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quote by Fyodor Dostoevsky

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crossfaded on a pastry + a little drinky drink

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"The Rez", a tribute to rez life

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It is almost five centuries ago, and the girl who will one day be a swordswoman is lying in the red-tinged mud. She can't get up—broken bone? severed tendon? She can't tell. She's yet to cultivate her palate for pain. Her enemy towers over her, a cataphract mailed in screaming steel and poisoned light. His warhammer falls, and it is death, forever death, death unconquered and unconquerable.

"No," says a part of her. She is not even seventeen years old. Her body is mangled and broken, wound piled upon wound piled upon wound. A dull kitchen knife is her only weapon, though she lost that in the mud the second her grip faltered. Her enemy is no thing of this earth. And yet—

"No. It is not death, forever death, death unconquered and unconquerable. It is only a hammer, falling. It is only 'an attack.'"

And the girl understood.

~~~

It is the better part of three centuries ago, as best the swordswoman can reckon, and she is beset on all sides by foes. They are not monsters—just mountain bandits, or highland rebels, as one cares to see it. But they outnumber her by dozens, and even an exceptional swordswoman might struggle against but two opponents of lesser skill.

From in front of her, beside her, behind her they advance, striking from every angle with spears and blades and axes. Others fill the air with arrows, sling stones, firepots. It would be effortless, to parry any single blow. It would be impossible, physically impossible, to defend against them all.

"No," says a part of her.

"You are not outnumbered. You do not face 'multiple' foes. It would be impossible to defend against every attack — but there is no 'every' attack. Only one."

"Oh," the swordswoman said. And it was, in fact, effortless.

~~~

It is eighty years ago, or thereabouts. A coiling spire of stony flesh and verdigrised copper throbs like a tumor on the horizon, coaxed from the earth by spell and sacrifice. It is the tower of a sorcerer-prince, and a birthing place of abominations.

Seven locks of rune-etched metal are opened with her single key. Wretched shapeling beasts, grown by sorcery in vitreous nodules, flee wailing from her, absconding before she even draws her blade. Demons sworn to thousand-year pacts of service find the binding provisions of their agreements unexpectedly severed.

These things dissatisfy the sorcerer-prince. He waxes wroth. He makes signs of power and chants incantations. With a flask of godling's blood, he draws the binding sigil inscribed upon the moon's dark face. With cold fire burning in his eyes, he speaks the secret name of Death. It is a king among curses, all-corrupting, all-consuming, and it falls from his lips upon the swordswoman.

"No," she says, and she turns it aside with her blade.

The sorcerer-prince's brow furrows. How did she even do that?

"Parried it."

But—

"With my sword."

No—

"See, like this."

Stop—

"Well," the swordswoman finally says, "I figured that if I just...looked at it right, and thought about it, and construed your curse as a kind of attack...then I could block it."

That's not how it works at all!

"If you insist," says the swordswoman, shrugging, and decapitates him.

~~~

It is now. It is the end. Death couldn't take the swordswoman, not when she'd spent all her life cutting it up. At times, Death might sidle up to one of her friends, or peer down into a grandchild's crib, and she'd just give it a look. That's all it took, by then.

Heartache couldn't take her, either. Bad things happened to her, and they hurt, and she lived in that hurt, but if it was ever more than she could take...she'd just, move her sword in a way that's difficult to describe. And she'd keep going.

Kingdoms fell, and she kept going. Continents crumbled and sank into the sea. Her planet's star faded and froze. She started carrying a lantern. Universes were torn apart and scattered, until all that had been matter was redistributed in thermodynamic equilibrium. With one exception.

But now it is the end. There is no time left; time is already dead. The swordswoman has outlived reality, but there is simply no further she can go. This is not a thing that can be blocked. This is the absence of anything further to block.

"No," says the girl who will one day be a swordswoman. "This isn't the ending. And even if it was, it's not the ending that matters."

The swordswoman looks back at who she was, at the countless selves she's been between them. She looks forward, at the rapidly contracting point that remains of the future. She grasps the all of linear time in her mind, and sees that it is shaped like a spear.

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actually not emotional over graduating university, just over losing my jstor access

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me holding a gun to a mushroom: tell me the name of god you fungal piece of shit

mushroom: can you feel your heart burning? can you feel the struggle within? the fear within me is beyond anything your soul can make. you cannot kill me in a way that matters

me cocking the gun, tears streaming down my face: I’M NOT FUCKING SCARED OF YOU

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why is this about to make me sob

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I've met him in person btw and he's a fucking sweetheart

[ID: Text-intensive Twitter thread from the Shapeshifters chest binders Twitter account in reply to a post by artist and author Ursula Vernon. Vernon says, A non-zero number of you apparently did not know that The Last Unicorn was a book before it was a movie. It is by Peter S. Beagle. It is made of spun glass and fairytales and iron knives and there are individual lines that I would give my lungs to have written. Shapechangers replies, I saw him every year at NYCC for several years straight, bought something at his table, asked him to sign it, and we spoke. He remembered me from year to year, no small feat at that con. He remembered which stories he'd told me. One year I came back with a different gender on. He squinted at me a bit and said thoughtfully, "I've seen you before in this place." All I had to say was, "last year you told me the story about the inoshishi." And his face cleared, and he leaned in with a grin and told me about a German guitarist who he traveled with, twice. Who transitioned between the first and second time, so he'd gotten to meet this person all over again on the second round. It was a wonderfully kind way to let me know that everything was fine. I was fresh out of the closet and I needed that, and maybe he could see it. The Last Unicorn is the best book in the world and I will defend it and its author til I die. the end. /end ID]

I don't usually talk about celebrities; artists, when I do, and I'm keenly aware that one needn't be a good person to be a hell of a heartwrenching artist. But Peter S. Beagle has written a few of my favorite things in the world, he's an excellent singer and filker, and this Twitter thread was dreadfully important to me. I don't want it going away as Twitter becomes Shitter, because it's so often bad news, isn't it? It's important to me to share trans joy.

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energy policy would be much better if we still had a tradition of animal sacrifice I think. people would be way more chill about nuclear energy if they could see a large and proud bull being ritually sacrificed every month or so at the base of the cooling towers to keep the plant safe

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every video i see of Stephen A Smith on the internet belongs in a completely alternate dimension

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good afternoon i'm a dumbass so i made this

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I’m so tired. I’m just so tired