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Katia is the only woman who will ever attract Thomas, and he offers her release from her family into adulthood and the opportunity to disentangle from her relationship with her twin brother, the incestuous elements of which are thematised in Thomas’s short story The Blood of the Walsungs.
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#walsung#paganmetal#evil#saopaulo#blackmetal#hammerofdamnation hammerofdamnationrecords nokturnalmortum recordshop recordcollection blackmetalstore
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Arthur Rackham "WAGNER'S RING CYCLE: The Valkyrie" (1910) "Siegmund the Walsung thou does see! As bride gift he brings thee his sword." by Plum leaves
#Arthur Rackham#Wagner's Ring Cycle#Richard Wagner#vintage illustration#illustration#Wagner's Ring#Wagner#The Valkyrie#1910s#Siegmund#opera#epic#art#vintage#fantasy#literature#classics#flickr#plum leaves#The Ring of the Nibelung#Der Ring des Nibelungen
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Hi, I'm a different anon from the one who asked for incest recs (and I promise I'm not baiting you either; sorry you have to deal with dickheads on here :/) but I loved your answer and I was wondering if you had a rec list specifically for sibling incest (or even just intense sibling relationships)? Thank you in advance!!
I was taking a long time to answer this because I knew I was forgetting a lot of relevant titles, but then I realized I’ll never be able to make a complete list, so have a few scattered recs instead.
Some of these are quite triggering and involve child on child sexual abuse, others are just very dysfunctional/unhealthy, and some are simply romantic. Look them up before delving into them if triggers might be a problem, or feel free to ask me about specific works.
Books/short stories:
Querelle de Brest, Jean Genet
Les Enfants Terribles, Jean Cocteau
The Carnivorous Lamb, Agustín Gomez-Arcos
Ada, Vladimir Nabokov
The Blood of the Walsungs, Thomas Mann
Os Maias, Eça de Queiroz
The God of Small Things, Arundhati Roy
The Cement Garden, Ian McEwan (recently recommended to me by a mutual, I haven't read it yet though!)
Twins, Bari Wood
The Magic Toyshop, Angela Carter
Angels and Insects, A. S. Byatt
There’s a brief incestuous encounter in James Baldwin’s Tell Me How Long The Train’s Been Gone (and i hardly see this mentioned at all, which is odd because homosexual incest is considered particularly scandalous, and the incest motif is pretty important in Baldwin’s works in general. i have a lot to say about this and how it compares to the incest motif in gothic literature actually but this is not the place). There's mention of an incestuous couple in Le Guin's The Left Hand of Darkness that isn't central to the book but still relevant. Geryon in The Autobiography of Red is sexually abused by his brother as a child, and although not central to the plot it is very important to his character.
Subtext/ambiguous:
Wuthering Heights, Emily Brontë (if you read Cathy and Heathcliff as siblings, and their relationship as sexual, which i do)
The Fall of the House of Usher, Edgar Allan Poe
White is for Witching, Helen Oyeyemi
War and Peace, Tolstoy
A Sicilian Romance, Ann Radcliffe
Just about anything by William Faulkner. There is of course The Monk by Lewis, but I have so much to say about that and how bad it is and also how different from Gothic works written by women (like, compare Radcliffe’s brother-hero to Lewis’s rapist brother. but of course this is not the place.)
Also, I don’t want to say much, but there’s As Meat Loves Salt by Maria McCan. There are layers to this... I could say more but I won’t :)
Off of the top of my head, two great books with dysfunctional/co-dependent siblings (actually sisters in both examples) are We Have Always Lived in the Castle by Shirley Jackson (i think it was Joyce Carol Oates who said the relationship was incestuous? i didn't read it that way but it's certainly an extremely compelling, dysfunctional, co-dependent relationship. this is a perfect example of what i want to read more of!) and Sharp Objects by Gillian Flynn.
Movies:
Incest is so common in films (especially in horror) that I simply couldn’t begin to make a list. But I think you’re looking for an specific kind of dynamic (sorry if I’m wrong!), so I recommend you these:
The Mafu Cage (1978), dir. Karen Arthur (sibling incest explicitly referenced but not shown, parental incest as subtext)
Crimson Peak (2015), dir. Guillermo Del Toro (everyone’s seen it by now)
Carne de tu Carne/Bloody Flesh (1983), dir. Carlos Mayolo (explicit)
Ginger Snaps (2000), dir. John Fawcett (subtext)
Dead Ringers (1988), dir. David Cronenberg (subtext)
Actually, I can’t do this. There are too many. Google “films with sibling incest” for a number of lists.
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The Ring Cycle (Der Ring des Nibelungen) | Wagner, Richard | Opera & Operetta | Josef Weinberger
What is the overall plot of Wagner's Der Ring des Nibelungen?
SYNOPSIS: The plot revolves around a magic ring that grants the power to rule the world, forged by the dwarf Alberich from gold he stole from the Rhinemaidens in the river Rhine. Several mythic figures struggle for possession of the Ring, including Wotan (Odin), the chief of the gods.
The libretto of the four operas that make up Wagner’s Ring was built from seven different mythological sources: the Icelandic Eddas, the German Nibelunglied, and Walsung Saga.
Tolkien used some of the same sources for his own epic, although the whole Middle-Earth story has its roots in stories that he told to his son Christopher, starting with the story of the Hobbit, he also used myths once the stories developed into The Lord of the Rings. The most notable Tolkien myth-source is the Finnish national epic The Kalevala, whose hero, Vaïnamoïnen is a tall, bearded wizard who leads a band of heroes on a quest to recover the Sampo, a hand-turned mill that makes gold. Kind of sounds like The Hobbit, doesn't it?
Both Rings have a dark villain at their heart. Tolkien has Sauron, a mostly unseen dark presence who lives in a land of shadow and plans to make war on the rest of the world. He is the maker of the One Ring, which is the object that Frodo and Sam must carry deep into his land of Mordor. Sauron is offstage for the majority of the story, preferring to work through agents like Saruman, an evil wizard.
In the first of the Ring operas, (Das Rheingold) the titular Ring is made by Alberich, a love-struck dwarf who steals the gold from the bottom of the Rhine river and forswears the idea of love. This makes it possible for him to forge his own Ring from the Rhinegold and attempt to take over the world. Wotan, the king of the Gods, who has his own power issues, steals the Rhinegold from Alberich but is forced to give it to two Giants as a down payment on his new castle, Valhalla.
Tolkien’s heroes are generally smarter and more three-dimensional than Wagner’s. Wagner writes better female leads (Brunnhilde, Sieglinde) than Tolkien, who only has two major female characters in the books and only one is really important: the other, Arwen is just a stock love interest.
If there’s a parallel its in that both stories have a powerful, dangerous Ring that has negative effects on its carrier or wearer. Sauron’s Ring is imbued with his power and corrupts all who carry it. Alberich’s is cursed and causes death to all who wear it. Also, both stories end apocalyptically: Wagner’s destruction of all that has come before, Tolkien’s with the passing of the Third Age and the implied end of all that you have seen before you in the world of Middle-Earth.
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Split Tape! Walsung / Blutfahne .... Paganism in metal!
#blackmetal#black metal#pagan#pagam metal#walsung#brazil#hammerofdamnation hammerofdamnationrecords nokturnalmortum recordshop recordcollection blackmetalstore#OldWolf#Pagans#Split#Tape#Blutfahne#ukraine#Slawa#Ukraini
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blood of the walsungs has got to be the most fucked up one though
eternally fascinated by thomas mann’s tendency to include horrific cameos of people he knew and respected in his fiction
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If I were to come across Siegfried on a dating site (Tinder, I think, not Grindr), I’d swipe him left without a moment’s hesitation.
His profile might look like this:
Name: Siegfried von Walsung
Gender: Teutonic
Languages: German, Woodbird
Occupation: Swordsmith, dragon-slayer
Sexuality: There was a moment on the mountain top when I thought Brunnhilde was a man, but on the whole I think I’m straight…
Body type: Athletic (though can look paunchy and middle-aged)
Fetishes: Armour’s nice
About me: Uneducated, ungrateful and unfeeling. Also cruel and violent if crossed. Courageous (I feel no fear – does that make me brave?). Like older women, especially if they’re family (I never met a woman before I met Brunnhilde, and it was kind of exciting to discover she’s my aunt).
Nonsense aside, what’s there to like about Siegfried? He’s an oafish idiot, too stupid for fear (courage is surely the mastery of fear, not its absence). He’s only attractive if he can sing well, as last night’s Siegfried (Stefan Vinke) did (though not quite as well as Brunnhilde (Daniela Kohler)). The idea of Siegfried as the epitome of German manhood appals me, so let’s be grateful that the modern German adolescent venerates Conchita Wurst.
What did Wagner, and his devotees, see in Siegfried? The strong, free man, unburdened by expertise? The man of destiny?
Freedom lies in knowledge, in education and compassion, in the rejection of the seductive lies that underpin nationality. A proper fear of what can go wrong with the world is part of freedom too. Fear is good.
As it happens, Siegfried’s incinerated remains are buried beneath a monument on the outskirts of Leipzig. It’s a shrine to the marvels and mysteries of masculinity (vats of testosterone were mixed with the concrete used for its construction). The vast granite structure has lasted a thousand years. Some say Siegfried merely slumbers (members of the ADF on the whole) but they’ve waited in vain, so far, for his return. What’s more, his reassembly would be quite a task, far harder than Siegfried’s re-forging of his father’s shattered sword. There’s no more than an egg-cup full of cinders. Wrest Nothung from the granite block in which it’s rested since the curtain came down on Gotterdammerung and you might acquire the mantle of heroism yourself.
On the other hand, better don’t try. We’ve had enough of heroes.
Hard to love If I were to come across Siegfried on a dating site (Tinder, I think, not Grindr), I'd swipe him left without a moment's hesitation.
#ADF#conchita wurst#founding myths#heroes#leipzig#monument to the nations#napoleon#siegfried#teutons#the ring#wagner
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Wombwell Rainbow Interviews
I am honoured and privileged that the following poets, local, national and international have agreed to be interviewed by me. I gave the writers two options: an emailed list of questions or a more fluid interview via messenger. The usual ground is covered about motivation, daily routines and work ethic, but some surprises too. Some of these poets you may know, others may be new to you. I hope you enjoy the experience as much as I do.
George Szirtes
many books of poetry have won prizes including the T. S. Eliot Prize (2004), for which he was again shortlisted for Bad Machine .Satantango by László Krasznahorkai (whom he interviewed for The White Review was awarded the Best Translated Book Award in the US. He is also the translator of Sandor Marai and Magda Szabo. The Photographer at Sixteen is his first venture into prose writing of his own.
What follows is an extract from his Curriculum Vitae found on his blog:
Poetry 1978 Poetry Introduction 4 with Craig Raine, Alan Hollinghurst, Alistair Elliott, Anne Cluysenaar and Cal Clothier (Faber & Faber) 0-571-11127-0 1979 The Slant Door (Secker & Warburg) 436-50997-0 1981 November and May (Secker & Warburg) 0-436-50996-2 1984 Short Wave (Secker & Warburg) 0-436-50998-9 1986 The Photographer in Winter (Secker & Warburg) 0-436-50995-4 1988 Metro (OUP) 0-19-282096-6 1991 Bridge Passages (OUP) 0-19-282821-5 1994 Blind Field (OUP) 0-19-282387-6 1996 Selected Poems (OUP) 0-19-283223-9 1997 The Red All Over Riddle Book (Faber, for children) 9780571178070 1998 Portrait of my Father in an English Landscape (OUP,) 0-19-288091-8 2000 The Budapest File (Bloodaxe) 1-85224-531-X 2001 An English Apocalypse (Bloodaxe) 1-85224-574-3 2004 A Modern Bestiary with artist Ana Maria Pacheco (Pratt Contemporary Art) 2004 Reel (Bloodaxe) 1-85224-676-6 2008 The Burning of the Books (Circle) 978-0-9561869-0-4 2008 New and Collected Poems (Bloodaxe) 978-1-85224-813-0 2008 Shuck, Hick, Tiffey: Three Regional Libretti (Gatehouse) 978-0-9554770-8-9 2009 The Burning of the Books and Other Poems (Bloodaxe) 978-1-85224-842-0 2012 In the Land of the Giants (Salt) 978-1-84471-451-3 2013 Bad Machine (Bloodaxe) 978-1-85224-957-1 2015 56 (Arc) with Carol Watts to appear later this year 2015 Notes on the Inner City (Eyewear) to appear later this year
Translation 1989 Imre Madách: The Tragedy of Man, verse play (Corvina / Puski 1989) 978-963-13-5850-6 1989 Sándor Csoóri: Barbarian Prayer. Selected Poems. (part translator, Corvina 1989) 1989 István Vas: Through the Smoke. Selected Poems. (editor and part translator, Corvina, 1989) 9789631330694 1991 Dezsö Kosztolányi: Anna Édes. Novel. (Quartet, 1991/ ND 1993) 0-8112-1255-6 1993 Ottó Orbán: The Blood of the Walsungs. Selected Poems. (editor and majority translator, Bloodaxe, 1993) 1-85224-203-5 1994 Zsuzsa Rakovszky: New Life. Selected Poems. (editor and translator, OUP March, 1994) 0-19-283089-9 1998 László Krasznahorkai: The Melancholy of Resistance (Quartet / ND) 0-8112-1450-8 1999 Gyula Krúdy: The Adventures of Sindbad short stories (CEUP, 1999, NYRB) 978-1-59017-445-6 2003 The Night of Akhenaton: Selected Poems of Ágnes Nemes Nagy (editor-translator, Bloodaxe) 1-85224-641-3 2004 Sándor Márai: Conversation in Bolzano (Knopf / Random House, 2004) 0-375-41337-5 2004 László Krasznahorkai: War and War (New Directions, 2005) 0-8112-1609-8 2005 Sándor Márai: The Rebels (Knopf / Random House) 978-0-375-40757-4 2008 Ferenc Karinthy: Metropole (Telegram) 9781846590344 2009 Sándor Márai: Esther’s Inheritance (Knopf/ Random House) 978-1-4000-4500-6 2011 Sándor Márai: Portaits of a Marriage (Knopf / Random House) 978-1-4000-4501-3 2012 Yudit Kiss: The Summer My Father Died (Telegram) 978-1-84659-094-8 2012 László Krasznahorkai: Satantango (New Directions) 9781848877658 2014 Magda Szabó: Iza’s Ballad (Random House) 978-1-846-55265-6
Editing 1991 Birdsuit: writing from Norwich School of Art and Design (9 vols) – 2000 1995 Freda Downie, Collected Poems (Bloodaxe) 1-85224-301-5 1996 The Colonnade of Teeth (co-ed with George Gömöri (Bloodaxe) 1-85224-331-7 1997 The Lost Rider: Hungarian Poetry 16-20th Century, an anthology, editor and chief translator (Corvina, 1998) 963-13-4967-5 2001 New Writing 10, Anthology of new writing co-edited with Penelope Lively (Picador) 9780330482684 2004 An Island of Sound: Hungarian fiction and poetry at the point of change (co-editor) (Harvill) 978-1846555565 2010 New Order: Hungarian Poets of the Post-1989 Generation (Arc) 9781906570507 2012 In Their Own Words: Contemporary Poets on Their Poetry, with Helen Ivory (Salt) 978-1-907773-21-1
Other 2001 Exercise of Power: The Art of Ana Maria Pacheco (Lund Humphries) 9780853318279 2010 Fortinbras at the Fishhouses: responsibility, the Iron Curtain and the sense of history as knowledge. Three lectures. (Bloodaxe) 978-1-85224-880-2
Performed Works (dates, titles and venues of performed works): Over twenty plays, libretti, and other texts for music, mostly performed but not for professional stage
Journalism: BBC radio and TV, The Guardian, The Times, The Independent, The TLS, Poetry Review, Poetry London, Magma, and many others. Mostly reviews of literature or art, some columns or essays, occasional pieces on Hungary and miscellaneous matters.
Honours 1980 Faber Memorial Prize for The Slant Door 1982 Elected Fellow of the Royal Society of Literature 1984 Arts Council Travelling Scholarship, 1986 Cholmondeley Prize 1990 Déry Prize for Translation The Tragedy of Man 1991 Gold Star of the Hungarian Republic 1992 Short listed for Whitbread Poetry Prize for Bridge Passages 1995 European Poetry Translation Prize for New Life 1996 Shortlisted for Aristeion Translation Prize New Life 1999 Sony Bronze Award, 1999 – for contribution to BBC Radio Three, Danube programmes 1999 Shortlisted for Weidenfeld Prize for The Adventures of Sindbad 2000 Shortlisted for Forward Prize Single Poem: Norfolk Fields 2002 George Cushing Prize for Anglo-Hungarian Cultural Relations 2002 Society of Authors Travelling Scholarship 2003 Leverhulme Research Fellowship 2004 Pro Cultura Hungarica medal 2005 T. S. Eliot Prize, for Reel 2005 Shortlisted for Weidenfeld Prize for the Night of Akhenaton 2005 Shortlisted for Popescu Translation Prize for The Night of Akhenaton 2007 Laureate Prize, Days and Nights of Poetry Festival, Romania 2008 Bess Hokin Prize (USA) Poetry Foundation 2008 Made Fellow of the English Association 2009 Shortlisted for T S Eliot Prize with The Burning of the Books 2013 Shortlisted for T S Eliot Prize with Bad Machine 2013 Best Translated Book Award (USA) for László Krasznahorkai’s Satantango 2013 CLPE Prize for best book of poetry for children with In the Land of the Giants 2014 Made Honorary Fellow of the Hungarian Academy of Arts and Letters (see above) 2014 Made Honorary Fellow of Goldsmith’s College, London 2015 Translator of László Krasznahorkai winner Man Booker International Prize
The Interview
What were the circumstances under which you began to write poetry?
I was in my sixth form at school, not doing well at the wrong subjects (the sciences) and drifting in all kinds of ways when I started picking poetry books off the school library shelves. Poems were small texts with lots of white space, ideal for drifting and dwelling on, for clearing my head and at the same time opening doors to feelings and ideas I was attracted to without fully understanding them., But I did not think to write poems myself until, not much later – I was seventeen at the time – a friend showed me a poem by a mutual acquaintance. Suddenly I wanted to be a poet. So I bought a notebook and started writing, a poem per day or more.
My family was not literary so we had few books, I had dropped English at O Level and, besides, it was my second language (though that thought never bothered me then). I hadn’t read much literature in the past few years and didn’t really know what I meant by being a poet or what made good poems good. It was a decisive venture into unknown territory. In many ways it was the saving of me in that my life changed and I had a purpose. I went to art school instead of university and things went on from there.
2. How aware were you of the dominating presence of older poets?
Hardly at all at the beginning. The poets I first encountered were either dead or elsewhere. But soon I made friends with another pair of boys who were also studying science but had become as involved in poetry as I was. Like me, they came from non-literary backgrounds. Steve’s father was a postman, Ashley’s a scoutmaster. We passed each other books in chaotic fashion – no particular period in no particular order – just whatever we fancied as long as it was available in cheap paperback or at the library. In retrospect, our reading would have been considered ambitious but we had no idea that it was so. That reading included Keats, Rilke, Rimbaud, Ginsberg, Cavafy, and Donne. but many others too. It was not thorough or analytical reading – none of us read through any solid body of work by a poet unless in a thin cheap paperback and we had no language of criticism. We tasted and swallowed poems whole. The poets were just names to us, not histories, but we read them with excitement. Ginsberg was still alive of course but he may as well have been in some other time zone. If I had done English A Level I suppose I would have been reading D H Lawrence, Eliot and Hughes or Plath, but they came along later., mainly under the tutelage of Martin Bell, my first real poet, who taught an afternoon a week at the art school in Leeds. And later still Larkin, Auden, Stevens and the rest. By the time I was reading Larkin I could see how he was a dominant figure in terms of tone – as was Plath in her way but I learned little directly from either because I had arrived there through other channels. Maybe Larkin’s restraint had some effect on me but it was clear that, not being English, I couldn’t simply adapt his voice. At some point I set myself to read through poetry Eng Lit style from Chaucer on. I got a decent way with that.
3. What is your daily writing routine?
My daily routine is to rise about 8am, have breakfast, then come straight down to my desk and spend the rest of the day there with some breaks for exercise. I write something every day – not always poetry, though I do use Twitter as a kind of small-scale literary notebook. I deal with correspondence. I also maintain my posts on Facebook where other thoughts tend to get some initial development. I read and I watch discussions.I am working towards a new collection booked for 2020. The poems come when I give them space to come or where they appear as potential shadows of poems. Most people consider me productive. I suppose I am.
4. What motivates you to write?
I started writing at the age of seventeen because, for the first time in my life, I suddenly understood that poetry was a way of telling some kind of truth about the world. Over the years that understanding gradually became more complex while remaining essentially the same. Now I would say writing poetry is a kind of drive to do with language, the way language moves in and out of reality to create an experience that feels as true as life, so true that it can feel like a physical shudder. That shudder is to do with the way words spring out of and form a sense of reality. It is about meaning and shadows of meaning lodging themselves powerfully in the mind.
That is what continues to motivate me.
5. What is your work ethic?
Work ethic: You don’t let other people or yourself down.
6. How do the writers you read when you were young influence you today?
Mostly exactly as they did before though some who were important then are less important now. My first loves: Rimbaud, Eliot, Rilke, Blake, Auden, MacNeice, Bishop, Yeats, Stevens and Dickinson remain top loves. Add some other figures chiefly from Europe and US, but I don’t want to list them all. There are plenty of others, plus those who have come into the picture since – either because they were really there but I hadn’t read them or because their books were published later – modify my reading of the original list. Some poets go deep early and set the landscape. Those that go truly deep don’t leave you.
6.1. What do you mean by “go deep”?
I mean that by the time the poem has been once or twice read it has left such a mark on the memory it becomes part of the receiving mechanism for whatever is read later..
I can expand on that if you like but that’s a reasonably succinct way of putting it.
7. Whom of today’s writers do you most admire, and why?
The answers to today’s writers will be generational.
Of the generation slightly older than me or roughy the same age: Peter Scupham, Derek Mahon, Ciaran Carson, James Fenton, Penelope Shuttle, Christopher Reid, and Jane Draycott. Then there is Ian Duhig, Don Paterson, Simon Armitage, Kathleen Jamie, Alice Oswald, Imtiaz Dharker, Michael Hoffman; and younger still: Tiffany Atkinson, Jack Underwood, Vahni Capildeo but now I am listing names that occur to me and no doubt I could go on, especially since I am sure to regret having left out people who should certainly be in. It isn’t a particularly original list but they are all admirable. I don’t necessarily write – or could write – like any of them but of those who are perhaps closest to me in terms of angle to the universe, I’d choose Mahon and Fenton. Mahon aesthetically-morally; Fenton: formally and emotionally. Peter Scupham was a wonderful friend and critic. I am very lucky to have met him.
Wombwell Rainbow Interviews: George Szirtes Wombwell Rainbow Interviews I am honoured and privileged that the following poets, local, national and international have agreed to be interviewed by me.
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[Bandcamp] Blutfahne / Walsung split 7EP Vinyl - Path of the Dead Forest https://t.co/ohNdcyci8p http://pic.twitter.com/Fwh1vyRwLG
— #Black metal in BC (@bmtag_bot) December 31, 2017
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Transcendental Creation by BLUTFAHNE / WALSUNG
#blutfahne#walsung#pagan black metal#heritage black metal#mystic black metal#esoteric black metal#ukraine#brazil#hammer of damnation#2018
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