#Book My Lectures

[the-ink-repository]

Professor Emmrich Volkarin during a lecture on Wisps, 9:51 Dragon

[flipflopmasterr]

Ihhsfm

[duckprintspress]

Given how common it is for book posts that say "just give me the book blurb! stop with all the other things!" to get tens of thousands of notes, I feel the need to say, as a tiny micro-publisher: if only sharing the book blurb sold books, trust me, we wouldn't be wasting our time with all the other shenanigans.

But just sharing the blurb doesn't work. Most people scroll right by.

And so we try every single method we can think of, including sharing the blurb among them, to try to get whatever eyes we can on the book.

Of course the description of the story is the best way to sell the book and get people interested, but it only works if y'all actually read it. And getting most people to the point where they'll read anything that isn't already immediately and actively part of their existing interests is fucking hard, so we use splashy graphics and short hand to try to hook people, and then hope that when they read the blurb, that hook will go from "oh, that's worth a glance" to "oh, that's worth a buy."

Also: just because the exact post you saw promoting a book didn't include the blurb doesn't mean other posts about the book don't!

Sorry. I just have seen so much of that recently (and not just because of that poll about "what convinces you to buy," I actually found that whole poll extremely interesting and informative) that I'm kinda losing patience with it.

Just posting the blurb doesn't work.

Signed, someone who sells books for a living, or at least tries to.

[uinferno]

Or if they do, they're certainly not drawing it.

[regular-gnome]

So, I have a test in two days, so a fun way to deal with the stresso is drawing some silly little creatures

and just wanna prefice for this case, there isnt really a difffrence between a body and cloth here. They are the blood inside that controls outside

every time unleaned up sketch ends up looking better than the "improved" one

[yandere-daydreams]

haitham is NOT a stem student his ass doesn't have what it takes to survive the trenches (a four hour organic chem lab just to end up with an impure product). like he's literally a member of haravatat which according to the genshin wiki " is specialized in semiotics, the study of sign processes and meaning-making, and includes disciplines such as linguistics and ancient runes studies." he IS the english major

i see your point anon but i must defend my people. alhaitham is a PHILOSOPHY major with a minor in communications and i won't let him get any closer to a liberal arts degree than that.

[lemedstudent2021]

red geranium

rest in peace queen ur death will always be iconic to me. squint pls i cant art under stress.

[poetrysmackdown]

what makes a poem a poem? does it have to be written in a certain way? is this question a poem if i want it to be?

Fun question! This is just my personal sense as an avid reader and less-avid writer of poetry, but for me it’s useful to distinguish (roughly) between poetry as a genre and poetry as an attitude or philosophy through which language and the world can be understood. And of course these two go hand in hand. I see poetry the genre as essentially a type of literature where we as readers are signaled, somehow, to pay closer attention to language, to rhythm, to sound, to syntax, to images, and to meaning. That attentive posture is the “attitude” of broader poetic thinking, and while it’s most commonly applied to appreciate work that’s been written for that purpose, there’s nothing stopping us from applying that attentiveness elsewhere. Everywhere, even! That’s how you eventually end up writing poetry for yourself, after all. There’s a quote from Mary Ruefle floating around on here that a lot of folks have probably already seen, but it immediately comes to mind with this ask:

“And when you think about it, poets always want us to be moved by something, until in the end, you begin to suspect that a poet is someone who is moved by everything, who just stands in front of the world and weeps and laughs and laughs and weeps.”

Similarly, after adopting the attentive posture of poetics, there’s plenty of things that can feel or sound like a poem, even when they perhaps were not written with that purpose in mind. I’ve seen a couple of these “found poems” on here that are quite fun—this one, for example. The meaning and enjoyment you may derive from the language of a found poem isn’t any less real than that derived from a poem written for explicitly poetic purposes, so I don’t see why it shouldn’t be called poetry.

That said, I do think that if you’re going to go out and start looking for poetry everywhere, it’s still important to have a foundation in the actual language work of it all. Now, this doesn’t mean it has to be “written in a certain way” at all! But it does mean that in order to cultivate the attentiveness that’s vital to poetry, one needs to understand what makes language tick, down at its most basic levels. It will make you better at reading poetry, better at writing it, and better at spotting it out in the wild.

Mary Oliver’s A Poetry Handbook is an extraordinary resource to new writers and readers, and a great read for more experienced folks as well. Mary Oliver’s most popular poems are all to my knowledge in free verse, and yet you might be surprised to find her deep appreciation for metrical verse (patterns of stressed/unstressed syllables), as well as for the most minute devices of sound. In discussing the so-called poetry of the past, she writes,

“Acquaintance with the main body of English poetry is absolutely essential—it is the whole cake, while what has been written in the last hundred years or so, without meter, is no more than an icing. And, indeed, I do not really mean an acquaintanceship—I mean an engrossed and able affinity with metrical verse. To be without this felt sensitivity to a poem as a structure of lines and rhythmic energy and repetitive sound is to be forever less equipped, less deft than the poet who dreams of making a new thing can afford to be.”

In another section, after devoting lots of attention to the sounds at work in Robert Frost’s “Stopping by Woods on a Snowy Evening”, she writes,

“Everything transcends from the confines of its initial meaning; it is not only the transcendence in meaning but the sound of the transcendence that enables it to work. With the wrong sounds, it could not have happened.”

I hope all this helps to get across my opinion that what makes a poem a poem is not just about the author's intention, and not just about meaning (intended or attributed), but also about sound and rhythm and language and history, all coalescing into something that rises above the din of a language we would otherwise grow tired of while out in our day-to-day lives.

I'll always have more to say but I'm cutting myself off here! Thanks for the ask

[lovesodeepandwideandwell]

Look at my book I gottttt

[fruity-pontmercy]

Les Mis adaptations and apolitical appropriation

I think it's no secret on this blog that I love the original Les Mis 1980 concept album in French, and that I also love comparing different versions of the stage musical. I've noticed that Les Mis seems to get progressively more vaguely apolitical as time goes on, not only in the way it's viewed in our culture, but in the actual text as well.

It's natural for specifics to be lost in adaptation. It's easier to get people to care about 'the people vs. the king' in a relatively short musical rather than actually facing the audience with the absolute mess that were 19th century french politics (monarchist orleanists vs monarchist legitimists vs imperialist vs bonapartist democrats vs every flavour of republican imaginable). Still, I feel that as time goes on, as more revivals and adaptations of the stage musical come out, the more watered down its politics become. Like, Les Mis at it's core is just meant to be a fancily written, drawn out political essay, right?

In a way I feel that the 1980 concept album almost tried to modernise it with its symbols of progress. Yes, through Enjolras' infamous disco segment (and other similar allusions to the ideals of social change), but perhaps most interestingly to me, through one short line that threw me off when I first heard it, because it seems so insignificant, but might actually be the most explicitly leftist line of all of Les Mis.

"Son coeur vibrait à gauche et il le proclama" (roughly "His heart beat to the left and he proclaimed it" i.e: he was a leftist) Feuilly says, while speaking of the now dead général Lamarque in Les Amis de L'ABC.

What's that? An actual mention of leftism??? in MY vaguely progressive yet apolitical musical??? More seriously, this mention of leftism, clashing with the rest of the musical due to it's seeming anachronism, is interesting not because it's actually more political than anything else in Les Mis, rather, because it's not scared to explicitly name what it's trying to do.

But we've come a long way from the Concept Album days, it's been 43 years, and Les Misérables is now one of the most famous and beloved musicals in the entire world. It's been revived and reimagined and adapted in a million ways, in different mediums, in different languages and countries, and it's clear that it's changed along with it's audience.

On top of pointing out a cool line in my favourite version of the musical, I wanted to write this post to reflect on the perception of the political message of this work. We as a Les Mis fandom on Tumblr are very political, I don't need to tell you that, however, I feel that because this very left leaning space has sprung out of a work we all love so much, we oftentimes forget to revisit it from a more objective point of view.

Les Misérables has a history of being misrepresented, this has been true since it's publication, since american confederate soldiers became entranced with their censored translation Lee's Miserables. However, with it's musical adaptation, this misinterpretation has been made not only more accessible but also easier. As much as I love musical theatre and I think it is at it's best an incredible art form able to communicate complex themes visulally by the masses for the masses, I think it'd be idealistic to ignore the fact that the people who can afford to go see musicals regularly are, usually, not the common folk. Broadway and the West End are industries which, like most, need money to keep them afloat, and are loved people of all political backgrounds (and unfortunately, often older conservatives) not just communists on tumblr. We've seen the way Les Miz UK's social media team constantly misses the mark regarding different social issues, and the way Cameron Makintosh has used the musical to propagate his transphobia, and most of us can agree that these actions are in complete antithesis with the message of Les Misérables as a novel.

But I must ask, how does Les Mis ,as a West End musical in it's current form, actually drive a leftist message, and how are we as a community helping if every time someone relating to the musical messes up if we just claim they "don't get it"?

I'm thinking in particular of incidents like last october, where Just Stop Oil crashed Les Mis at the West End. Whether you think it's good activism or not is not the question I think, this instance is interesting particularly because it shows that, outside of Les Misérables analysis circles and fandom spaces, it is not recognised as an inherently leftist, political or activist work, and instead of just saying they completely missed the point of the musical, I think it'd be interesting to take a step back and look at what the musical as it stands actually represents in our culture today.

I don't pretend to have all the answers, so I won't try to give one, but I do hope we can reflect on this a bit.

[stopmyhearts]

wait I can start reading in lectures again fun

[bagalois]

i really enjoy this font

[flightyalrighty]

i'm gonna be honest i saw one of the comics never having seen any of the idw stuff and just thought. "oooh somebody has been ripping all of the comic on tumblr don't mind if i do" and then checked the tags to see that it's a fancomic. you genuinely fooled me your artstyle is so accurate

THAT'S why I started putting "THIS COMIC IS NOT OFFICIAL" on all the pages. I don't want anyone from Sega getting mad at me, yknow. I just wanna make my comic in peace.

but also if you can afford to, I'll always encourage folks to actually buy the IDW Sonic comics. IDW's been struggling financially and pirating ain't gonna help.

[erbiumspectrum]

I can't believe Richard Feynman really said that

[sleepy-aletheas]

Hlucký kroj (a ornament z omalovánkového sešitu)

[aflawedfashion]

I get that a lot of wot book fans don't like tv fans who want Moiraine to stay the central character, but you can't talk me into agreeing with you that it should be Rand because the books say so. It's not about what's in the books. It's about how I feel about the characters. That's all there is to it, and you can't change my feelings by explaining the books.