coffees it is then,” she says clearly, then carries on muttering under her breath as she leaves. “Friends, is it, then? A bonny lass, sure enough…”

Jamie smiles apologetically. “Mrs. Fitz can be a bit, weel...she’s been working with me a long time. She’s like a second mother tae me…”

He leaves the sentence unfinished, but I know what he’s thinking. Why can’t people understand that we’re friends, that’s all?

*******

Rupert is a complete delight, but somehow not what I was expecting. He rushes into the office just as Jamie and I are drinking our coffees. Nearly as tall as Jamie but quite a bit broader with a large beard, like an overgrown teddy bear, and clad in a sweatshirt and baggy ill-fitting jeans, he looks as if he would be more at home on a rugby pitch rather than in a development kitchen. With Jamie now standing next to him, the office suddenly feels rather small.

Jamie makes the introductions and we settle once more around the table. Rupert places his notebook and pen on the table.

“Ye dinna mind if I take a biscuit or two, do ye?” He asks, with a smile. He knows how tasty they are.

Jamie and I shake our heads and Rupert reaches out and takes two in his large, fleshy hand. He starts to eat, sprinkling crumbs all over his notebook.

“Ye canna take me anywhere,” he says as he tries to sweep the crumbs into his hand.

Jamie laughs and playfully punches Rupert’s shoulder. “Weel, ye can… but only the once, mind.”

There’s an easy camaraderie between the two of them. I’m guessing that Jamie has worked with the same people for quite a while. It’s good to see.

Rupert swallows, picks up a tissue and wipes the stray crumbs from his beard.  “Right-oh. So, Claire, thanks fer doing this—“

“No, I should be thanking you. It was a great meal.”

“Weel, glad tae hear that, but I would appreciate any improvements we could make. Is there anything we need tae change?”

I’ve been racking my brains all the way here, trying to think of something constructive to say rather than just reeling off a list of compliments, nice as that would be for Rupert and Jamie. And, honestly, I don’t know what more I can add. The food was excellent, the wine matched perfectly and the olives were a thoughtful addition.

I tell them all this and Rupert solemnly notes it all down. Sitting there, side by side, elbows almost touching, they look for all the world like two proud parents being complimented on their child’s talents. But they have every right to be proud.

“And nothing else?” Rupert persists. “Nothing we could do better?”

“Well, a couple of tiny suggestions. Maybe a few more pictures with the recipes would help. I’m not the most gifted cook.”

Out of the corner of my eye, I notice Jamie trying to suppress a smile. He’s never seen me in the kitchen, maybe he’s imagining me as some sort of culinary disaster area. I vow to prove him wrong at some point.

“And,” I continue as Rupert scribbles in his notebook. “Perhaps add a couple of suggestions to complete the Spanish night. I made sangria to start the evening. Could you add a recipe for that?”

Rupert closes his notebook with a flourish. “Right then. Thank ye sae much fer that. Glad yer friends all enjoyed the food.”

He stands up, shifting the table as he does so.

“Weel, bye then, Claire. Lovely tae meet ye. Hope tae see ye again.” He shoots a quick look across at Jamie before leaving.

“Rupert’s a lovely guy,” I comment as the door shuts behind him.

“Aye, he is that,” Jamie shifts in his seat. “Listen, I need tae ask ye a favour.”

“Another one,” I joke. “Wasn’t the dinner party enough?”

I add a sigh, purely for dramatic effect.

“Ye can say no if ye want tae,” he continues. “But I was wondering… weel... Ian, that’s Jenny’s husband, his rugby club is having a charity dinner dance a week on Saturday. Jenny’s bought two tickets fer me and a plus one. D’ye fancy it? It would help me out of a wee bit of bother with ma sister.”

Now I’m intrigued about his “wee bit of bother” with Jenny. I don’t want to end up in the middle of some sibling squabble.

“How so?” I’m not giving an answer straight away. At least not until I know what the bother is.

“Jenny bought the two tickets fer me a couple of months ago. I think she was assuming I would bring Laoghaire. But ye ken what happened there. Anyways, she asked me yesterday about it, and ever so casually suggested I might bring Kelly— that was ma date the other night.”

The pattern of Rupert’s crumbs on the table appears to suddenly be of great interest to him. He studies them intently as he talks, his ears turning slightly pink as he does so.

“And?” I prompt him.

“And, I told Jenny that after Laoghaire and I broke up, I didna want tae disappoint her about the dinner and so I’d already asked ye tae come along. As a friend,” he hastily adds the last part.

So, what do I decide? I do love the opportunity to have a bit of a dance and rugby club dos are usually a bit of a laugh, in my experience. And of course, I know Jamie is offering as a friend, so I’m not worried about that.

“Why don’t you want to ask Kelly then?” I want the full story before I give him my answer.

“She’s a nice enough lass but I didna think we had any spark. Plus she was trying too hard. Fer example she asked me what films I liked, then when I told her, she was all ‘no way, they’re ma favourites too’.”

He adds gestures at this point, to demonstrate Kelly’s actions, one hand flapping excitedly, the other resting on my sleeve, lightly stroking through the fabric of my shirt. It feels—

“Apparently we have exactly the same taste in films, music, food, drinks, television and holidays,” he continues as he sits back and folds his arms.

“Sounds like a match made in heaven to me.” I joke. I can still feel the sensation of his hand on my arm.

He looks up at me and frowns. “I’m no’ joking. Ye would be helping me if ye came as ma plus one.”

“Ok then. I do know that I’m not on call. I can come and be your wingman, if you like. Just one question. What are your favourite films?”

“Star Wars.”

This wasn’t the answer I was expecting. He doesn’t seem like a typical fan. Maybe he has a dark side that I haven’t yet seen, with a secret stash of Star Wars figures and multiple light sabres.

“I’ve never watched any of them.” It’s true. I seem to be in the minority but I just don’t get the appeal.

“And I can tell from yer face exactly what ye think of them. But they’re classics, weel most of them, anyway,” he starts to enthuse.

I shake my head. I can’t see that he will ever convince me.

“Well, Sassenach, have I got a treat in store for you!”

And, worryingly, it seems that he’s up for the challenge.

[powergraphicsinc]

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[powergraphics]

Real Estate Signposts Can Showcase Vital Information To Buyers

Our sturdy real estate signposts stand tall outside homes and commercial properties, so they can showcase important information for both buyers and tenants. These are made with durable materials, so they can withstand harsh weather conditions. In short, they’re a long-lasting advertising tool. Visit our site to order them at great prices.

[jamestaylorswift]

My giant goes with me wherever I go: a study of the geographic metanarrative of folklore

This topic has been rattling around in my brain ever since I first heard folklore and I think it’s endlessly fascinating. Cue this lengthy but (hopefully) intriguing piece.

I’m afraid the title may not be an accurate reflection of this essay’s content, so here’s a preview of talking points: geography, existence, metanarrative, making sense of the theme of death, the “peace”/“hoax”/“the lakes” trio, history/philosophy, and exactly one paragraph of rep/Lover analysis (as a treat).

I make the standard disclaimer that analysis is by definition subjective. Additionally, many thanks and credit to anyone else who has written analysis of folklore. I am sure my opinions have been influenced by yours, even subconsciously.

Questions, comments, and suggestions are always welcome, and thank you for taking the time to read :)

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“Traveling is a fool’s paradise. We owe to our first journeys the discovery that place is nothing. At home I dream that at Naples, at Rome, I can be intoxicated with beauty and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me in the stern Fact, the sad self, unrelenting, identical, that I fled from. I seek the Vatican, and the palaces. I affect to be intoxicated with sights and suggestions, but I am not intoxicated. My giant goes with me wherever I go.”

Ralph Waldo Emerson

——

If Taylor Swift’s music is anything, it is highly geographic. Taylor has been a country, pop, and now alternative artist, yet a storyteller through and through—one with a special knack for developing the aesthetic of songs and even entire records through location. The people and places she writes about seem to mutually breathe life into each other.

It is plausible that Taylor, as a young storyteller, developed this talent by using places as veritable muses just like she did anything else. Furthermore, her confessional storytelling became much more geographic as she shifted to pop because of factors including (though certainly not limited to) purchasing real estate, traveling more, writing in a genre that canonically centers coastal cities, and dating individuals with their own established homes. The geographic motif in her work is so identifiable that all of the corresponding details are—for better or worse—commensurate to autobiography.

However, folklore is not autobiographical in the way that most understand her other albums to be. The relationship between people and places in folklore is likewise much less symbiotic.

The first two songs on the record illustrate this. We are at bare minimum forced to associate the characters of Betty and James with New York: the lyrics about the High Line imply a fraction of their relationship took place in this city. Even so, this does not imply Betty or James ever permanently resided in New York, or that Betty is in New York at the moment she is narrating the story of “cardigan.” Taylor places far more emphasis on James and the nostalgia of youth, with “I knew you” repeated as a hook, to develop the emotional tone of the song. Rhode Island also comes to life in “the last great american dynasty” because of Rebekah Harkness’ larger-than-life character. But Taylor, following Rebekah’s antagonism, states multiple times throughout the song that the person should be divorced from the place. folklore locations are never so revered that they gain the vibrancy of literal human life. Taylor refrains from saying a person is a place in the same way that she has said that she is New York or her lover is the West Village.

For an album undeniably with the most concrete references to location, it is highly irregular—even confusing, given that personification is such a powerful storytelling device—that Taylor does not equate location with personal ethos.

Regurgitating the truism that geography equals autobiography proves quite limiting for interpreting Taylor’s work. How, then, should geography influence our understanding of folklore?

I submit that the stories in folklore are not ‘about’ places but ‘of’ places which are not real. Taylor’s autobiographical fiction makes the settings of the songs similarly fictionalized, metaphorical, and otherwise symbolic of something much more than geography. It is this phenomenon which emotionally and philosophically distinguishes folklore from the rest of her oeuvre.

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As a consequence of Taylor’s unusual treatment of location, real places in folklore become signposts for cultural-geographic abstractions. Reality is simply a set of worldbuilding training wheels.

Prominent geographic features define places, which define settings. The world of folklore is built from what I’ve dubbed as four archetypal settings: the Coastal Town, the Suburb, the City, and the Outside World.

Each has a couple defining geographic features:

Coastal Town: water, cliffs/a lookout

Suburb: homes, town

City: public areas, social/nightlife/entertainment venues

The Outside World serves as the logical complement of the other three settings.

Understanding that real location in folklore is neither interchangeable nor synonymous with setting is crucial. Rhode Island is like the Coastal Town, but the two settings are not one and the same. The Suburb is an idyllic mid-America setting like Nashville, St. Louis, or Pennsylvania; it is all of those places and none of them at the same time. The City may be New York City, but it is certainly not New York City in the way that Taylor has ever sung about New York City before. The Outside World is just away.

Put simply, folklore is antithetical to Taylor’s previous geographic doctrine. While we are not precluded from, for instance, imagining the City as New York City, we also cannot and should not be pigeonholed into doing so.

Note:

This album purports to embody the stereotypically American folkloric tradition. “Outside” means “anywhere that isn’t America” because the imagery and associations of the first three cultural-geographic settings indeed are very distinctly American.

While Nashville and St. Louis are relatively big cities, they are still orders of magnitude smaller than New York and LA, the urban centers that Taylor normally regards as big cities. In context of this essay, the former locations are Suburban.

In this essay, the purpose of the term ‘of’ is simply to replace the more strict term ‘about.’ ‘Of’ denotes significant emotion tied to a place, usually because of significant time spent there either in the past or present (tense matters). Not all songs are ‘of’ places—it may be ambiguous where action takes place—and some songs can be ‘of’ multiple places due to location changing throughout the story. (This does not automatically mean that songs with more than one location are ‘of’ two places. A passing mention of St. Louis does not qualify “the last great american dynasty” as ‘of’ the Suburb, for example.)

Each of the four archetypal settings must instead be understood as an amalgam of the aesthetics of every real location it could be. Setting then exists in conversation with metaphor because we have a shared understanding of what constitutes a generic Suburb, City, or Coastal Town.

Finally, by transitivity, the settings’ metaphorical significance entirely hinges upon the geographic features’ metaphorical significance. This is what Taylor authors.

The next part of the essay is concerned with deciphering geography in folklore per these guiding questions: how is an archetypal feature used as a metaphor? By proxy, what does that say about the setting defined by it? What theme, if any, unites the settings?

The Coastal Town: Water and Cliffs

The Coastal Town is defined by elemental features.

The first (brief) mentions of water occur on the first two tracks:

Roarin’ twenties, tossing pennies in the pool

Leavin’ like a father, running like water

“the last great american dynasty” introduces the setting to which the pool (water) feature belongs, our Rhode Island-like Coastal Town. It also incorporates a larger water feature, the ocean, and suggests the existence of a lookout or cliffs:

Rebekah gave up on the Rhode Island set forever

Flew in all her Bitch Pack friends from the city

Filled the pool with champagne and swam with the big names

//

They say she was seen on occasion

Pacing the rocks, staring out at the midnight sea

“seven” and “peace” also have brief mentions of water; however, note that these songs remain situated as ‘of’ the Suburb. (More on this later.)

I hit my peak at seven

Feet in the swing over the creek

I was too scared to jump in

But I’m a fire and I'll keep your brittle heart warm

If your cascade, ocean wave blues come

“my tears ricochet” and “mad woman” with their nautical references pertain to the water metaphor:

I didn’t have it in myself to go with grace

And so the battleships will sink beneath the waves

Now I breathe flames each time I talk

My cannons all firin’ at your yacht

“epiphany” also counts, though with the understanding of “beaches” as Guadalcanal this song is ‘of’ the Outside World:

Crawling up the beaches now

“Sir, I think he’s bleeding out”

“this is me trying” and “hoax” reiterate the cliff/lookout geography:

Pulled the car off the road to the lookout

Could’ve followed my fears all the way down

Stood on the cliffside screaming, “Give me a reason”

Finally, “the lakes” features both water and cliffs:

Take me to the lakes, where all the poets went to die

//

Those Windermere peaks look like a perfect place to cry

//

While I bathe in cliffside pools

With my calamitous love and insurmountable grief

In folklore, water dovetails with permanent loss.

“epiphany” is the most egregious example. Crawling up the beaches of a war zone proves fatal. “the lakes” describes grieving in water, perhaps for the loss of one’s life because there exist cliffs from which to jump. “this is me trying” and “hoax” mirror that idea. On the other hand, in “peace,” death does not seem to have any connection to falling from a height.

Loss can also mean loss of sanity, such as with the eccentric character of Rebekah Harkness or Taylor as a “mad woman” firing cannons at (presumably) Scooter Braun’s yacht.

Subtler are the losses alluded to in “my tears ricochet” and “seven,” of identity or image and childhood audacity, respectively. And in the opening tracks water is at its most benign, aligned with loss of a relationship that has run its course in one’s young adulthood.

The most fascinating aspect of water in folklore is that it is an aberration from water as the symbol for life/birth/renewal, derived from maternity and the womb. folklore water taketh away, not giveth.

As of now, the greater significance of the Coastal Town—the meaning to which this contradiction alludes—remains to be seen.

The City: Nightlife, Entertainment, and Public Areas

Preeminent in Taylor’s pop work is the City; New York City, Los Angeles, and London are the locations most frequently extolled as Swiftian meccas. This archetypal setting is given a more understated role in folklore.

“cardigan,” ‘of’ the City, illustrates this setting using public environments and nightlife:

Vintage tee, brand new phone

High heels on cobblestones

//

But I knew you

Dancin’ in your Levi’s

Drunk under a streetlight

//

I knew you

Your heartbeat on the High Line

Once in twenty lifetimes

//

To kiss in cars and downtown bars

Was all we needed

“mirrorball” paints the clearest picture of the City’s nightlife/social venues by sheer quantity of lyrics:

I’m a mirrorball

I’ll show you every version of yourself tonight

I’ll get you out on the floor

Shimmering beautiful

//

You are not like the regulars

The masquerade revelers

Drunk as they watch my shattered edges glisten

//

And they called off the circus, burned the disco down

“invisible string” briefly mentions a bar:

A string that pulled me

Out of all the wrong arms, right into that dive bar

In addition, “this is me trying” implies that the speaker may currently be at a bar, making the song partially ‘of’ the City:

They told me all of my cages were mental

So I got wasted like all my potential

//

I was so ahead of the curve, the curve became a sphere

Fell behind all my classmates and I ended up here

Pouring out my heart to a stranger

But I didn’t pour the whiskey

It goes almost without saying that the City at large is alcohol-soaked. Indeed, alcohol will help us understand this location.

Each of the aforementioned songs has a distinct narrator, like Betty in the case of “cardigan” or Taylor herself, at the very least in the case of “mirrorball” or at most all songs besides “cardigan.” And because the narrative character is so strong, I posit that the meaning of this geography is tied to what alcohol reveals about the speakers of the songs themselves.

“invisible string” and “mirrorball” are alike in the fact that the stories extend well beyond or even completely after nightlife. Meeting in a dive bar in “invisible string” is just the catalyst for a relationship that feels fated. Taylor, in her “mirrorball” musing, expresses concern about how she is perceived by someone close to her. Does existing after the fact (of public perception, at an entertainment venue) constitute an authentic existence? Alcohol, apparently a necessary part of City life, predates events which later haunt the speakers. Emotional torment is then what prompts the speakers to recount their stories.

On the other hand, alcohol directly reveals the emotional states of the speakers in “cardigan” and “this is me trying.” “cardigan” is Betty’s sepia-toned memory of her time with James, in which James’ careless, youthful spirit (“dancin’ in your Levi’s, drunk under a streetlight” and “heartbeat on the High Line”) inspires sadness and nostalgia for their ultimately temporary relationship (“once in twenty lifetimes”). “this is me trying” is tinged with the speaker’s bitterness; hopelessness and regret lead them to the bar and the destructive practice of drinking just to be numb.

These observations suggest that the City is also a site of grief or loss, though not for the same reason that the Coastal Town is. Whereas the Coastal Town is associated with a permanent ending such as death, the City reveals an ending that is more transitional and wistful, tantamount to a coming of age. There is a clear ‘before’ and ‘after’ to loss related to the City: life, though changed, goes on.

The Suburb: Homes and Towns

Noteworthy though the City and Coastal Town may be, the former in particular concerning the pop mythology of Taylor Swift, it is the Suburb which Taylor most frequently references in folklore and establishes as the geographical heart of the album.

The Suburb is defined by a home and town. A “home” encompasses entrances (front/side doors), back and front yards (gardens/lawns/trees/weeds/creeks), and interiors (rooms/halls/closets). The “town” is pretty self-explanatory, with a store, mall, movie theater, school, and yogurt shop.

Observe that the folklore Suburb is the aesthetic equivalent of the “small town” that provided the debut and Fearless albums’ milieu and inspired the country mythology of Taylor Swift. While Taylor primarily wrote about home and school on those albums (because, well, that was closer to her experience as a teenager), the “small town” and the folklore Suburb are functionally the same with regard to pace, quality, and monotonicity of life. Exhibit A: driving around and lingering on front doorsteps are the main attractions for young adults. (From my personal experience growing up in a Suburb, this is completely accurate. And yes, the only other attractions are the mall and the movie theater.)

The Suburb becomes a conduit for conflict.

Conflict that Taylor explores in this setting, including inner turmoil, dissension between characters, and friction between oneself and external (societal) expectations, naturally can be distinguished by distance [1] between the two forces in conflict. As an example, ‘person vs. self’ implies no distance between the sides because they are both oneself. ‘Person vs. society’ is conflict in which the sides are the farthest they could conceivably be from each other. Conflict with greater distance between the sides is usually harder to resolve. One must move bigger mountains, so to speak, to fix these problems.

The folklore Suburb is additionally constructed upon the notion of privacy or seclusion. We can imagine a gradient [2] of privacy illustrated by Suburban geography: the town is a less intimate setting than the outside of the home, which is less intimate than the inside of the home.

I combine these two ideas in the following claim: the Suburb relates distance between two forces in conflict inversely on the geographical privacy gradient. Put simply, the more intimate or ‘internal’ the setting, the farther the two sides in conflict are from each other.

(I offer this claim in the hopes that it will clarify the nebulous meaning of the Suburb in the next section.)

Salient references to the Suburban town can be divided into one of two categories:

Allowing oneself to hope

Allowing oneself to recall

“august” clearly belongs in the first category. Hope is central to August’s character and how she approaches her relationship with James:

Wanting was enough

For me, it was enough

To live for the hope of it all

Canceled plans just in case you’d call

And say, “Meet me behind the mall”

If we interpret the bus as a school bus then “the 1” also belongs in this first town category:

I thought I saw you at the bus stop, I didn’t though

//

I hit the ground running each night

I hit the Sunday matinee

“invisible string” indicates that the yogurt shop is equally innocent as Centennial Park. The store represents the hope of Taylor’s soul mate, parallel to her hope:

Green was the color of the grass

Where I used to read at Centennial Park

I used to think I would meet somebody there

Teal was the color of your shirt

When you were sixteen at the yogurt shop

You used to work at to make a little money

“cardigan” and “this is me trying” alternatively highlight the persistence of memory, with a relationship leaving an “indelible mark” on the narrators. These songs belong in the second category:

I knew I’d curse you for the longest time

Chasin’ shadows in the grocery line

You’re a flashback in a film reel on the one screen in my town

James’ recollection qualifies “betty” for the second category as well. This song shows that emotional weight falls behind the act of remembering:

Betty, I won’t make assumptions

About why you switched your homeroom, but

I think it’s ‘cause of me

Betty, one time I was riding on my skateboard

When I passed your house

It’s like I couldn’t breathe

//

Betty, I know where it all went wrong

Your favorite song was playing

From the far side of the gym

I was nowhere to be found

I hate the crowds, you know that

Plus, I saw you dance with him

The surprising common denominator of these two categories is that conflict is purely internal in public spaces. Regardless of whether the speakers feel positively or negatively (i.e. per category number), their feelings are entirely a product of their own decisions, such as revisiting a memory or avoiding confrontation. This gives credence to the theory that the Suburb inversely relates conflict distance with privacy.

On the other extreme, the home is a site of conflict larger than oneself, and often more conflict in general. Conflict which occurs in the most private setting, inside the house, is conflict where the two sides are most distanced from each other. Conflict near the house, though not strictly inside, is closer, interpersonal.

“my tears ricochet” is just an ‘indoors’ song. The opening line depicts a private, funeral-like atmosphere:

We gather here, we line up, weepin’ in a sunlit room

There are multiple interpretations of this song floating around. The two prevailing ones are about the death of Taylor Swift the persona and the sale of her masters. In either interpretation, society and culture are the foundation for the implied conflict. First, the caricature of Taylor Swift exists as a reflection of pop culture; second, the sale of global superstar Taylor Swift’s masters is a dispute of such magnitude that it is not simply an interpersonal squabble.

For the alternative interpretation that “my tears ricochet” is about a dissolved relationship, “and when you can’t sleep at night // you hear my stolen lullabies” implicates Taylor Swift’s public catalogue (and thus Taylor Swift the persona) as the entity haunting someone else, as opposed to Taylor Swift the former member of the relationship.

“mad woman” is just an ‘outdoors’ song because of the line about the neighbor’s lawn:

What do you sing on your drive home?

Do you see my face in the neighbor’s lawn?

Does she smile?

Or does she mouth, “Fuck you forever”

It’s clear Taylor has a lot of vitriol for Scooter Braun. Though it’s probably a bit of both at the end of the day, I am comfortable calling their feud more of the ‘person vs. person’ variety than the ‘person vs. society’ variety.

Consequently, the privacy gradient claim holds for both songs.

“illicit affairs” is one of two songs with a very clear ‘transformation’ of geography:

What started in beautiful rooms

Ends with meetings in parking lots

In context, this represents the devolution of the relationship. External conflict, the illegitimacy of the relationship, defined the affair when it was in “beautiful rooms.” Relocating to the parking lot (i.e. now referencing the Suburban town) coincides with discord turning inward. Any external shame or scorn for both lovers as a consequence of the affair is replaced by the end of the song with anger the lovers feel towards each other and, more importantly, themselves.

“seven” is the best example of how many types of conflict are present in and around the home:

I hit my peak at seven

Feet in the swing over the creek

I was too scared to jump in

//

And I’ve been meaning to tell you

I think your house is haunted

Your dad is always mad and that must be why

And I think you should come live with me

And we can be pirates

Then you won’t have to cry

Or hide in the closet

//

Please picture me in the weeds

Before I learned civility

I used to scream ferociously

Any time I wanted

The first few lines exemplify ‘person vs. self’ conflict, a fear of heights. The third segment introduces a ‘person vs. society’ dilemma, shrinking pains as a result of socialization into gender norms. (I am assuming that the child is a girl.) The second verse indicates strife between a child and a father. It leaves room for three interpretations:

The conflict is interpersonal, so the father’s anger is wholly or partially directed at the child because the father is an angry person

The conflict is sociological, so the father’s anger is a whole or partial consequence of the gendered roles which the father and child perform

Both

Is curious that we need not regard sadness and the closet in “seven” as mutually inclusive. The narrator says the child’s options are crying (logical) or hiding in the closet. Both the father’s temper and the closet are facts of the child’s life, either innocuous or traumatic or somewhere in between.

But we might—and perhaps should—go further and argue that conflict in “seven” is necessarily sociological, and specifically about being civilized to perform heterosexual femininity. For, taken to its logical extreme, if only gender identity and not sexual identity incites anger, then men must be socialized to become abusive to women, who must be socialized to become submissive to that abuse. Screaming “ferociously” at any time would also denote freedom to be oneself despite men, not freedom to be oneself for one’s own gratification. Yet the child surely enjoys the second freedom at the beginning of the song. While the patriarchy is indeed an oppressive societal force, the interpretation of the social conflict in “seven” as only gendered yields contradiction. This interpretation is much more tenuous than acknowledging that the closet is, in fact, The Closet.

(Mere mention of a closet, the universal symbol for hiding one’s sexuality, immediately justifies a queer interpretation of “seven” notwithstanding other sociological and/or semantic technicalities. A sizable chunk of Taylor’s extensive discography also lends itself to queer interpretation by extension of connection with this song—for instance, by a shared theme of socialization as a primary evil. To me it seems silly at best and homophobic at worst to eschew the reading of “seven” presented here.)

It is undeniable that “seven” represents many types of conflict and places them inversely on the privacy gradient. The father embodies societal conflict larger than the young child and introduces that conflict inside the house. The child faces internal conflict (i.e. a fear of heights) and no conflict at all (i.e. freedom to act fearlessly) outside.

Reconciling “august,” “exile,” and “betty” with the privacy gradient actually requires a queer interpretation of the songs. To avoid the complete logical fallacy of a circular proof, I reiterate that the privacy gradient is simply a means of illustrating how the Suburb functions as an archetypal location. Queer interpretation is a sufficient but not necessary condition for an interesting argument about Suburban spatial symbolism. Reaching a slightly weaker conclusion about the Suburb without the privacy gradient would not impact the conclusions about the other three archetypal locations. Finally, queer (sub)text is a noteworthy topic on its own.

“betty” situates the front porch as the venue where Betty must make a decision about her relationship with James:

But if I just showed up at your party

Would you have me? Would you want me?

Would you tell me to go fuck myself

Or lead me to the garden?

In the garden, would you trust me

If I told you it was just a summer thing?

//

Yeah, I showed up at your party

Will you have me? Will you love me?

Will you kiss me on the porch

In front of all your stupid friends?

If you kiss me, will it be just like I dreamed it?

Will it patch your broken wings?

Influencing Betty’s decision is her relationship with her “stupid” (read: homophobic) friends who don’t accept James (and/or the idea of James/Betty as a pair), her own internalized homophobia, and the trepidation with which she may regard James after the August escapade. The conflict at the front door is external/societal, interpersonal, and internal.

The garden differs from the front door as an area where James and Betty can privately discuss the August escapade. By moving to the garden, the supposed root of their conflict shifts from the oppressive force of homophobia to James’ behavior regarding the love triangle (“would you trust me if I told you it was just a summer thing?”). Much like in “illicit affairs,” motion along the privacy gradient underscores that micro-geography is inversely related to conflict distance.

Next, the implied settings of “august” are a bedroom and a private outdoor location such as a backyard:

Salt air, and the rust on your door

I never needed anything more

Whispers of "Are you sure?”

“Never have I ever before”

//

Your back beneath the sun

Wishin’ I could write my name on it

Will you call when you’re back at school?

I remember thinkin’ I had you

The backyard holds a mixture of ‘person vs. self’ and ‘person vs. person’ conflict. August’s doubts about James manifest as personal insecurities. However, James, by avoiding commitment, is equally responsible for planting that seed of doubt.

The song’s opening scene depicts a young adult losing their virginity. The bedroom can thus be conceptualized as a site of societal conflict because the queer love story expands this location to the geographical manifestation of escapism and denial. James runs off with August as a means to ignore externalized homophobia from a relationship with Betty, who has homophobic friends. Yet they eventually ditch August for Betty, either because of intense feelings for Betty or internalized homophobia—the relationship with August was too perfect, too easy.

“betty” and “august” are consistent with the gradient theory provided we interpret the love triangle narrative as queer. Identity engenders conflict in these songs. The characters then confront the conflict vis-à-vis location. ‘Indoors’ becomes the arena for confronting issues farther from the self, namely concerning homophobia. ‘Outdoors’ scopes cause and therefore possible resolution to individuals’ choices.

Last but not least, consider “exile,” the song with strange staging:

And it took you five whole minutes

To pack us up and leave me with it

Holdin’ all this love out here in the hall

//

You were my crown, now I’m in exile, seein’ you out

I think I’ve seen this film before

So I’m leaving out the side door

“I’m in exile, seein’ you out” and “I’m leaving out the side door” contradict each other. The speaker, “I,” seeing their lover out means that the speaker remains inside the house while their lover leaves. But the “I” also leaves through the side door. Does the speaker follow their lover out? If so, then whose house are they leaving? It is most likely a shared residence. They plan on coming back.

Taylor said in an interview [3] that the verses, sung by different people, represent the perspectives of the two lovers. The “me” in the first segment is the “you” in the second. So our “I” is left in the hall too. Both individuals  in the relationship are implied to leave and stay at different times.

An explanation for this inconsistency lies in the distinction between doors. A front door in folklore is symbolic of trust, that which makes or breaks a relationship (see: Betty’s front door and the door in “hoax”). It also forces sociological conflict to be resolved at the interpersonal level, lest serious problems hang out in the open. Fixing the world at large is usually impossible, and so front doors only create more issues. (The mountains, as they say, are too big to move.) The main entrance is thus a site for volatility and high stakes.

“exile” suggests that a shared side door is for persistent, dull, aching pain. This door symbolizes shame which is inherent to a relationship. It forces the partners to come and go quietly, to hide the existence of their love. Inferred from a queer reading of “exile” is that it is homophobia that erases the relationship. Conflict with society as evinced in individuals is once again consistent with the staging at the home.

Note that few (though multiple) explanations could resolve the paradox between intense shame in a relationship and the setting of a permanent shared home. Racism, for example, may be a reason individuals hide the existence of a loving relationship. Nevertheless, the overall effect of Taylor’s writing is that it is believable autobiography. It is unlikely that she’s speaking about racism here, least of all because there are two other male characters in the song. So a slightly more uncouth name for “exile” would be “the last great american mutual bearding anthem.”

To summarize, the Suburb is an archetypal setting constructed upon the notion of privacy. Taylor makes the folklore Suburb the primary home (no pun intended) of conflict of all kinds. Through an intimate, inverse relationship between drama and constitutive geography, Taylor argues that unrest and incongruity are central to what the Suburb represents.

The Outside World

The final archetypal setting is the complement to the first three—a physical and symbolic alternative.

The Guadalcanal beaches in “epiphany” (which are also alluded to in “peace”) contrast the homeland in “exile” through a metaphor about war. The Lake District in England is opposite America, the setting of most of folklore. The Moon, Saturn, and India are far away from Pennsylvania, the setting of “seven.” India quantifies the lengths to which the speaker of the song would go to protect the child character, while astronomy abstracts the magnitude of the speaker’s love.

This archetypal setting is symbolic of disengagement and breaking free from limitations. Moving to India in “seven” is how the speaker and child could escape problems at the child’s home. Analogizing war with the pandemic in “epiphany” removes geographical and chronological constraints from trauma.

The Lake District is where Taylor, a poet, goes to die. The line “I don’t belong and, my beloved, neither do you” could also suggest that this location is where Taylor and her muse break free from being outcasts (i.e. they find belonging). Regardless, the Lake District is where she disengages from the ultimate limitation of life itself.

——

How is an archetypal feature used as a metaphor? By proxy, what does that say about the setting defined by said feature?

Analysis of each archetypal feature yielded the following:

The Coastal Town is representative of permanent loss/endings

The City is representative of transitional loss/endings

The Suburb is the site of character-defining conflict

The Outside World is freedom from the constraints of the other settings

What theme unites these settings?

Though the majority of songs in folklore are anachronistic, the album has a temporal spirit. Geography seems to humanize and animate folklore: the meanings of the settings mirror the stages of life.

(The theoretical foundation for this claim is a topology of being; that the nature of being [4] is an event of place.)

The City, characterized by transition, is the coming-of-age and the Coastal Town, characterized by permanent endings, is death.

The Outside World, an alternative to life itself, is hence a rebirth. (After all, Romantic poets experienced a spiritual and occupational rebirth upon retiring to the Lakes to die. We remember them by their retreat.)

Outwardly, the Suburb is ambiguous. It could be representative of adolescence or adulthood—before or after the City. Analysis shows that this setting is nothing if not complex. Adult Taylor writes about the Suburb as someone whose opinion of this setting has unquestionably soured since adolescence. Yet she also approaches the Suburb with the singular goal of creating nuance, specifically by exposing unrest and incongruity which the setting usually obfuscates. This setting, ironically one that is (culturally) ruled by haughty adolescents, is where she explores the myriad subtleties and uncertainties coloring adulthood. The Suburb thus cannot be for adolescence because James is 17 and doesn’t know anything. Taylor intentionally situates the Suburb between the City and Coastal Town as the geographic stand-in for a complicated adulthood.

Despite genre shifts, Taylor has always excelled at establishing a clear setting for her songs. She is arguably even required to establish setting more clearly for folkloric storytelling than for her brand of confessional pop. If we can’t fully distinguish between reality and fiction, we must be able to supplement our understanding of a story with strong characterization, which is ultimately a byproduct of setting. Geography is a prima facie necessity for creating folklore.

This further suggests that the ‘life story’ told through geography is the thing closest to a metanarrative of folklore.

I use this term to refer to an album’s overarching narrative structure which Taylor creates (maybe subconsciously) in service of artistic self-expression. Interrogating ‘metanarrative’ should not be confused with the protean, impossible, and distracting task of deciphering Taylor Swift’s life. True metanarrative is always worth exploring. Also, though some conclusions about metanarrative may seem more plausible than others, at the end of the day all relevant arguments are untenable. Only Taylor knows exactly which metanarrative(s) her albums follow, if any. It is simply worth appreciating that folklore allows an interesting discussion about metanarrative in the first place; that it is both possible to find patterns sewn into the fabric of the work and to resonate with that which one believes those patterns illustrate. I digress.

folklore is highly geographic but orthogonal to all of our geographic expectations of mood or tone. Through metaphor, Taylor upends our assumptions about the archetypal settings.

The Outside World is usually a setting which represents a brief and peaceful respite for travelers. Here, it is the setting for complete and permanent disengagement. Hiding and running away was a panacea in reputation/Lover, but in folklore, finding peace in running and hiding becomes impossible.

The City is usually regarded as a modern Fountain of Youth and, in Taylor’s work, a home. However, the folklore City’s shelter is temporary and its energy brittle, like the relationship between the characters that inhabit it. The City has lost its glow.

One would expect the Coastal Town to be peaceful and serene given its small size and proximity to water. Taylor makes it the primary site of death, insanity, permanent loss. The place where one cannot go with grace is hardly peaceful.

The Suburb is not the romanticized-by-necessity dead end that it is in a Bildungsroman like Fearless. Rather, it is the site of great conflict as a consequence of individual identity. The American suburb is monolithic by design; Taylor points the finger of blame back at this design for erasing hurt and trauma. By writing against the gradient of privacy, she obviates all simplicity and serenity for which this location is known. Bedrooms no longer illustrate the dancing-in-pjs-before-school and floodplain-of-tears binary. Front porches become more sinister than the place to meet a future partner and rock a baby. Characters’ choices—often between two undesirable options in situations complicated by misalignment of the self and the world at large—become their biggest mistakes. It is with near masochistic fascination that Taylor dissects how the picturesque Suburban façade disguises misery.

If we have come to expect anything from Taylor, it is that she will make lustrous even the most mundane feelings and places. (And she is very good at her job.) folklore is a departure from this practice. She replaces erstwhile veneration of geography itself with nostalgia, bitterness, sadness, or disdain for any given setting. folklore is orthogonal to our primary expectation of Taylor Swift.

Yet another fascinating aspect of folklore is the air of death. It’s understandable. Taylor has ‘killed’ relationships, her own image, and surely parts of her inner self an unknowable number of times. Others have tarnished her reputation, stolen her songs, and deserted her in personal and professional life. She perishes frequently, both by her own hand and by the hands of others. The losses compound.

I’ve lost track of the number of posts I’ve seen saying that folklore is Taylor mourning friendships, love, a past self, youth…x, y, z. It has literally never been easier to project onto a Taylor Swift album, folks! At the same time, it is very difficult to to pinpoint what, exactly, Taylor is mourning. To me, listing things is a far too limited understanding of folklore. The lists simply do not do the album justice.

Death’s omnipresence has intrigued many, and I assert for good geographic reason. Reinforcing the album’s macabre undertone is nonlinear spatial symbolism: each setting bares a grief-soaked stage of a single life. From the City to the Suburb, Coastal Town, and Outside World, we perceive one’s sadness and depression, anger and helplessness, frustration and scorn, and acceptance, respectively. folklore holds a raw, primal grief at its core.

The geographic metanarrative justifies Taylor’s unabridged grieving process as that over the death of her own Romanticism. For the album’s torment is not as simple as in aging or metamorphosis of identity, not as glorified or irreverent as in a typical Swiftian murder-suicide, not as overt as in a loss with something or someone to blame. folklore is Taylor’s reckoning with what can only be described as artistic mortality.

——

To summarize up until this point: geography in folklore is not literal but metaphorical. The artistic treatment of folklore settings evinces a ‘geographic metanarrative,’ a close connection between settings and the stages of a life spent grieving. I propose that this life tracks Taylor’s relationship to her Romanticism. folklore follows the stages of Taylor’s artistic grief, so we will see that the conclusion of the album brings the death of Taylor’s Romanticism.

It is important to distinguish between the death of Romanticism in general and the death of Taylor’s Romanticism. folklore presents an argument for the latter.

A central conceit of Romanticism is its philosophy of style:

The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them should shape all aspects of human life.…if the romantic ideal is to materialize, aesthetics should permeate and shape human life. [5]

Romanticism is realized through imagination:

The imagination was elevated to a position as the supreme faculty of the mind.…The Romantics tended to define and to present the imagination as our ultimate “shaping” or creative power, the approximate human equivalent of the creative powers of nature or even deity. It is dynamic, an active, rather than passive power, with many functions. Imagination is the primary faculty for creating all art. On a broader scale, it is also the faculty that helps humans to constitute reality…we not only perceive the world around us, but also in part create it. Uniting both reason and feeling…imagination is extolled as the ultimate synthesizing faculty, enabling humans to reconcile differences and opposites in the world of appearance. [6]

Imagination then engenders an artist-hero lifestyle [7]. This is similar—if not identical—to what we perceive of Taylor Swift’s life:

By locating the ultimate source of poetry in the individual artist, the tradition, stretching back to the ancients, of valuing art primarily for its ability to imitate human life (that is, for its mimetic qualities) was reversed. In Romantic theory, art was valuable not so much as a mirror of the external world, but as a source of illumination of the world within.…The “poetic speaker” became less a persona and more the direct person of the poet.…The interior journey and the development of the self recurred everywhere as subject material for the Romantic artist. The artist-as-hero is a specifically Romantic type.

Taylor’s Romanticism is thus her imagination deified as her artist-hero.

Moreover, the discrepancy between perceptions of grief in folklore is a consequence of the death of her Romanticism.

We (i.e. outsiders) naturally perceive the death of the Romantic as the death of Romantic aesthetics. Hence the lists upon lists of things that Taylor mourns instead of celebrates.

Taylor seems to grieve her Romantic artist-hero. Imaginative capacity predicates an artist-hero self-image, so conversely the death of the Romantic strips imagination of its power. The projected “fantasy, history, and memory” [8] of folklore indeed unnerves rather than comforts. The best example of this is from a corollary of the geographic metanarrative. Grief traces geography which traces life, and life leaks from densely populated areas to sparsely populated areas (it begins in the City and ends in the Outside World). Metaphorical setting, a product of imagination, aids the Romantic’s unbecoming. So, imagination is not a “synthesizing faculty” for reconciling difference; it is instead a faculty that divides.

Discriminating between the death of Romanticism in general and the death of Taylor’s Romanticism contextualizes folklore’s highly individualized grief. It is hard to argue that Taylor Swift will ever be unimaginative. But if we assume that she subscribes to a Romantic philosophy, then it follows that confronting the limits of the imagination is, to her, akin to a reckoning with mortality, a limit of the self.

——

folklore follows the stages of Taylor’s artistic grief. The album ends with Taylor accepting of the death of her Romanticism and being reborn into a new life. The final trio of songs, set ‘of’ the Suburb, Coastal Town, and Outside World in turn, frame the album’s solitary denouement.

In truth, “peace” is hardly grounded in Suburban geography. The nuance in it certainly makes it a thematic contemporary of other songs belonging to the Suburb, however. And consider: the events of “peace” are after the coming-of-age, the City; defining geographic features of the Coastal Town and Outside World are referenced in the future tense; an interior wall, the closest thing to Suburban home geography, is referenced in the present tense:

Our coming-of-age has come and gone

//

But I’m a fire and I’ll keep your brittle heart warm

If your cascade ocean wave blues come

//

You paint dreamscapes on the wall

//

And you know that I’d swing with you for the fences

Sit with you in the trenches

Per tense and the geographic metanarrative, “peace” is Suburban and is the first story of this trio. “hoax” and “the lakes” trivially follow (in that order) by their own geography.

The trio is clearly a story about Taylor and her muse. Understanding perspective in these songs will help us reconcile the lovers’ story and the geographic metanarrative.

We must compare lines in “peace” and “hoax” to determine who is speaking in those songs and when. Oft-repeated imagery makes it challenging to find a distinguishing detail local only to the trio. I draw attention to the affectionate nickname “darling”:

And it’s just around the corner, darlin’

'Cause it lives in me

Darling, this was just as hard

As when they pulled me apart

These two mentions are the only such ones in folklore. Whoever sings the first verse of “peace” must sing the bridge of “hoax” too.

“hoax” adds that the chorus singer’s melancholy is because of their faithless lover:

Don't want no other shade of blue but you

No other sadness in the world would do

Augmenting Lover is an undercurrent of sadness to which Taylor alludes with the color blue. By a basic understanding of that album, Taylor sings the “hoax” chorus.

The fire and color metaphors in tandem make the “hoax” verse(s) and bridge from the perspective of the lover who is burned and dimmed by the energy of their partner, the “peace” chorus singer:

I am ash from your fire

//

But what you did was just as dark

But I’m a fire and I’ll keep your brittle heart warm

Finally, a motif of an unraveling aligns the “hoax” verse(s) and bridge singer:

You knew it still hurts underneath my scars

From when they pulled me apart

//

My kingdom come undone

The “hoax” verse(s), chorus, and bridge are all sung by the same person.

In sum: Taylor sings the first verse of “peace” and her lover sings the chorus of “peace.” (See this post for more on “peace.”) Taylor alone sings “hoax.” “the lakes” is undoubtedly from Taylor’s perspective too.

Now let’s examine “peace” more closely:

Our coming-of-age has come and gone

Suddenly this summer, it’s clear

I never had the courage of my convictions

As long as danger is near

And it’s just around the corner, darlin’

‘Cause it lives in me

No, I could never give you peace

But I’m a fire and I'll keep your brittle heart warm

If your cascade, ocean wave blues come

All these people think love’s for show

But I would die for you in secret

The devil’s in the details, but you got a friend in me

Would it be enough if I could never give you peace?

Taylor’s lover has the temerity to die for her in secret. We can infer from the first verse that Taylor’s coming-of-age brings not the courage her lover possesses but clarity about an unsustainable habit. She realizes that she cherishes youthful fantasies of life (such as “this summer,” à la “august”) for mettle. This apparently knocks her out of her reverie.

The recognition that being an artist-hero hurts her muse frames the death of Taylor’s Romanticism. It is impossible for Taylor to both manage an unpleasant reality and construct a more peaceful one using her Romantic imagination. The rift between her true lived experience (“interior journey”) and the experience of her art (“development of the self”) is what fuels alienation from Romance. The artist is unstitched from the hero.

“hoax” continues along this line of reasoning. In this song, she admits that she has been hurt by herself:

My twisted knife

My sleepless night

My winless fight

This has frozen my ground

As well as by her lover:

My best laid plan

Your sleight of hand

My barren land

I am ash from your fire

And by others:

You knew it still hurts underneath my scars

From when they pulled me apart

The bridge marks is the turning point where she lets go of of her youth and adulthood, both of which are tied to her Romanticism through geography:

You know I left a part of me back in New York

You knew the hero died so what’s the movie for?

You knew it still hurts underneath my scars

From when they pulled me apart

You knew the password so I let you in the door

You knew you won so what’s the point of keeping score?

You knew it still hurts underneath my scars

From when they pulled me apart

Of utmost importance is the very first line. The muse to whom Taylor addresses “hoax” is said to have been present at Taylor’s side through all of her struggles (“you knew”). The first line reveals that the lover did not know that Taylor left a part of herself back in New York (“you know [now]”). Taylor is only sharing her newfound realization as she stands on the precipice of the Coastal Town.

Nearly imperceptible though this syntactic difference is, it is an unmistakable reprise of the effect of the verses and chorus of “cardigan.” (Coincidentally, references to New York connect the songs.) “Knew” and “know” in both songs underscore a difference between what a character remembers (or had previously experienced) and what they understand in the current moment (or have just come to realize). Betty realizes at the very moment that she narrates “cardigan” that it was a mistake to excuse James’ behavior as total ignorance and youthful selfishness. Taylor realizes in “hoax” that she can no longer cling to youth, the romanticization of her youth, or romanticization of the romanticization of her youth. The youth in her is gone forever because she is no longer attached to the City. The adult in her has also matured for she is past the Suburb as well. The Coastal Town thus very appropriately stages the death of her Romantic.

Anyone who listens to Taylor’s music has been trained to connect geography to the vitality of Romantic artist-hero Taylor. In short, aestheticized geography renders Taylor’s Romantic autobiography. By letting go of the parts of her connected to geography, Taylor abandons the Romantic aesthetics both she and listeners associate with location. Divorcing from aesthetics also pre-empts romanticization of location in the future. The bridge of “hoax” is thus most easily summarized as the moment when any fondness for and predisposition towards Romance crumbles completely.

Lastly, we must pay special attention to micro-geography in the “hoax” chorus. We recall from “the last great american dynasty” and “this is me trying” the insanity that consumes the characters who contemplate the cliffs. The Coastal Town is not a beautiful place to die; one is graceless when moribund:

They say she was seen on occasion

Pacing the rocks, staring out at the midnight sea

I’ve been having a hard time adjusting

//

Pulled the car off the road to the lookout

Could’ve followed my fears all the way down

From “peace” we know that Taylor’s lover is willing to die for her, in particular if Taylor’s sadness becomes too great (i.e. if she goes to the sea).

But I’m a fire and I'll keep your brittle heart warm

If your cascade, ocean wave blues come

All these people think love’s for show

But I would die for you in secret

The “hoax” chorus is when Taylor’s sadness balloons. Taylor the Romantic is ready to die:

Stood on the cliffside screaming, "Give me a reason"

Your faithless love’s the only hoax I believe in

Don't want no other shade of blue but you

No other sadness in the world would do

Remember Rebekah, pacing the rocks, staring out at the midnight sea. Taylor is in this same position, on the cliffs, facing the water. Why is she screaming? Taylor is yelling down at her lover, who has already died (in secret, of course) and is in the water below waiting to catch her. (“I’m always waiting for you to be waiting below,” anyone?) Taylor’s singular faith is in her lover, and Taylor wants them to promise to catch her when she falls. In the end, though, the inherent danger nullifies what the lover could do to convince Taylor that the two would reunite safely below.

Taylor examines the water and realizes that her lover’s hue is combined with the blue of the sea. The sea cannot promise to catch her. Already mentally reeling, the admixture of sadnesses—in the setting which represents the culmination of life—makes Taylor recalcitrant. The Coastal Town has too much metaphorical baggage. It is not the place Taylor leaps from the cliffs. The first line of the “hoax” chorus uses “stood,” which implies that Taylor is reflecting on this dilemma after the fact.

The outro reinforces that the Coastal Town is where Taylor the Romantic comes to term with death but does not actually die:

My only one

My kingdom come undone

My broken drum

You have beaten my heart

Don’t want no other shade of blue but you

No other sadness in the world would do

Romantic imagination cannot protect Taylor from all the hurt she has suffered in reality. A calm settles over her as the chords modulate to the relative major key. She reflects on her journey: “my only one” corresponds to the first verse which introduces her solemn situation; “my kingdom come undone” ties to the self-inflicted hurt that froze her ground; “my broken drum // you have beaten my heart” supplements the second verse about suffering from her lover’s duplicity. The last lines are again her rationale for not jumping from the rocks. Finally, after the album-long grieving period, Taylor the Romantic has made peace with her inevitable death.

Romanticism is Taylor’s giant which goes with her wherever she goes. Running, hiding, traveling, and uprooting are indeed the fool’s paradise in her previous albums. Impermanence of setting—roaming the world for self-culture, amusement, intoxication of beauty, and loss of sadness [9]—engenders an impermanence of self, which fuels the instinct to cling tightly to what does remain constant. Naturally, then, Romanticism is Taylor’s only enduring companion. It becomes the lens through which she understands the world, yet the rose-colored one which by virtue inspires problems on top of problems. Forevermore does her Romantic inspire a cycle of catharsis that plays out in real life. Thy beautiful kingdom come, then tragically come undone.

Taylor chooses to go to the Lakes to escape from the constraints of this cycle:

Take me to the Lakes where all the poets went to die

I don’t belong and, my beloved, neither do you

Those Windermere peaks look like a perfect place to cry

I’m setting off, but not without my muse

Of the death story in the “peace”/“hoax”/“the lakes” trio, it is impossible to ignore the mutualism of Taylor and her muse. Neither of them belong of this life—and ‘of’ American geography—anymore. Taylor’s last wish is to go to the Outside World and jump (“[set] off”) from the Windermere peaks with her muse, who is ever willing to both lead Taylor to the dark and follow her into it.

Taylor bids a final goodbye—appropriately, in the tongue of Romance—to the philosophy which has anchored her all this time:

I want auroras and sad prose

I want to watch wisteria grow right over my bare feet

'Cause I haven’t moved in years

And I want you right here

Romanticism, her art and life in tandem, brought Taylor what she values: union with her muse in the privacy of nature and her imagination. The final ode holds respect.

Finally, her death. The journey of grief concludes with Taylor both accepting death and, fascinatingly, being reborn into a new life:

A red rose grew up out of ice frozen ground

With no one around to tweet it

While I bathe in cliffside pools

With my calamitous love and insurmountable grief

In keeping with metaphorical geography, old life dwindling in water is exactly concurrent with new life flourishing on land.

Observe that the rebirth concerns ice frozen ground, an element of “hoax,” which is set in the Coastal Town. The rebirth must happen back in America even though the death happens at the Lakes.

Despite the imagery, this is not a Romantic rebirth. Begetting a new life is the juxtaposition of two things Taylor once romanticized toward opposite extremes—a red rose for beauty and an ice frozen ground for tragedy—with her simple refusal that either be distorted as externalities of her experience.

This final stanza is wide open for interpretation with regards to the story of the two lovers. It allows a priori all permutations of Taylor and/or her muse experiencing rebirth as the red rose and/or the frozen ground:

Taylor and her lover experience a rebirth together

Taylor is the red rose and her lover is the ice frozen ground

Taylor is the ice frozen ground and her lover is the red rose

Taylor and her lover are indivisible: they are both the rose and the frozen ground

Taylor alone experiences a rebirth

Taylor is the rose

Taylor is the ice frozen ground

Taylor is the rose + ice frozen ground

The lover alone experiences a rebirth

The lover is the rose

The lover is the ice frozen ground

The lover is the rose + frozen ground

(2) and (3) make death at the end of “the lakes” purely sacrificial. This is inconsistent with the disproportionate emphasis placed on the lovers’ mutualism. I am thus inclined to dismiss (2) and (3) as consequences of combinatorics.

There are also two interpretations of the final lines of the bridge:

Taylor the Romantic is the implied ‘I’ overcome with grief; her muse is her calamitous love with whom she bathes

Taylor the Romantic possesses both calamitous love and insurmountable grief; her lover, as per usual, dies with her in secret

It is unclear which is the truth. Still, (1) is relatively straightforward: there are two entities said to bathe in the Lakes and two entities said to be involved in reincarnation.

There need not be ‘parity’ between old life and new (reincarnated) life with respect to the lovers’ relationship status. If Taylor’s muse dies, does her relationship dissolve? Or must her muse, who dies at Taylor’s side, be reborn at her side too? If Taylor declares her devotion to her lover before her death, does that ensure that they are together in perpetuity? Or is that sentiment purely a relic of her past life, in which case her love disappears anew? Perhaps the invisible string tying the lovers together bonds them in eternal life. Perhaps the string snaps. Which is the blessing and which is the curse?

Whatever you make of ‘parity’ in reincarnation, it is important to remember that Taylor insists the relationship between her and her muse is at least a spiritual or divine one—if not also a worldly one—for it exists in conjunction with her own metaphysic.

How does reincarnation betray Romanticism?

A. Taylor is the red rose and the lover is the ice frozen ground.

Taylor as the rose does not trivially align with a bygone Romanticism, for the rose epitomizes Romance. Key, therefore, is the line about tweeting. Taylor abhors the practice of cataloguing and oversharing in service of knowing something completely—effectively ‘modern’ Romanticism.

Digital overexposure is an occupational hazard [10], but Taylor refuses to let ‘modern’ Romanticism to become invasive this time around. New life shall not be defiled by social media. It shall remain pure by individual will. Though Taylor’s rebirth into a new life happens on land in America, that it does not become a hyperbole of local Twitter is the proverbial nail in the coffin of Romanticism, distortion in service of aesthetic.

Rose imagery also draws a direct parallel to “The Lucky One,” Taylor’s self-proclaimed meditation [11] on her worst fears of stardom. The “Rose Garden” in this song contextualizes the “lucky” one’s disappearance from the spotlight:

It was a few years later

I showed up here

And they still tell the legend of how you disappeared

How you took the money and your dignity, and got the hell out

They say you bought a bunch of land somewhere

Chose the Rose Garden over Madison Square

And it took some time, but I understand it now

Emphasis on individual choice in the aforementioned star’s return to normalcy bears a striking resemblance to the individualistic philosophy of “the lakes,” as exemplified by Taylor and her muse choosing to jump from the Windermere peaks and Taylor keeping her rose off social media. Mention of a “legend” that describes disappearance and simultaneous return elsewhere is another connection to the “the lakes.”

Taylor as the rose could alternatively represent a chromatic devolution of true love (“I once believed love was burnin’ red // but it’s golden”). That is, becoming a rose suggests she may have changed her mind back to believing that love is burning red. This more generally represents returning to the beginning of a journey that began in the Red era. Perhaps Taylor sees Red as the beginning of her calamitous Romanticism. She realizes by folklore the fears which she surveyed in “The Lucky One,” so choosing a new life presents an opportunity to protect post-Speak Now Taylor from self-inflicted wounds which fester and prove fatal to her Romantic. (In essence…time travel.)

Taylor’s lover, ice frozen ground, is reborn frigid not blazing, the opposite of their raging fire. Taming the lover’s wild essence renders it impossible for them to be a Romantic muse in a new life. If the two lovers do indeed share an eternal love, then death reveals a conscious choice not to glorify it.

Additionally, Taylor’s artist-hero imagination has no power in her new life. Taylor and her lover have effectively switched spots. All we previously knew of the lover’s secrets and secret death was from what Taylor wrote, so Taylor (for lack of a better phrase) concealed her lover. The lover, ice frozen ground, is now the one concealing Taylor, the rose. As a smothering but not razing force, Taylor’s lover thus is reincarnated into the role of a public protector. Reincarnation reveals that the death of Romanticism is abetted through the death of secrecy, which always allows distortion of truth.

Another possibility: the secrecy surrounding the lover is that they were the ice frozen ground. If Taylor confirms that the lover was something ‘tragic’ before, then after the death of Romanticism they counterintuitively may become beautiful. Or, the lover continues to be tragic, and paramount again is Taylor’s choice not to sensationalize her muse.

B. Taylor is the ice frozen ground and the lover is the red rose.

Many of the themes above apply to this interpretation too.

Taylor reborn as ice frozen ground does not change her essence from “hoax.” By not ‘shaking off’ a sadness with her rebirth, she subverts the usual expectation—a product of the many years devoted to fixing any and all criticism [12]—of artist-hero Taylor Swift.

The lover reborn as the red rose means their being surfaces where they once were hidden and/or that they are not the golden love they had been in reputation, Lover, and “invisible string.” New life brings the bright, burning “red” emotions. Either what was once very bad is now very good and vice versa, or these emotions are simply not very anything because Taylor doesn’t want to sensationalize them as a pastiche of Red. If Taylor’s love is eternal, then she will be more subdued when sharing it; if it is not eternal, then she will simply move on.

This interpretation implies that Taylor’s Rose Garden is eternal love without the necessity of elevating her partner to Romantic muse status. No one being around to tweet the rose bursting through the ice means that Taylor alone gets to appreciate her lover for their pure essence before modern society does—lest the lover be perceived at all.

C. Taylor and her lover are indivisible: they are both the rose and the frozen ground

Taylor’s “twisted knife”/“sleepless night”/“winless fight” froze her ground but her lover’s “sleight of hand” made the land barren, unable to sustain life. The two lovers are emotionally at odds, but Romanticism acts as the “synthesizing faculty” which unites them in their old life.

The metaphor of the rose and frozen ground does not work without each part. It is possible that the lovers remain equally united in their new life; the lovers’ spiritual connection yields unity after reincarnation. Abiogenesis is therefore the phenomenon which betrays Romanticism. The lovers exist alongside each other naturally, not because they are opposites which Romanticism has forced together.

This is probably the most lighthearted interpretation of the last stanza in “the lakes.” Extreme hardship helps the lovers grow, and they remain intertwined through eternity.

——

The geographic elegy of folklore is that for Taylor’s giant, her Romantic, something both treasured and despised right until its end. (How appropriately meta.)

This raises the question: what replaces it?

Nothing.

folklore can—and perhaps should—be understood as a Transcendental work rather than a Romantic one. From this angle, Romanticism is that which prevented Taylor from connecting with something deeper within herself, something more eternal.

“Transcendental” does not mean “transcendent” or beyond human experience altogether, but something through which experience is made possible. [13]

Transcendentalism and Romanticism were two literary and philosophical movements that occurred during roughly the same time period [14].  Romanticism dominated England, Germany, and France in the late 18th and early 19th centuries slightly before Transcendentalism swept through America in the mid-1800s.

The two movements heavily influenced [15] each other. Transcendentalists and Romantics shared an appreciation for nature, doubt of (Calvinist) religious dogma, and an ambivalence or dislike of society and its institutions as corrupting forces. We see Taylor align herself with these ideas by the end of the album. “the lakes” holds a reverence of the natural world, disregard of predestination, and contempt for Twitter.

But Transcendentalism sharply diverged from Romanticism along the axis of faith. Transcendentalism thrived as a religious movement that emphasized individualism as a means for self-growth and, in particular, achieving a personal, highly spiritualized [16] understanding of God:

For many of the transcendentalists the term “transcendentalism” represented nothing so technical as an inquiry into the presuppositions of human experience, but a new confidence in and appreciation of the mind’s powers, and a modern, non-doctrinal spirituality. The transcendentalist, Emerson states, believes in miracles, conceived as “the perpetual openness of the human mind to new influx of light and power…”

Romantics, for instance, viewed nature as a source of imagination, inspiration, and enlightenment, whereas Transcendentalists saw nature as a vessel for exploring spirituality. Transcendentalists believed in an innate goodness of people for possession of a divine inner light [17]. Occupied with the perverse and disparate, Romantics believed people were capable both of great good and terrible evil.

It’s tempting to scope Taylor’s shift from Romanticism to Transcendentalism to this album alone. It’s true that folklore is filled with individualism, a hallmark of Transcendentalist philosophy. However, I argue that spirituality reveals a journey towards Transcendentalism that began well before folklore.

Consider the evolution of faith from reputation to Lover. Taylor places more emphasis on personal spirituality as she becomes increasingly disillusioned with organized religion/religious dogma. In “Don’t Blame Me,” Taylor defies religious convictions in favor of chasing the high of her forbidden love. Then her quiet and private life with her lover in “Cornelia Street” advances whatever traditional religious beliefs she possessed towards a self-defined spirituality (“sacred new beginnings that became my religion”). Individual spiritual enlightenment and religious conviction become mutually exclusive by the end of Lover, for the lovers would still worship their love even if it is a “false god.”

The final scene proves most important for establishing the album’s philosophy. In the end of “the lakes.” Taylor chooses death and is reincarnated into new life, kept pure also by individual will. (It should be noted that Transcendentalism was heavily influenced [18] by Indian religions, of which reincarnation is a central tenet.) Choosing reincarnation—to the extent that one even can—reflects a greater understanding of oneself. Choice, the ultimate power granted in the self, engenders spirituality. It is the means by which one follows a divine, guiding spark (i.e. “inner light”) in search of connection with others and the natural world. The album’s ending marries individualism with spirituality, which makes Taylor a true champion of Transcendentalism.

——

Transcendentalism is considered one of the most dominant American intellectual movements. Exploring the significance of Transcendentalist Taylor Swift is a rather unimaginative end to this essay. If we try hard enough, we will always be able to connect its philosophy to any art that exists in conversation with American culture.

Perhaps a more gripping conclusion comes from the assertion that philosophy doesn’t matter…

…at least, not in the way this essay regards philosophy as the ultimate Point.

So identifiable is the geographic motif in Taylor’s work that it is nearly impossible to ignore. This is especially true for folklore, an album that would literally not be folkloric if not for the blending of reality and fiction, real location and setting elevated as metaphor. So moving, moreover, is the grief at folklore’s core that it is natural to wonder what else it could represent. Hence, this essay’s charade of poking around both to see if they convey a deeper meaning.

A strong philosophical foundation establishes the ethos of art, that with which we resonate. However, we will never know to what philosophy Taylor subscribes. The interaction between her beliefs, creative spirit, and innate sense of self will always be a mystery. Any and all conclusions about the philosophical foundations of her art thus (1) are highly subjective and (2) reveal more about the ones making them than about Taylor herself.

Ironically, it is paramount to appreciate Taylor’s (Romantic) style above all else. The ways she uses basic building blocks of literature—theme, imagery, mood, setting, to name a few—piques curiosity. After all, without those building blocks, one would not be able to cultivate (should they so desire) an interest in the metaphorical, philosophical, or otherwise profound.

——

Disclaimer: this essay references (explicitly and implicitly, by way of citing expanded theoretical work) the ideas of Emerson and Heidegger, two preeminent thinkers whose ideas have had especially deep and lasting impacts on society. They are also two individuals noted to have had poor and even abhorrent political/personal views. I do not condone their views by referencing any ideas connected to these individuals (done mostly in service of rigor). I furthermore leave the task of generating nuance to those who dedicate their lives to critical examination of these individuals’ personal philosophies and the impact of their work on society.

[realtorsinkirkwood62]

The real truth about Realtors

Realtors in Grant Park

I just read an annual poll taken among Americans rated Realtors as one of the least respected professions in the country. Initially in history, Realtors fell not just in the foot of their list, but even below non-licensed, non-governed professions. Yes, we finally out raced used-car salesman because least respected profession. Different polls have yielded spun sentences, however this particular poll focused on 'the trust of the professional to provide advice.'

Realtors in East Lake

Now, personally herein lies a certain conundrum. To get started on, certain significant differences exist between professions. For example, Realtors are licensed, and thus, they may be governed by three governing bodies: their local board of Realtors, hawaii board of Realtors, and the National Association of Realtors. To become licensed, each Realtor must pass several significant signposts. As an example, in Texas, at the very least three college level courses must be implemented to get yourself a license. Of course, this only relates to college-degreed individuals: more lessons are required if the candidate does not possess an approved degree. Next, they have to pass the licensing exam.

Once their license is obtained, ce is suggested to offer the license, as is also common in many professions, including Accountancy, Law, etc. This requirement is strictly enforced and should incorporate a minimum level of real estate property law. Thus Realtors stay relatively current with alterations in real estate and law, and, especially, nowadays, in the growing problem of mortgage fraud, which may sometimes, implicate owner, get the job done seller is ignorant of the law, they are able to potentially face criminal charges and substantial fines as an accomplice. (Ignorance with the law is no excuse).

A broker, like a seller's agent, normally can find the warning flags linked to mortgage fraud and alert their client towards the possibility and possible options for relief to stop an undesirable outcome (like jail). In a nutshell, the Realtor can be a professional, and, in some instances, cannot only sell your property, but keep you from legal troubles.

Additionally, Realtors, per the country's Association of Realtors, are bound by the code of ethics, which they must agree and abide by, for if they do not, they could (and usually are) brought before a court of inquiry through their local or state boards to ascertain their guilt or innocence and receive appropriate disciplinary measures. In short, if the Realtor is unethical (not just operating away from law, but operating inside the law unethically), they could (and will, if found guilty) lose their license to apply.

Did you know a real estate agent is controlled by the identical body of law that governs attorneys? That's right; it's known as regulations of Agency also it varies a bit state by state, but fundamentally, it claims that an agent is required by law to place your interests above their own. The point is this: Attorneys and Realtors are bound with the same group of laws. Yet, somehow, Attorneys rate MUCH higher within the poll.

Ever consider just what it cost in order to practice real estate? Relating to the tariff of joining the area, state, and national boards, along with the local MLS dues, showing rates, website fees, errors & omissions insurance, advertising costs, AND broker related fees and dues, a broker pays lots of money (even countless amounts) each and every year simply to be considered a Realtor.

And nobody is finished yet. After a Realtor is licensed, they have to discover a Broker to sponsor them. Now, this really is not that hard, however if you use a bad reputation from the field (and in property, everybody knows everyone), this might be more difficult than it might seem. In such cases, where reputations are poor, no broker will touch them, so a Realtor's only choices to turn into a Broker (this means more classes, more expense, more training, and the other licensing test) so that you can continue to practice real estate. It is not proclaiming that all small brokerages are probable crooks, the truth is, generally, small brokerages are merely entrepreneurially oriented individuals trying to develop a legitimate business, but you can find cases where here is the last chance for some Realtors to train real-estate prior to being uses up town on a rail, as it were.

I understand this looks like rambling, or I'm complaining over something small, but I'm really not. We have an MBA; I'm a Certified Management Accountant; I will be Certified in Financial Management; I spent 23 years in banking so that as a business consultant. A couple of years ago I managed to get disgruntled with the internal political machinery that constitute 'success' in corporate America and quit in order to look myself from the mirror during the night. Therefore i joined my spouse to create a trustworthy, honest business depending on integrity. I came to be an agent.

Some tips i found was that nobody trusted me which somewhat astounded me. People thought I took an inventory, sat back, watched TV, drank beer, and waited for somebody to offer their house. I'm not making this up - these people thought this. They complained about the very fact I wasn't doing anything on their behalf.

[realtorsingrantpark3]

The reality regarding Realtors

Realtors in Grant Park

Not long ago i read that the annual poll taken among Americans rated Realtors among the least respected professions in the united kingdom. The first time ever sold, Realtors fell not just to the bottom of this list, but even below non-licensed, non-governed professions. Yes, we finally out raced used-car salesman because the least respected profession. Different polls have yielded spun sentences, however particular poll focused on 'the trust of an professional to provide advice.'

Realtors in Kirkwood

Now, to me herein lies a certain conundrum. To get started on, certain significant differences exist between professions. For example, Realtors are licensed, and thus, they're controlled by three authorities: their local board of Realtors, hawaii board of Realtors, and also the Nar. To be licensed, each Realtor must pass a number of significant signposts. By way of example, in Texas, a minimum of three college level courses have to be implemented to obtain a license. Naturally, this only refers to college-degreed individuals: more courses are required if the candidate will not possess an accredited degree. Next, they need to pass the licensing exam.

Once their license is obtained, coaching is mandatory to retain the license, as they are common in several professions, such as Accountancy, Law, etc. This requirement is just enforced and ought to will include a minimum volume of real estate law. Thus Realtors stay relatively up-to-date with changes in real-estate and law, and, in particular, nowadays, from the growing problem of mortgage fraud, which can in some instances, implicate the vendor, get the job done seller is ignorant of regulations, they can potentially face criminal charges and substantial fines being an accomplice. (Ignorance in the law isn't any excuse).

A Realtor, as a seller's agent, normally can see the warning signs in connection with mortgage fraud and alert their client on the possibility and possible causes of relief to stop an undesirable outcome (like jail). To put it briefly, the Realtor is a professional, and, occasionally, can't only sell the house, but help you stay from legal troubles.

Additionally, Realtors, per the country's Association of Realtors, are bound by the code of ethics, which they must agree and follow, for when they usually do not, they are able to (and usually are) brought before a court of inquiry through their local or state boards to determine their guilt or innocence and receive appropriate disciplinary measures. In a nutshell, if a Realtor is unethical (not merely operating away from law, but operating within the law unethically), they're able to (and may, if found guilty) lose their license to rehearse.

Did you know that a representative is governed by exactly the same body of law that governs attorneys? You heard right; it's known as regulations of Agency plus it varies a lttle bit state by state, but fundamentally, it says that a real estate agent is required legally to put your interests above their own. The idea is this: Attorneys and Realtors are bound through the same set of laws. Yet, somehow, Attorneys rate Higher inside the poll.

Ever consider just what it cost in order to practice property? Between the cost of joining the neighborhood, state, and national boards, plus the local MLS dues, showing expenses, website fees, errors & omissions insurance, advertising costs, AND broker related fees and dues, a broker pays lots of money (even tens of thousands) each and every year just to be described as a Realtor.

And we're not finished yet. Each Realtor is licensed, they must find a Broker to sponsor them. Now, this really is certainly not hard, however if you use a bad reputation inside the field (plus real-estate, everyone understands everyone), this might be harder than you might think. In these cases, where reputations are poor, no broker will touch them, so a Realtor's only choices becoming a Broker (this means more classes, more expense, more training, and the other licensing test) in order to still practice real-estate. This is not praoclaiming that all small brokerages are probable crooks, the truth is, in many instances, small brokerages are merely entrepreneurially oriented individuals looking to make a legitimate business, but there are instances when this can be the last potential for some Realtors to apply real estate before being exhaust town on the rail, as it were.

I realize this seems like rambling, or I'm complaining over something small, but I'm really not. I have an MBA; I'm a Certified Management Accountant; I will be Certified in Financial Management; I spent 23 years in banking so that as a small business consultant. A couple of years ago I obtained disgruntled together with the internal political machinery that constitute 'success' in corporate America and quit so that you can look myself in the mirror at night. I really joined my wife to create a reliable, honest business according to integrity. I became a real estate agent.

A few things i found was that no-one trusted me understanding that somewhat astounded me. People thought I took an inventory, sat back, watched TV, drank beer, and waited for an individual to trade their property. That's not me making this up - they really thought this. They hated the actual fact I wasn't doing anything for them.

[ticktockstuck]

TTS Flag Friday: The Emerald Quarter

The district flag of the Emerald Quarter borrows its symbolism from the traditional leprechaun game of table stickball, with black quarter- and half-circles around the edge of the flag and the seven-toothed cog’s pivot acting as the cueball. The six “holes” are meant to signify that this district was the sixth to be established in the city.

Color-wise, green and gold stand for the district’s vast wealth while white and black stand for good and bad luck, respectively. Green also ties the flag to the district’s primary population, the naturally-green leprechauns, and combined with the arrangement of the holes makes the flag resemble a dollar bill as well as a stickball table.

The seven-toothed cog on the Emerald Quarter flag is the only such cog of the city’s district flags to be multicolored. Both parts of the cog are separate colors to represent different landmarks in the city. The circular white pivot represents the local Vice-Mayor’s office, marble-white and capped with a dome. The gold represents the Yellow Brick Road, a local street that loops around the district and is designed to distract and disorient newcomers.

During Tick-Tock Town’s early growth period, its population surged with folks of all stripes coming into the city. From the rest of the planet came trolls and humans, and from the celestial ring came a smattering of reptiles and leprechauns. Those leprechauns, many of whom were freshly exiled from their native moons around the Verse, converging in one place was especially notable; while full communities of leprechauns are easy to find on any given moon once they leave they tend to wander by themselves or in small groups. Tick-Tock Town itself was founded by outcasts and exiles, and that bit of history had the unexpected side effect of making it a popular destination for the emerald-skinned folk. They largely opted to settle near the coast (partly to recapture the feeling of living near the moons’ chalky seas) and while their sector of the city was for a long time treated as the far west side of Seaside, it was eventually split as its own district and gained the moniker of the Emerald Quarter.

The district’s name comes in part from the style of architecture Emerald favors. Buildings here are the most colorful in the city, decorated lavishly in the hues of the Verse’s moons, but the most common is a bright emerald shining from its crystalline spires and neon-lit streets. City blocks tend to share the same color, with solid colors closer inland and homes striped with white closer to the coast. A few buildings break from this mold, mostly as a result of other districts moving into Emerald, but even these exceptions share the local trait of wearing the district’s opulence on their sleeves. Even the mundane is dressed up like a palace here; stained glass studded into the artisan exteriors like gemstones, or else used to color the light and create a dreamlike haze in the streets.

The influx of wealthy non-leprechauns into the Emerald Quarter has proven to be a double-edged sword for the native leprechaun populous. It has improved the overall standard of living, but those same patrons have taken over prime real estate in the area, making their district one of the most expensive to live in, and have made extensive pushes in the past to rebuild the district more to their liking. Leprechauns, whose culture revolves around pranks and tricks, collectively built their district to be a maze. It’s not as chaotic as Alterneo’s streets but the district is full of dark alleyways, dead ends, secret doors, staircases with unevenly-spaced steps, misleading signposts, and every other trick of misdirection in the book. Those tricks are slowly but steadily being phased out as a result of the aristocracy pushing against them and making the streets increasingly drab and uniform. The local Leprechauns, in turn, have had to push back.

One of the oldest and most famous push-backs still in the Emerald Quarter is the Yellow Brick Road, built before even the Clockwork Network appeared in the city. The Road is a long and winding street coated in yellow paint that worms through the entire district but specifically avoids every major hotspot and highlight it has to offer, and instead cutting through its darkest and dingiest corners. At the same time, the Road is uneven and covered in bumps, making it infamously irritating to walk or drive over, and large chunks of it are purposefully unlit at night. The Road was built primarily to get back at citizens jokingly giving the area the nickname “The Emerald City” (derived from human pop culture) by thoroughly wasting their time, and to dissuade tourists from moving in.

The natural majority of the population in the Emerald Quarter are leprechauns, with the second-most representation coming from Prospitians. The white-bodied carapacians were drawn to the district thanks to a plethora of parks and general greenery present here and their presence has contributed to a beautification of those same parks. As for the rest, the district has a notable troll population thanks to neighboring the troll-centric Alterneo, and small scatterings of other races. While leprechauns still dominate, their majority is slowly shrinking as the years pass due to other races moving in and forcing them to spread out across the rest of the city.

Notable Residents of the Emerald Quarter: The Felt, Zebruh Codakk, The Peixes Family (by way of seaside mansion).