#thomas edward lawrence

[da-pu-ri-to-jo-po-ti-ni-ja]

[orlaite]

So meshed in nerves and hesitation, it could not be a thing to be afraid of; yet it was a real beast, and this book its mangy skin, dried, stuffed and set up squarely for men to stare at.

T.E Lawrence's Seven Pillars of Wisdom + David Lean's Lawrence of Arabia

[corpseflwr]

[myfavoritepeterotoole]

Thomas Edward Lawrence and Peter O'Toole

Left: Lieutenant Colonel T. E. Lawrence in Cairo, 1918. Right: According to costume designer Dalton, O'Toole's Jerusalem uniform is typical of all his intentionally ill-fitting British officer's garb throughout the film.

*** Lawrence of Arabia (1962) directed by David Lean

Peter O'Toole as T. E. Lawrence

[hyperesthesias]

i was researching T.E. Lawrence's fatal injuries, and Google gave me a photo captcha, asking me to identify MOTORCYCLES

[colorhollywood]

Thomas Edward Lawrence 

(16 August 1888 – 19 May 1935) 

[idrawprettyboys]

Still trying to figure out how to draw Peter O’Toole as T.E. Lawrence in my style.

[lattewithatwistoflemon]

I heard there’s an ongoing debate about T.E. Lawrence’s sexuality. The third stanza looks to me like he’s saying his hands explored Dahoum’s shape before the earth did (in other words, he had sex with Dahoum before the boy died). What do scholars say about this? Anyone on here have theories or knowledge about this poem? I heard that this was written for a boy that he was close with. There seem to be uncertainty about whether or not he had a sexual relationship with Dahoum. (I’m sure I could just look this up, but posting here is more fun.)

[infonewsmania]

Lawrence of Arabia in Aqaba of Jordan, Battle of Aqaba

Table of contentsBattle of AqabaHistorical Significance of AqabaWho is Lawrence of Arabia?Lawrence of Arabia captured Aqaba Aqaba is a coastal city in the southernmost part of Jordan. Situated on the Red Sea, it is known for its stunning beaches, vibrant marine life, and rich history. Aqaba is a popular tourist destination, attracting visitors from all over the world who come to explore its…

[diioonysus]

men's fashion + art

[cheenault]

CONCLAVE, 2024 dir. Edward Berger

[da-pu-ri-to-jo-po-ti-ni-ja]

[francisabernathyswife]

It’s sad the amount of times I’ve read and then there were none….. (16)

[nofatclips]

Scum by Nick Cave & The Bad Seeds from the deluxe edition of the compilation album Lovely Creatures [Alt. link: Spotify]

[inposterumcumgaudio]

Poedit Cut/Unused Content: The Salty Dog, A Dead Man's Best Friend, and Old Soldiers

I am playing through We Happy Few again for monstroso and a thought occurs to me.

Another point in the direction of the Salty Dog being Something: when Sally visits Colonel Lawrence, he calls out for his third daughter, Hope. The Salty Dog contains the Hope Diamond. Colonel Lawrence's house contains the Salty Dog in Ollie's act.

Sooo off to Poedit I went to see what there was to see.

In "The Salty Dog", there's a missing cutscene where Sally meets the Ploughboys in their alley and, interestingly, the person speaking opposite her is appended with WellF, indicating this was a female Wellie role.

026 Sally Bloody Boyle. We've got no quarrel with you. Well, to be fair, we've got a quarrel with you, but it's not urgent.

028 You stole Cap'n Strawbeard's little buddy.

030 This ugly dead dog! Hah! He robbed it from Colonel Lawrence's house!

032 Yes, well, I'm taking it back to him. The Captain, I mean.

034 Do you have any idea how valuable this stupid dead dog is? No thank you, let's fight.

036 How valuable is it?

038 Not the faintest fucking clue, except someone wants it very badly.

040 What's so valuable about a dead dog? Maybe I should see if it's got something in it.

042 Nothing. Ugh. I can't believe I opened this thing up.

046 Well, in Wellington Wells, Everything already sparkles.

Mild intrigue at that at a point the dog was supposed to have already been opened before Sally got to it. A female Ploughboy though? Could also just be in the same sort of way as the Wastrellette in "Jericho" where she's merely an accomplice, but that she's apparently in charge of this endeavor? Hmmity hmm hmm hmm.

I await your Ploughgirl OC's.

Moving on, I also checked "A Dead Man's Best Friend" because that also involves the Salty Dog.

110 I think that's the stuffed dog! Do dogs really sit like that? I can't remember.

112 Och, Colonel, ye have come a very long way from the honours o' Ramsgate, have ye not?

114 Ye dinna deserve bairns such as these.

116 As one soldier to another, I'll bury ye myself if that's what it takes.

118 Why do you think he's so anxious to get this ridiculous dog?

120 I dinna ken. D'ye think there's something inside of it?

XXX What's in it? What's in it?

124 Anywhere but here, any time but this, it would be a king's ransom. Here, it's a bloody great rock.

126 The stuffing that dreams are made of.

128 Magnificent. Won't he be pleased. Oh, this is an ugly thing, is it not.

130 What's in it?

132 Nothing! Nothing at all. Well, even if there was something in it. My client is a man you want in your corner. And not in the other.

134 Ohhhh... that is a shame. It's been opened already. My client won't be interested in this any more. Well. It was a bit much to expect that neither the Plough Boys nor the Captain would have ... well never mind about that.

I already knew that in a previous build of the game, you had the option of burying Col. Lawrence so that line wasn't a surprise. It seems Ollie also had the option of ripping open the Salty Dog and finding the Hope Diamond himself. Lionel Castershire's line at the end would imply that Strawbeard stole the Salty Dog from Col. Lawrence and the Ploughboys stole it from him.

Lastly, I checked "Old Soldiers" to see if there was anything further. I didn't find anything in relation to the Salty Dog, but there was tons of cut dialogue.

001 DID YOU CHANGE THE DOOR CODES?

002 NO.

003 NEVER MIND. YOU PROBABLY DON'T KNOW HOW.

004 ARE YOU GETTING HIM HIS PORRIDGE?

005 NO I'M TURNING THE ALARM SYSTEM BACK ON WHICH SOMEONE LEFT OFF. YOU WANT SOME DOWNER TO WALK IN AND TAKE ALL OUR RESERVES?

006 WHY DON'T YOU TELL THE WHOLE BLOODY NEIGHBORHOOD WE'VE GOT RESERVES?

007 Oh, yes, you must tell me all about your wonderful reserves.

008 DON'T WORRY, I TURNED THE ALARM BACK ON.

009 WERE YOU EXPECTING A GUEST?

010 YOU'VE GOT THAT TONE IN YOUR VOICE AGAIN. WHY DON'T YOU POP A JOY.

011 OR DID YOU ALREADY HAVE YOUR GUEST?

012 WHILE YOU'RE UP THERE, WHY DON'T YOU GET HIM HIS PORRIDGE.

Tail end of this conversation was cut off.

013 It's your turn, you know.

014 He's your dad.

015 That's hardly my fault, is it?

016 I made the porridge. The least you can do is bring it up to him.

017 It wasn't my idea for him to live with us.

018 As I recall, you wanted him to move out.

019 It was the decent thing for him to do. Make way for the new generation.

021 It's his house.

022 He doesn't need a whole house. He barely even gets up from his chair. All he needs is a bed, a bathroom, and someone to bring him porridge. And clean him.

023 This again! If we'd paid for some stranger to do all that—

024 —he'd've paid for it—

025 —it's money we'd never see again. Look, it won't be long now. But in the mean time...

026 And about that. Are you sure that was the cheapest coffin?

026a They don't offer them "used."

026b They should. They're no use to the "resident."

027 ... the porridge?

028 In a bit. I'll take it up in a bit.

028a I better see if he's all right.

As was this one. That last line, 028a, is Arthur's. And it continues...

029 ... It's just that I hate the way he stares at me.

030 He's blind!

031 So why does he have to stare at me at all, then?

032 What lovely people. Remind me never to have kids. Well, it's not terribly likely, anyway, is it?

032a I dunno, he seems alive to me, or who's ringing his bell? 032b Might have been a bit premature, planning a wake.

032c They live here! They're supposed to look after him!

032d I wish he'd stop that. Now I'm getting hungry.

032e That's not his change-me ring, is it? Sounds more like his hungry ring.

032f I wish they'd take that stupid bell away.

Most interesting though is that apparently the apprentice undertaker and his superior were supposed to be present in the house for this quest. As is, there's merely directions left on the dining room table for the apprentice.

063 Awfully forward-thinking.

064 Planning the sendoff in advance?

065 Usually we're in such a rush.

066 Used to be you could hire a priest to say a mass for someone who hadn't already ... passed. It was supposed to ... encourage them to go to a better place.

067 You don't think they'd ... directly encourage him to take his holiday early?

068 You laugh, but I've had clients I've had suspicions about.

069 At the pub they seem to have suspicions about us.

070 We're not fookin' tour guides. We don't actually take the client on his holiday. We only make the arrangements. We're travel agents, like.

071 No, it's, uh, supposedly Reg the butcher is looking for new sources of meat.

072 Oh, for fuck's sake, you cannot be serious!

073 Supposedly he pays well.

074 If you think you're being funny, you're bloody well not.

075 Not much meat on this one's bones, I guess.

076 Will you shut the fuck up?

This is also actually kind of funny because I made a short twine game a couple years back that was inspired by "The Slaughterer's Apprentice" so it's quite amusing to see the undertakers were originally supposed to have a role in that part of the lore too.

Anyway, last but by no means least! Captain Edward Lawrence was supposed to still be alive when Arthur arrives at his house and he would shout at Arthur on the assumption that he was an enforcer for whoever he owed money to.

000a Go hang yourself!

000b You go tell him I'm not scared of him one bit!

000c I'm not paying him another penny!

000d Hah! You can't get in, can you?

000e Get lost, or I'll call the authorities!

001 "And what did you do in the War?"

002 Not an easy man to see.

003 HULLO? HULLO? CAPTAIN LAWRENCE? I'VE GOT A MESSAGE FOR YOU, SIR. CAPTAIN LAWRENCE SIR?

004 They're going to shut down his power.

006 The power's out. Which means the house is basically unsecured.

007 That's not a good sign.

008 The thanks of a grateful nation.

009 Blimey.

011 A dog? They were fighting over a dog?

In conclusion, what I could do is a story in which Col. Lawrence heard or assumed his brother had Bonny Prince Charlie stuffed and paid someone to steal him, but he received the Salty Dog instead, which is clearly the wrong dog as its a French bulldog, not a Cocker Spaniel. Could play with the idea of this dog being a great personal treasure, what with them having no idea that Salty Dog was hiding the diamond but Charlie being sentimental to both of them.

[grandhotelabyss]

Advice/hard truths for writers?

The best piece of practical advice I know is a classic from Hemingway (qtd. here):

The most important thing I’ve learned about writing is never write too much at a time… Never pump yourself dry. Leave a little for the next day. The main thing is to know when to stop. Don’t wait till you’ve written yourself out. When you’re still going good and you come to an interesting place and you know what’s going to happen next, that’s the time to stop. Then leave it alone and don’t think about it; let your subconscious mind do the work.

Also, especially if you're young, you should read more than you write. If you're serious about writing, you'll want to write more than you read when you get old; you need, then, to lay the important books as your foundation early. I like this passage from Samuel R. Delany's "Some Advice for the Intermediate and Advanced Creative Writing Student" (collected in both Shorter Views and About Writing):

You need to read Balzac, Stendhal, Flaubert, and Zola; you need to read Austen, Thackeray, the Brontes, Dickens, George Eliot, and Hardy; you need to read Hawthorne, Melville, James, Woolf, Joyce, and Faulkner; you need to read Tolstoy, Dostoyevsky, Turgenev, Goncherov, Gogol, Bely, Khlebnikov, and Flaubert; you need to read Stephen Crane, Mark Twain, Edward Dahlberg, John Steinbeck, Jean Rhys, Glenway Wescott, John O'Hara, James Gould Cozzens, Angus Wilson, Patrick White, Alexander Trocchi, Iris Murdoch, Graham Greene, Evelyn Waugh, Anthony Powell, Vladimir Nabokov; you need to read Nella Larsen, Knut Hamsun, Edwin Demby, Saul Bellow, Lawrence Durrell, John Updike, John Barth, Philip Roth, Coleman Dowell, William Gaddis, William Gass, Marguerite Young, Thomas Pynchon, Paul West, Bertha Harris, Melvin Dixon, Daryll Pinckney, Darryl Ponicsan, and John Keene, Jr.; you need to read Thomas M. Disch, Joanna Russ, Richard Powers, Carroll Maso, Edmund White, Jayne Ann Phillips, Robert Gluck, and Julian Barnes—you need to read them and a whole lot more; you need to read them not so that you will know what they have written about, but so that you can begin to absorb some of the more ambitious models for what the novel can be.

Note: I haven't read every single writer on that list; there are even three I've literally never heard of; I can think of others I'd recommend in place of some he's cited; but still, his general point—that you need to read the major and minor classics—is correct.

The best piece of general advice I know, and not only about writing, comes from Dr. Johnson, The Rambler #63:

The traveller that resolutely follows a rough and winding path, will sooner reach the end of his journey, than he that is always changing his direction, and wastes the hours of day-light in looking for smoother ground and shorter passages.

I've known too many young writers over the years who sabotaged themselves by overthinking and therefore never finishing or sharing their projects; this stems, I assume, from a lack of self-trust or, more grandly, trust in the universe (the Muses, God, etc.). But what professors always tell Ph.D. students about dissertations is also true of novels, stories, poems, plays, comic books, screenplays, etc: There are only two kinds of dissertations—finished and unfinished. Relatedly, this is the age of online—an age when 20th-century institutions are collapsing, and 21st-century ones have not yet been invented. Unless you have serious connections in New York or Iowa, publish your work yourself and don't bother with the gatekeepers.

Other than the above, I find most writing advice useless because over-generalized or else stemming from arbitrary culture-specific or field-specific biases, e.g., Orwell's extremely English and extremely journalistic strictures, not necessarily germane to the non-English or non-journalistic writer. "Don't use adverbs," they always say. Why the hell shouldn't I? It's absurd. "Show, don't tell," they insist. Fine for the aforementioned Orwell and Hemingway, but irrelevant to Edith Wharton and Thomas Mann. Freytag's Pyramid? Spare me. Every new book is a leap in the dark. Your project may be singular; you may need to make your own map as your traverse the unexplored territory.

Hard truths? There's one. I know it's a hard truth because I hesitate even to type it. It will insult our faith in egalitarianism and the rewards of earnest labor. And yet, I suspect the hard truth is this: ineffables like inspiration and genius count for a lot. If they didn't, if application were all it took, then everybody would write works of genius all day long. But even the greatest geniuses usually only got the gift of one or two all-time great work. This doesn't have to be a counsel of despair, though: you can always try to place yourself wherever you think lightning is likeliest to strike. That's what I do, anyway. Good luck!