#A Matter of Fidelity

[highly-opinionated-art]

Page 100-101: Happy 100 pages to meeeeeee! What a coincidence that this is one of those scenes I've been wanting and waiting to draw for-absolutely-EVER now!

As always, transcription under the cut if you're having trouble reading all that!

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Page 100: Anne-Marie: That's ridiculous. So you had some troubles as a teen. That's no reason not to- Kat: Annie. They were going to take one look at my record and assume that I did it. That I was jealous, or something, and I was escalating to violence, just like everyone was always so scared that I would. Anne-Marie: You don't know that. Kat: Of course I do. Why do you think I was such a troubled teen, anyway? I hate that word. You and I had the same troubled childhood. But somehow you came out of it as this perfect kid who could do no wrong. Teachers and neighbors and social workers and classmates- everyone loved you. You were smarter and more talented and more hard-working than everyone else.

Page 101: Kat: And I could never compete with that. (Voice in the flashback offscreen: Honestly. Your sister never gives me this much trouble!) (You should try taking a leaf out of Anne-Marie's book.) (Why can't you be more like Anne-Marie?) (Why don't you act more like your sister?) (...and that, my dear, is why you fail where Anne-Marie succeeds.) (So, tell me about your sister.)

[frogaroundandfindout]

Dick chases down Tarantula after she uses a poison dart of one of the ESU guys dick was fighting. He calls Babs for information on the newest cape in town but learns Barbra has no information on her. Dick notices that she has a tarantula theme going on, a tribute to his ex-hero neighbor John Law, while Barbra worries about Dick’s interest catching on the latest lady hero (Nightwing vol 2 #75)

[allthedesiredusernamesaretaken]

[legionofpotatoes]

been playing bits and pieces of horizon forbidden west! game's pretty as hell

[prismatoxic]

having a religious experience listening to music through earbuds that are actually a good quality

[kenzan-kiwami]

finished the linework for my kashiwagi tattoo design idea :weary:

RGG Studio Hire Me Challenge [IMPOSSIBLE]

[agnesmontague]

.

[emberidzae]

Nona the Ninth chapter heading symbols

We’ve gotten a whole bunch of new symbols in Nona in addition to a truly interesting selection of skulls, so I’m listing them out, along with either my guesses for what they likely refer to (key people in bold), or if I have Absolutely Zero Clue, a summary of the chapter. For the verses in the John chapters, see this separate post.

The Locked Tomb, consisting of a round rock chained to a larger rock with a small skull positioned above the round rock – Likely represents Nona herself. Introduction to Nona.

The Locked Tomb – More about Nona’s life.

The Apple Tree, a tree with a single apple hanging from its lowest branch – Likely represents Blood of Eden, for the apple tree in the garden of Eden that held the fruit of knowledge. We learn of the Convoy from Nona’s school friends, which we later find out belongs to Blood of Eden carrying the Sixth House Oversight Body.

Skull of the Seventh – ??? Hot Sauce tells Nona that someone is watching the building, introduction to the Angel and Noodle.

Skull of the Ninth – Big hint that Nona’s body is Harrow’s, from the necromancy session with Palamedes and Camilla’s explanation for why the blue light doesn’t hurt them implying that Nona’s body belongs to a necromancer.

Skull of the Sixth – Camilla tells Nona the story of how she and Palamedes met Nona, alluding to how they came to share a body and the secession of the Sixth House.

Skull of the Second – Nona asks Pyrrha questions about herself, Pyrrha and Palamedes argue which brings up Pyrrha and Gideon’s old winnowing test from Canaan House.

Skull of the Third – Nona makes the fake radio call to Crown (Coronabeth)

Skull of the Sixth – What happened the last time Nona and Camilla went swimming, which is when Camilla and Palamedes temporarily fused when attacked by Merv Wing.

Skull of the Second, broken – (The same kind of broken skull that indicated Harrow’s dream chapters in Harrow the Ninth, which I think in Nona the Ninth indicates a shattering of expectations, a major shift in self-identity, or in this case how the character is broken by their circumstances.) Pyrrha harshly tells Palamedes to leave the people who were to be burned in the park be. ‘“I’m not moved by sentiment. Whatever it takes. Don’t feel. Just do.”’

Skull of the Fifth – ??? Nona asks everyone what they think is sexy, Pyrrha admits that she did go to the park after all and warns Nona about Hot Sauce.

The Apple Tree – Nona, Camilla, and Pyrrha are taken by Blood of Eden to meet We Suffer.

Skull of the Third – Crown brings Camilla/Palamedes and Nona to see Judith and figures out that Palamedes is possessing Camilla.

The Locked Tomb – Crown takes Nona to school. ‘“You darling, I know what you are, even if they refuse to see it,” she said softly. “All I can say, sweetheart, is I envy you more than anyone else in the universe.”’

Skull of the Seventh – ??? Hot Sauce talks to Nona about The Angel, tells the teachers about the broadcast, and talks about her family. Nona tells Hot Sauce her secret, that she’s dying. (Maybe it’s the last one? In Chapter 4 Beautiful Ruby observes that Nona looks sick, which is the first time her secret is alluded to. The Seventh House is obsessed with the dying.)

The Tower, a building with three arched doorways/windows and a conical roof – (Named as such because I think it likely refers to the Tower in the River) The broadcast introduces Ianthe and Kiriona (Gideon), who will later identify themselves as the Tower Princes.

The Sprout, a small sprig of leaves – ??? Pyrrha is missing. Nona accidentally listens to Camilla and Palamedes’ recorded conversation, and asks Varun to help her. Camilla decides that they must go to the spaceport but agrees to go with Nona to school first. The Angel teaches the gang about how to protect themselves, tells them a bit about their background as a zoo director, and gets horrified by Nona’s drawing of a cradle creature. (Pulled this name from the aether. Wondering if the symbol is related to how Varun calls Nona/Alecto ‘green thing’; there’s a few clues here about how Nona is related to the Revenant Beasts. This is the only time in the book this symbol occurs though so I can’t say for sure)

Skull of the Eighth – ??? Palamedes confronts the Angel, who calls for Palamedes/Camilla and Nona to be shot. Pash tells the Angel, Aim, about Nona being the Lyctor project. Camilla and Pash defend the group against Merv Wing while Nona goes to Hot Sauce. Hot Sauce realises that Nona revived from the shot, comes from the Nine Houses, and shoots her.

The Open Tomb, the Locked Tomb symbol with chains broken and an open passage instead of the round rock – Nona throws her third tantrum and wields a chair arm like a two-handed sword, recalling the aspect of her that’s Alecto.

Skull of the First – Crown goes to the barracks to meet Ianthe, who shows off some of her Lyctoral abilities in occupying Naberius’ body and reveals Pyrrha pretending to be the Saint of Duty. (Maybe also how Palamedes refers to his ideas of Lyctorhood? General riffing on Lyctorhood and Sainthood, First House concepts)

Skull of the Third, broken – We Suffer and Palamedes discuss Crown’s betrayal of BOE.

Skull of the Ninth, broken – Planning for Nona to pretend to be Harrow. 

Skull of the Sixth – Camilla fights Ianthe and gets stabbed while transferring Palamedes to Naberius’ body.

Gideon’s Skull – Pyrrha and Nona retrieve Gideon’s body, who at the end of the chapter reveals herself to be conscious.

Gideon’s Skull, broken – Gideon/Kiriona is not who we thought she would be. She is the saddest girl in the world.

Skull of the Fourth – ??? We Suffer explains how Merv Wing had been hiding the Oversight Body and Nona recognises the Convoy. Nona goes to Honesty’s apartment to ask for his help, and reconciles with him and Hot Sauce. (I think this one is a little clearer though, the Fourth House is most associated with children and this is the highest point of tension within the gang, further the Fourth House is for fidelity and their confrontation is about their friendship and loyalty to each other)

Skull of the Second – Pyrrha tells Pash about her relationship with Wake. Also, when the Heralds come, Nona gets on the truck and talks to Varun via the Captain Judith Deuteros, who briefly recovers her senses for the second and last time in the book and her calling Nona “Harrowhark” lets Nona admit that she knows who she isn’t.

Skull of the Sixth, broken – Camilla and Palamedes die and become Paul.

Skull of the First – The group begin the plan to take down John Gaius.

The Tower – We see the Tower in the River for the first time.

Skull of the Ninth – The group reach the Ninth House.

The Open Tomb – The Tomb is opened.  Epilogue: Skull of the First – Alecto awakens and goes to stab John Gaius.

[labcoatsaresexy]

super sad that my favorite meaningless conspiracy theory—that Justin Trudeau is the illegitimate son of Fidel Castro—has been repeated in Trump's new book as a charge against Trudeau.

What's fun about it as a theory is that it doesn't matter; that it's entirely superfluous to Trudeau, his policies, or the Canadian government (other than to indicate his parents were left wingers, which is not news). But now that it's getting dragged into USA politics all the fun has been taken out of it 😢

[highly-opinionated-art]

Page 99: Had a rough time with arms and shoulders this page! Jesus Christ, you get the point, right?

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Flashback Kat: ...Annie? Annie! Kat: It wasn't hard to put together what happened. Someone came in and took you. At the time, I figured it was to stop the launch of the Fidelity. I was going to call the cops, but... Anne-Marie: But what? Kat: Think about it, Annie. You still live in San Antonio. The San Antonio cops know me as a thief, and a liar, and they have a long memory. Or worse, someone from the Fleet might show up, and they don't think too highly of me either.

[in-sightjournal]

Ask A Genius 1014: Quantum world informational fidelity shading

Rick Rosner, American Comedy Writer, www.rickrosner.org Scott Douglas Jacobsen, Independent Journalist, www.in-sightpublishing.com Scott Douglas Jacobsen: Have you ever seen a slider of an image enhancer? You can slide a vertical line left to right. It allows a before and after back-and-forth of the image, like a before and after acne treatment commercial or something. If Planck-scale quantum…

[elisaenglish]

How to Tell Love from Desire: José Ortega y Gasset on the Chronic Confusions of Our Longing

It is a strange thing, desire—so fiery yet so forlorn, aimed at having and animated by lack. In its restlessness and its pointedness, so single of focus, it shares psychic territory with addiction. Its Latin root—dē + sidus, “away from one’s star”—bespeaks its disorientation, its rush of longing, which we so easily mistake for love. And yet, when unplugged from the engine of compulsion and possession, desire can be a powerful clarifying force for the hardest thing in life: knowing what we want and wanting it unambivalently, with wholehearted devotion and fully conscious commitment. In this aspect, desire is not a simulacrum of but scaffolding for love. It shares a strand of that same Latin root with consider, for it is only through consideration—of our own soul’s yearnings and the sovereign soul of the other—that we can truly love.

How to tell love from desire and how to make of desire a stronghold of love is what the Spanish philosopher José Ortega y Gasset (May 9, 1883–October 18, 1955) explores in On Love: Aspects of a Single Theme (public library)—the posthumous collection of his superb newspaper essays challenging our standard narratives and touching self-delusions about who we are and what we want, anchored in the recognition that “people are the most complicated and elusive objects in the universe.”

In a passage that calls to mind Auden’s haunting meditation on true and false enchantment, Ortega considers how our slippery grasp of reality shapes our experience of love:

“It would be outlandish to conclude that, after being consistently wrong in our dealings with reality, we should hit the mark in love alone. The projection of imaginary qualities upon a real object is a constant phenomenon… To see things—moreover, to appreciate them!—always means to complete them… Strictly speaking, no one sees things in their naked reality. The day this happens will be the last day of the world, the day of the great revelation. In the meantime, let us consider our perception of reality which, in the midst of a fantastic fog, allows us at least to capture the skeleton of the world, its great tectonic lines, as adequate. Many, in fact the majority, do not even achieve this… They lead a somnambulant existence, scurrying along their delirium. What we call genius is only the magnificent power… of piercing a portion of that imaginative fog and discovering behind it a new authentic bit of reality, quivering in sheer nakedness.”

Love, Ortega argues, can uniquely pierce the veil of delirium and reveal a greater truth, unlike “inactive sentiments” like joy and sadness, to which desire is akin:

“[Joy and sadness] are a sort of colouration which tinges the human being. One “is” sad or he “is” happy, in complete passiveness. Joy, in itself, does not constitute any action, although it may lead to it. On the other hand, loving something is not simply “being,” but acting toward that which is loved… Love itself is, by nature, a transitive act in which we exert ourselves on behalf of what we love.”

In consonance with Iris Murdoch’s magnificent definition of love as “the extremely difficult realisation that something other than oneself is real,” Ortega observes that the essence of love is an “intense affirmation of another being, irrespective of his attitude toward us.” With an eye to all the things we mistake for it—“desire, curiosity, persistence, madness, sincere sentimental fiction”—he admonishes against the culturally conditioned error of measuring the magnitude of love by the intensity of violent emotion it stirs in us, drawing a crucial distinction between falling in love, as a transient altered state of consciousness drunk on dopamine, and loving, as a continuous mode of being:

“Love is a much broader and profound operation, one which is more seriously human, but less violent. All love passes through the frantic zone of “falling in love”; but, on the other hand, “falling in love” is not always followed by genuine love. Let us, therefore, not confuse the part with the whole. […] The more violent a psychic act is, the lower it is in the hierarchy of the soul, the closer it is to blind physical mechanism, and the more removed from the mind. And, vice versa, as our sentiments become more tinged with spirituality, they lose violence and mechanical force. The sensation of hunger in the hungry man will always be more violent than the desire for justice in the just man.”

We are always, of course, trapped by the limitations of language in communicating the limitless. Observing the difficulty of using a single term to encompass “the most varied fauna of emotions”—the love of science or art, the love of a lover or a child, the love of a country or a cause—and the fact that any term becomes unwieldy when tasked with conveying too many disparate things, Ortega considers what the defining feature of love might be: 

“Love, strictly speaking, is pure sentimental activity toward an object, which can be anything—person or thing. As a “sentimental” activity, it remains, on the one hand, separated from all intellectual functions—perception, consideration, thought, recall, imagination—and, on the other hand, from desire, with which it is often confused. A glass of water is desired, but is not loved, when one is thirsty. Undoubtedly, desires are born of love; but love itself is not desire. We desire good fortune for our country, and we desire to live in it because we love it. Our love exists prior to these desires, and the desires spring from love like the plant form the seed.”

Desire is often so difficult to distinguish from love because it is rooted in longing, but longing exists only in absence and evaporates at the moment of attainment, while love grows more saturated the more presence and energy it is given. A generation before the poet J.D. McClatchy contemplated the contrast and complementarity of desire and love, Ortega writes:

“Desiring something is, without doubt, a move toward possession of that something (“possession” meaning that in some way or other the object should enter our orbit and become part of us). For this reason, desire automatically dies when it is fulfilled; it ends with satisfaction. Love, on the other hand, is enterally unsatisfied. Desire has a passive character; when I desire something, what I usually desire is that the object come to me. Being the centre of gravity, I await things to fall down before me. Love… is the exact reverse of desire, for love is all activity. Instead of the object coming to me, it is I who go to the object and become a part of it. In the act of love, the person goes out of himself. Love is perhaps the supreme activity which nature affords anyone for going out of himself toward something else. It does not gravitate toward me, but I toward it… Love is gravitation toward that which is loved. […] In loving we abandon the tranquility and permanence within ourselves, and virtually migrate toward the object. And this constant state of migration is what it is to be in love.”

And yet, he concedes, desire can bloom into love:

“One may sometimes grow to love what he desires: we desire what we love, because we love it.”

The distinction between desire and love, Ortega observes, goes beyond that between the static and the active. Even more crucially, there is the distinction between possession and affirmation, between greed and generosity:

“Desire enjoys that which is desired, derives satisfaction from it, but it offers nothing, it gives nothing, it has nothing to contribute… Love, on the other hand, reaches out to the object in a visual expansion and is involved in an invisible but divine task, the most active kind that there is: it is involved in the affirmation of its object. […] Loving is perennial vivification, creation and intentional preservation of what is loved… a centrifugal act of the soul in constant flux that goes toward the object and envelops it in warm corroboration, uniting us with it and positively affirming its being.”

Couple with Ortega on how the people we love reveal us, then revisit French philosopher Alain Badiou on why we fall and how we stay in love, Thich Nhat Hanh on how to love, and Hannah Arendt on love and how to live with the fundamental fear of loss.

Source: Maria Popova, themarginalian.org (24th April 2024)

[youssefguedira]

i'm rereading leon hunt's cultographies book on danger diabolik for actual research purposes this time and my new favourite bit is when he's talking abt popular reception of the film including its reception among comics fans, and mentions a forum comment from sometime in the 2000s going well at least it's not the cartoon. and you know what. forum user has a point. at least it's not the cartoon

[therevengeoffrankenstein]

what you do on your own time's just fine, my imagination's much worse !

[scarletfasinera]

Every time this audiobook is like "Che Guevara was considered by half of the people who spoke to him as being very arrogant and hot-headed" I'm always like Yeah and he was right about everything did you consider that.

[time-woods]

It all started with a garden, supposedly it'll end with one too,

im a sucker for plants and their symbolism- i added 2 that arent in his cannon collection- that being ivy and forgetmenots, ivy can symbolize friendship but also fidelity, devotion and eternal life, forgetmenots often symbolize true love and the such, forgetmenots can also represent a promise that youll keep that person in your thoughts, no matter what. also also i put the rattlesnake plant front and center cause yaknow. . . snake (theres so much i could go off on but i wont for now ((