#that’s a very important part of this poem

[katerinaaqu]

Did Odysseus have horses or not? (An Iliad and Odyssey Analysis)

This little thing came from a post made by @wolfythewitch and my response in regards to some Cephallenian horses that can still be found to Kephallonia to this day: see here So here is a more extensive analysis on the question of horses and Ithaca or the kingdom of the Cephallenians in general

So as we know from antiquity, horses are known to be a sign of nobility, proof of status and of course a valuable animal for work such as farming or war. Horses play a very important role in the homeric poems with of course the most infamous example of all the Trojan Horse that was the symbol of Troy and became its destruction. Many heroes have had the pseudonym "tamer of horses" including Diomedes and Hector.

It seems also that horses are linked most to some of the richest and most powerful kingdoms are shown to have beautiful or good horses. For example except for Troy that as also linked to god Poseidon and thus to the sumbol of Horse, we also see Argos be famous for the horses (and king Diomedes earning his name from it) or even Sparta (Menelaus providing horses to Telemachus which are praised) and Pylos when Nestor also provides Telemachus and Peisistratus with horses.

But what about Ithaca?

As mentioned above and as others mentioned before me, it seems that Ithaca, the tiny rugged place Odysseus speaks about does not seem to have terrains that are capable of hosting horses like wide plains or wide and smooth roads where horses can trot freely or graze. The existence of animals for work as well seems to be touched in post-homeric sources such as Hyginus Fabulae where we see the infamous story of Odysseus pretending madness. He ties to his plow a donkey and a cow instead. Both of the animals are more frequent for plowing fields or carrying loads especially donkeys and mules that are still famous in Greece and greek islands and they are known for being capable of marching across the wild terrains and uphill paths.

Ironically, or not so much, Ithaca seems to have a lack of horses according to Telemachus himself for when Menelaus offers him parting gifts, including horses, Telemachus replies to him thus:

However the horses I shall not take with me to Ithaca but I shall leave them to you, with your permission (lit: to your glory): for you are a king of wide fields, rich in clove and galingale and plenty of wheat that is dicocum and white. However in Ithaca there are neither wide roads nor grassy meadows; place that is fit for goats to walk and graze on rather than horses. For no island that leans in the salt (here: sea) is fit for riding and grazing horses: Ithaca least of all.

(Translation by me)

So here Telemachus seems to imply that not only most of silands have unfriendly terrain for horses but also that Ithaca is "least of all". Now there are a couple of things here that are toned out:

Ithaca is described as a ragged place by Odysseus as well when he speaks on his homeland to the Phaeaces and even nowadays it is indeed true that Ithaca has more mountain plains than wide fields given how small the island is as well and in general Greece is over 80% mountains anyways.

Homer makes Telemachus speak on how Ithaca is the "least of all" suitable for horses. Probably that is a small hyperbole. For starters maybe one could speak on "least of all" in the islands of the Ionian sea instead, which Telemachus probably is familiar with because islands in the Aegean sea are much dryer and uphill than the islands on the Ionian sea so it is probably a hyperbole used by Homer to show how unsuitable Ithaca is for riding horses or comparing them to islands of the Ionian sea instead (because see for example an image of Folegandros which has even less greenery for horses to feed on:

However the image that Ithaca is probably boarderline hostile for horses and riding is also linked to the fact on how Ithaca is often perceived as a land rich in certain products such as olives or fruit trees (due to the mild climate) but a generally poorer island and kingdom compared to others like Mycenae, Argos or Sparta. When Telemachus visits Sparta is is mesmerized by her beauty and richness.

Even if we do have examples in Ithaca that show that Ithaca is not a weak or penniless kingdom (Penelope sits on a chair with ivory which is an exotic material very hard to find or Odysseus leaves for war wearing a crimson woolen mantle that is decorated with a golden brooch. Both gold and the color crimson were extremely valuable. For example crimson pigmentation is found only at the shells that come from the east so it would require good economy to obtain) Ithaca is by general idea a poorer and less powerful kingdom than the rest (Odysseus is one of the kings that brings the least amount of ships with him at the number of 12 and around 603 men in total including himself)

The absense of horses or the hint that Ithaca does not breed horses at all, according to some readings of the passage, is also linked to the lack of powerful status for the kingdom. The kingdom itself is not one of the great powerful kingdoms of Greece like his peers from Mycenae or Argos and the fact that a status symbol like Horses is absent is rather interesting way to show that. In fact Ithaca seems to gain fame by its people rather than its political power.

(See how Odysseus calls the island κουροτρόφο aka "nurturer of men". Odysseus implies that the importance of his kingdom is not to the status symbols but to its people and their braveness)

But can we really talk on complete absence of horses in Odysseus's life?

Cephallonia's Semi-wild Horses:

As I mentioned to the post I reblogged under @wolfythewitch post we do seem to have a breed of horses to the area. The horses are being left to roam about according to an ancient custom because Cephallonia has no much space to keep them so the farmers do tame them but leave them roam free to the plains and now they are part of the national park of Aenus mountain:

These horses have been adapted to ride perfectly well to the rough rocky terrains of the mountain. Now of course the breed was probably imported from the mainland (most likely from Pindos mountains). Cephallonia has also been suggested as the location of the homeric Ithaca (and the giver of name of his kingdom) due to the fact that it deprives from homeric description that Cephallonia was "the most far western island" or, as I would probably be willing to believe, that maybe the land of modern Ithaca and Cephallonia were connected by land at that time (take that hypothesis with a grain of salt but I think it is highly possible) other locations suggested were even Lefkas for they discovered Mycenaean remains there

It is of course unclear when these horses enter the terrain. Itis possible that the horses arrive way after the bronze age that Odysseus ellegedly lived or even after Homer's time even, if Homer doesn't mention them or mentions that horses are not possible to grow in Ithaca.

It could also be, though, that homer completely dispatches horses from Ithaca to that degree again to point out the difference of status between Ithaca and Sparta. And, another totally wild guess, is also interesting how the animal symbol of Poseidon is absent from the island of Ithaca to the poem that speaks about the hubris of Odysseus against Poseidon and the god's wrath against him! Food for thought! XD

No horses in Ithaca doesn't necessarily mean Cephallinians had no horses at all:

Another thing that people often forget is that Odysseus was not king of Ithaca only. The kingdom of Cephallenians was a kingdom that spread over several islands AND part of the mainland where modern day Aitoloakarnania is:

The kingdom is not limited to the island of Ithaca only. Acarnania is also a wide area. Horses can possibly be bred there and also be providing the islands if needed. It is interesting because Odysseus is not only in posession of a chariot in the Iliad but he also seems perfectly capable of riding horses. In the Iliad for example both he and Diomedes steal the Thracian Horses in rhapsody 10:

So she spoke and he (Diomedes) recognized the goddess's voice and swiftly jumped on the horses: Odysseus smote them with his bow and they trotted towards the fast ships of the Achaeans

(Translation by me)

Interestingly Homer uses the 3rd singular of the verb: ἐπεβήσετο (he rode) but then proceeds using the 3rd plural ἐπέτοντο (they flew/rode away). So what could it be? Could it be perhaps that Odysseus jumped on the horse behind Diomedes and smote it with his bow to start trotting away? In that case we could speak indeed on the fact that clearly Diomedes was a better rider than Odysseus given that he is more familiar with horses. However if both of them ride away that means that Odysseus is not completely oblivious of horses he just doesn't seem to be so capable with them indeed. In fact the first is rather confirmed at the passage that follows soon after:

Then Odysseus beloved to Zeus restrained the quick horses, while the son of Tydeus jumped on the ground, placing the bloody spoils to the hands of Odysseus and once more he rode the horses; hitting them with a whip and nothing stopped them from flying to the hollow ships, as they so much wished to be.

(Translation by me)

So in this scene Diomedes seems to be the protagonist, being more knowledgable on horses (he is the one who rides first and trots) while Odysseus plays a more auxiliary role (steeds and holds the horses or holds the spoils in hand) but he doesnt seem completely oblivious to the exietence or treatment of horses. He both knows how to restrain and steer them but he is also in posession of a chariot with which he fights in the Iliad and covers the retreat of Diomedes and later that same chariot comes to pick him up from the battle (see rhapsody 11).

Conclusions:

So Homer seems to be sticking to the notion that horses are not widedly used in Ithaca or the rest of the kingdom due to its rough terrain. Not only does Telemachus speak of it but we also see the image in Iliad where Odysseus is clearly not as capable rider as Diomedes given how while they trot away. Of course needs to be noted how the horses are often depicted unbriddled and without a saddle in the artwork so it is also interesting to think that Odysseus wouldn't be able to ride without equipment while Diomedes who is more familiar with horses he has no problem.

Odysseus seems to stick more to chariots than horse riding which also indicates that he is not familiar with horse riding to that extent or that he is not particularly confident in it, however he seems capable of doing it.

The existence of the horse breed in Cephallonia as well as the fact that the kingdom also involves the mainland could indicate that horses were not unknown to the Cephallenians just not widedly used. Odysseus speaks many times on horses and their beauty and strength so he is familiar with them and he can judge (bet he also learnt a bunch from his fellow kings like Diomedes and the idea of Diomedes showing Odysseus even more stuff about horses sounds a cute image doesn't it!?) but from the incidents such as the one from the Iliad, suggest that he is not confident rider.

His knowledge seems less extensive compared to his knowledge on other stuff such as sheep and goats (he praises the flock of Polyphemus for example, elemet that I also used to my retelling/one-shot fic "Escape from Cyclops Island: Hubris") or stars and navigation so indeed even if he does have knowledge on riding or chariots he is not very confident in it.

So I tend to be somewhere in the middle; I don't believe that the Cephallinians had no horses at all or that they had no idea on horses (Telemachus himself has some knowledge after all since he mentions immediately to Menelaus that his gift would be unsuitable for his land) it is just that if they can host horses it is just some very sturdy and adaptable ones like the ones used at mountain passages and even those were not widedly used. They would probably have more mules or donkeys for transportation like it happens to mountain terrains and use more cattle as farming animals. The use of horses must have been very scarce to the point of providing them general knowledge but not as widedly used as in other places

But what do you guys think? Let me know!

[superkooku]

Question about mythology inspired stories and creative liberties

I'm asking this because I plan to write my own fic from an established Greek myth and kinda want a second opinion. I'm writing for myself in order to train and have fun, no publishing plan.

Since I barely started, I won't ask anyone to beta-read it (I don't know if I'll even show it on the net). But I'd like to have a second opinion, or rather multiple ones.

I'm a bit embarrassed because I don't usually post about my projects but I decided to try.

The myth I chose isn't told in one theater play or a poem, but mentioned in sources. So that lets me room to make a story out of it, to fill in the holes and unexplained parts. Like I'd want to add character interactions that didn't take place, or themes or smth.

But I know the myth is about a very important established figure and I don't want to mangle the original story or lose the meaning.

Even though I won't make something as extreme as "it's in USA now", "Perseus X Medusa" or "Odysseus stabs Poseidon with his trident" (lol Epic 🤣), I'd still like to write the thing while keeping the story compelling and with some ✨ancient Greek authenticity✨.

So I'm asking you for advice so I can have a general direction.

(also is it okay to pull stuff from latin sources when the Greek ones doesn't provide a contradicting answer ?)

And since I love to complain, it would kinda be hypocritical not to make any effort myself 😅

Tagging : @katerinaaqu @margaretkart @nysus-temple @sarafangirlart @dootznbootz @aliciavance4228 and anyone else who'd like to provide an opinion on this.

(obviously you don't have to answer but I'm curious)

Edit : just to be less vague, it's about Asclepius.

[wonderland173]

oh baby, i’ll love you like the end of the world.

darlin’, let me worship you like the god i never learned to trust. you once told me that a previous lover of yours had called you forever beautiful. allow me to add to that. you are forever a collector of wind chimes, the quiet ones that sound like distant church bells. you are forever a gardener, with your little tulips out in the yard. you are forever a crier, tears streaming down your face as you see the stubborn little goldfish-princess finally find her perfect family.

sweetheart, your soul calls to me and mine responds in a tongue only the two of them know. i will forever hang the wind chimes on the door frames you can’t reach. i will forever water your tulips on the days that are harsh to you. i will forever cry with you at the little goldfish-princess learning how to love. and i will forever pass you the tissues and popcorn to soothe your sensitive soul.

my love, did you know I never wanted to marry before meeting you? the women in my family had convinced me that love was a shameful secret. that marriage was a business, first and foremost, where women tended to get the short end of the stick. i knew by the age of eleven, that no one man would ever want to listen to me babble about mushrooms for hours or dance in the rain with me after dark. but then you came along, wildheart, and you fulfilled every desire in my foolish, lovesick heart. i want nothing more than to grow old with you, watching our children run amok in the yard and babbling about mushrooms like i have since the day we first met.

honey, just like the little goldfish-princess, you taught me how to love. i used to love recklessly and fleetingly, with my heart never settling on one stance. then, one day, i looked across a crowded room and there you were, the light of my life. to love you is to know that i would trade away the heavens themselves for a kiss goodnight. to love you is to understand I would bite eve’s apple time and time again, dooming all of womankind, just for you to graze upon me lovingly. baby, darling, sweetheart, all words to describe you, a lovebird who has enchanted me far, far away from my meaningless life.

my angel, my love for you is a creation story, in and of itself.

[trainingdummyrabbit]

maybe we'll try again next time.

[wavebiders]

Thinking about how most of the time when you have the option to stay quiet during a companion quest you get approval for letting them handle it and sometimes even get disaproval for talking over them

And then with Shadowheart's quest speaking up with Viconia not only gives a +5(while *keep silent* gives nothing) but also if you don't do that she will look genuinely scared when Viconia asks you to hand her over

[carcarrot]

dream time

[butchscientist]

Icelandic: "A cat in a bog / stuck up its tail / the adventure is over" ("Köttur úti í mýri / setti upp á sér stýri / úti er ævintýri")

ending a story in other languages

kurdish: “my story went to other homes, god bless the mothers and fathers of its listeners” (Çîroka min çû diyaran, rehmet li dê û bavê guhdaran.)

greek: “and they lived well, and we lived better” (και ζήσανε αυτοί καλά και εμείς καλύτερα)

afrikaans: “whistle whistle, the story is done” (fluit fluit, die storie is uit)

goemai: “my tale has finished, (it) has returned to go (and) come home.” (tamtis noe lat / dok ba muaan yi wa)

amharic: “return my story and feed me bread” (ተረቴን መልሱ አፌን በዳቦ አብሱ::)

bengali: “my story ends and the spinach is eaten by the goat” (aamaar kothati furolo; Notey gaachhti murolo) *means something is irreversibly ended because goats eats herbs from the root

norwegian: “snip snap snout, the tale is finished” (snipp snapp snute, så er eventyret ute”

polish: “and i was there [at the wedding] too, and drank mead and wine.” (a ja tam byłem, miód i wino piłem.)

georgian: “disaster there, feast here… bran there, flour here…” (ჭირი – იქა, ლხინი – აქა, ქატო – იქა, ფქვილი – აქა)

hungarian: “this is the end, run away with it” (itt a vége, fuss el véle)

turkish: “lastly, three apples fell from the sky; one for our story’s heroes, one for the person who told their tale, and one for those who listened and promise to share. And with that, they all achieved their hearts’ desires. Let us now step up and settle into their thrones.” (Gökten üç elma düşmüş; biri onların, biri anlatanın, diğeri de dinleyenlerin başına. Onlar ermiş muradına, biz çıkalım kerevetine.)

[silhouettecrow]

365 Days of Poems: Day 9 (January 9th)

Macabre Dawn

I remember it like it was yesterday

I remember the sunlight

beginning to seep through my closed eyelids

coaxing me awake

I remember the freezing numbness

that had settled deep in my limbs

as I lifted my body off the grass

I remember the stench of death and decay

radiating from the hundreds of bodies

littered across the field

I remember the glow of the fresh morning

illuminating the pale faces

of both friend and enemy

I remember the glinting shine

reflecting off of every pool and drop of blood

settled on skin and soaking into soil

I remember the startling calm I felt

just before the shaking of fear

rattled and contaminated my bones

I remember nearly tripping

to plummet my way back to the ground

as my body needed to flee

I remember not so much my coming home

but rather the waves of guilt that hit me with each step

screaming, “why me?”

I remember it like it was yesterday

and it might as well have been

- - - - -

Here's the link to the corresponding writing prompt post

[katerinaaqu]

People who criticize others for disliking the changes of Greek mythology when gods are twisted to look like some sort or final villain boss fight video game I honestly wanna see how the reactions would be if someone created a biblical musical where the Pharaoh of Egypt takes revenge against God of Israelites for killing the first born of Egypt by smiting him with his own sword or justice and claim he does it for his people while God begs for mercy.

Food for thought

[evergreenpigeon]

Eating is truly the privilege of the living

I'm very sorry to ask something like this, I've really been struggling with this question, and I wanted to ask the combined wisdom of the people on this site

I would like to know why you keep going, and what drives you to keep living. I know there are a lot of reasons to stay alive and enjoy life, I can think of a few that personally resonate with me, but I really want to know what your reasons are

You do not have to comment on this if that's too big of an ask, and I'm very sorry for asking something like this, I really need someone's help, I feel like I don't have much purpose

Also if I may ask, please don't post any suicidal ideation in the comments of this post, I really can't handle something like that right now

[becausegoodheroesdeservekidneys]

The thing with the Mari Lwyd, though, is that it's being... I don't know, 'appropriated' is the wrong word, but certainly turned into something it isn't.

Thing is, this is a folk tradition in the Welsh language, and that's the most important aspect of it. I feel partly responsible for this, because I accidentally became a bit of an expert on the topic of the Mari Lwyd in a post that escaped Tumblr containment, and I clearly didn't stress it strongly enough there (in my defence, I wrote that post for ten likes and some attention); but this is a Welsh language tradition, conducted in Welsh, using Welsh language poetic forms that are older than the entire English language, and also a very specific sung melody (with a very specific first verse; that's Cân y Fari). It is not actually a 'rap battle'. It's not a recited poem. It is not any old rhyme scheme however you want.

It is not in English.

Given the extensive and frankly ongoing attempts by England to wipe out Welsh, and its attendant cultural traditions, the Mari is being revived across Wales as an act of linguistic-cultural defiance. She's a symbol of Welsh language culture, specifically; an icon to remind that we are a distinct people, with our own culture and traditions, and in spite of everyone and everything, we're still here. Separating her from that by removing the Welsh is, to put it mildly, wildly disrespectful.

...but it IS what I'm increasingly seeing, both online and in real world Mari Lwyd festivals. She's gained enormous pop-culture popularity in recent years, which is fantastic; but she's also been reduced from the tradition to just an aesthetic now.

So many people are talking/drawing about her as though she's a cryptid or a mythological figure, rather than the folk practice of shoving a skull on a stick and pretending to be a naughty horse for cheese and drunken larks. And I get it! It's an intriguing visual! Some of the artwork is great! But this is not what she is. She's not a Krampus equivalent for your Dark Christmas aesthetic.

I see people writing their own version of the pwnco (though never called the pwnco; almost always called some variant on 'Mari Lwyd rap battle'), and as fun as these are, they are never even written in the meter and poetic rules of Cân y Fari, much less in Welsh, and they never conclude with the promise to behave before letting the Mari into the house. The pwnco is the central part to the tradition; this is the Welsh language part, the bit that's important and matters.

Mari Lwyd festivals are increasingly just English wassail festivals with a Mari or two present. The Swansea one last weekend didn't even include a Mari trying to break into a building (insert Shrek meme); there was no pwnco at all. Even in the Chepstow ones, they didn't do actual Cân y Fari; just a couple of recited verses. Instead, the Maris are just an aesthetic, a way to make it look a bit more Welsh, without having to commit to the unfashionable inconvenience of actually including Welsh.

And I don't really know what the answers are to these. I can tell you what I'd like - I'd like art to include the Welsh somewhere, maybe incorporating the first line of Cân y Fari like this one did, to keep it connected to the actual Welsh tradition (or other Welsh, if other phrases are preferred). I'd like people who want to write their version of the pwnco to respect the actual tradition of it by using Cân y Fari's meter and rhyme scheme, finishing with the promise to behave, and actually calling it the pwnco rather than a rap battle (and preferably in Welsh, though I do understand that's not always possible lol). I'd like to see the festivals actually observe the tradition, and include a link on the booking website to an audio clip of Cân y Fari and the words to the first verse, so attendees who want to can learn it ahead of time. I don't know how feasible any of that is, of course! But that's what I'd like to see.

I don't know. This is rambly. But it's something I've been thinking about - and increasingly nettled by - for a while. There's was something so affirming and wonderful at first about seeing the Mari's climb into international recognition, but it's very much turned to dismay by now, because she's important to my endangered culture and yet that's the part that everyone apparently wants to drop for being too awkward and ruining the aesthetic. It's very frustrating.

[everyponie]

transreads.org is a fantastic resource for queer literature and history, and the best part is that it's FREE! There's no excuse to be ignorant when the information is being handed to you like this.

Leslie Feinberg also has all of hir works free online if you are particularly interested in lesbian history and literature. They are available as downloadable PDFs, and I believe they are on the internet archive aswell.

transreads.org also has a great section on Palestinian queer literature if that's something that interests you, it's important that we learn about queerness outside of America. I've dabbled in a few of these books and essays and poems and they're very cool! I really do enjoy learning about queerness in other cultures, I hope you all can find joy in that too!!

if you have any good queer resources that you'd like to share pls comment or add it to a reblog!! I'll probably make a bigger masterpost later, or perhaps a Google document.

[ultimateempath]

EVER SINCE I FOUND ALL THE STAN CONTENT ON THE WEBSITE I'VE BEEN LOSING MY MIND OVER THE BILL/STAN PARALLELS AND BILLS BEHAVIOUR TOWARDS HIM IN GENERAL SO I'M JUST GONNA LAY OUT WHAT I NOTICED HERE BEFORE I EXPLODE.

Stan and Bill were both mama's boys, with very loving and concerned mothers, while their fathers were nowhere near as kind to them. (This is an inference on Bill's part, as his father is never mentioned and all we get is his name, while his mom is mentioned multiple times in a fond manner)

They took their father's hats with them when everything fell apart, as seen from the explicit mention of 'his father's fez' in Stans poem and one of the parent cutouts in Bill's family photo having a tophat.

They were looked down upon unfairly despite not doing anything wrong (Stan failing academically and not living up to his parents expectations & Bill being able to see the third dimension and getting seen in a negative light because of it).

They lost their homes and families because of an accident they themselves caused.

They turned to unsavory practices after losing everything.

I dunno, I just think all these similarities as well as how intensely Bill projects on Stan (likely seeing himself in him) when he goes into a rage from clicking 'how he beat me' multiple times is probably important to some extent. This has to mean something, please tell me I'm not the only one hyperanalyzing all this-

[mortalityplays]

Unprintable: Artists Against Authority

I am absolutely beside myself with excitement to announce the launch of Unprintable.

Unprintable is an online free shop, where original artwork and arts resources are released into the public domain.

Everything listed here is free to use, copy and remix any way you like. You can print off hi-res artwork to decorate your apartment, or to use in your own projects. You can use the writing in your own zines, anthologies or performances. You can put it on a t-shirt. You can read it on the radio. You can paint it on a truck. It's up to you, entirely and forever.

The collection will be updated continuously, on an unfixed schedule, with contributions from a wide range of named and anonymous artists and activists. You can read the FAQ for a full rundown of what Unprintable is and why it exists, but these are the really important parts:

Can I download/print/use the work listed here? Yes. Can I use it for [X]? You can do whatever you want with it forever. But what if I want to [Y]? You can do whatever you want with it forever. Why do this? A few reasons: 1. We want a space to just share things, no strings attached. We recognise that copyright is an irrational system that was designed to protect the profit interests of publishing middlemen and IP hoarders. In fact, copyright is often weaponised against the creators it pretends to protect. As long as it exists, we are unlikely to win any other form of protection for our work, and we are profoundly limited from engaging in the kind of communal artistic and storytelling practices that were the norm around the world for thousands of years. 2. Radical art is often unprintable. Profit motives make people cautious. A lot of print-on-demand or local print shop services will refuse artwork with controversial, sensitive or political content. This is very frustrating when these themes are the focus of so much of our work (and indeed our lives). Rather than waste any more breath trying to explain why a trans artist might want to print the word ‘faggot’, we can give our work away for free. Got a printer? It’s yours. 3. It feels good. Sharing is joyful. It’s the reason we love making things in the first place. We don’t write poems because we look forward to filleting them for consumption, or layer colours so that we can sell a canvas by the ounce. We have only ever wanted to be able to support ourselves so that we can make, but that relationship is deeply dysfunctional under capitalism. We made these things, and we want you to have them. It doesn’t need to be complicated.

I'll write up some more posts introducing the launch collection soon. In the meantime...be free, enjoy, explore, have fun!

https://free.mortalityplays.com

[wonderwomemes]

Sometimes.. all you need to remember is that every day, people are missing a bus

[patronsaint-prometheus]

THIS. YES. Sorry OP but u have good opinions always and I gotta jump on this or I’ll explode. i think it’s so important to acknowledge the way identity is influenced by lived experience. I’m a queer trans guy whos pretty cookie cutter when it comes to pronouns and transition goals for the most part. But I was raised in a rural area and was always viewed as a tomboy and later butch. When I talk abt my experiences with religion it will always be from the perspective of an (the the time) teenage queer girl. I see this as additive and honestly really beautiful. And it makes me sad that some people view these nuances as making identities less “real” . Tying them together and learning that the ftm and butch lesbian communities have always lived in tandem with each other was the greatest thing I ever did for my own mental health regarding being lgbt. I’m a guy who’s very excited to get gay married one day. That doesn’t take away the fact that I was once a sapphic girl who had very specific experiences that would not have occurred had I not been a woman. If you remove the context, none of my writing or artwork about my life would make any sense.

gender identity is honestly so contextual. Like when it comes to people who don’t know me personally or romantic partners, I prefer he/him being a butch lesbian and all… but on the other hand in my art and writing I am a mixed woman ultimately, like it defines so much of the way I was raised/how I’m treated I think it’s inseparable from me and crucial to understand what I write idk