#and flesh is inherently more grotesque than meat

[wildwood-faun]

today I learned that the Sunday before Shrove Tuesday used to be called köttsöndag (lit. meat Sunday but imo it sounds so much more grotesque in Swedish), and that the traditional activities were eating meat and driving around on kicksleds

[digital999placebo]

I hate “””disturbing””” movies bc yes they’re disturbing but it feels like a lot of them r just like . Exploiter movies, especially modern ones? They just throw in the most grotesque shit ever like sexual abuse n torture n shit n have 0 fucking weight at all except “it’s disturbing wooohoooo” n it’s just disturbing bc those topics in n out of themselves r disturbing. GOOD disturbing movies can make things that aren’t inherently disturbing disturbing, like “Tickled” is a good one bc it’s like “ok whatever tickle films someone gets off on it” but it’s just the weirdest ppl ever involved. “The act of killing” is good too even tho it’s about real mass murders bc there’s so much thought put into the movie n it’s not really about shocking the viewer, bc yea the way they describe the murders is disturbing but what’s really disturbing is their justification n how much they’ve detached themselves from it. “The Naked Lunch” is a good disturbing movie bc of its uncertainty n the flesh n the meat n yeah.

Serbian movie 😑 can go choke fr. When u think of pseudo-disturbing movies I think of this movie, it is so badly written and I hate that it has gained any ground whatsoever bc it sucks n u can’t say it sucks bc ppl will b like “ur offended by the acts in it n that’s the point” bro IDC it’s just bad writing. It’s so desperately tries to be shocking, so desperately tries to b controversial n gross n off-putting that when it brands itself as such it just comes across as needy n pathetic n ur only disturbed while watching the movie, as soon as it’s over it’s just gone. Adam Sandler challenges ur brain more than Serbian Movie. Serbian movie is just a bunch of clips that came about when the writers sat in an office n came up with everything no sane person would ever do n then added cocks to it. Putting dead kids on screen in an allegedly disturbing movie is like a jumpscare in horror: it’s cheap

[strawbabysimp]

Assumptions || Insecure!Usopp x Reader

Genre: Angst

Category: Insecure!Usopp x GN!Reader

Warning(s): Body Insecurities, Misunderstandings, Relationship Insecurities

Request(s): "Usopp with a female reader who likes to flirt with everyone on the ship because she wants everyone to feel good about themselves but at the end of the day she loves Usopp the most"

A/N: It's a bit shorter than I would have liked but I don't think I could do Usopp's complicated character justice in any form other than a series~ I might pick up the idea later on either this platform or possibly AO3<3

"It smells good!"

Your voice draws Usopp's attention away from his drawing, hand coming up to place the pencil behind his ear and away from his sketch of the ocean skyline. He could hear the smile in your voice as you talked to the cook behind the kitchen door.

The sniper let a small grin of his own grace his full lips at the thought of you, a part of him eager to see you walk out of the kitchen and meet his eyes with that same fondness that seeped into your voice just now. As the minutes went by, the upturn of his lips slowly morphed into a more neutral expression, turning away from the smell of today's lunch and the sound of pans clanging together as you and Sanji's conversation continued on.

By the time you came out, his drawing was finished and the smell of spices and meats filled the surrounding air, mixing with the saltiness of the sea breeze as his body pulled more of the pleasant scent into his lungs. His stomach growled loudly and his eyes widened as laughter sounded from beside him, black eyes coming up to meet your humored expression.

"Lunch is ready," you smirked, "it sounds like you need it."

"Hey!" The sniper reprimanded you. "The Great Captain Usopp needs his fuel to go on saving the lives of millions! That brings me back to the time I went off into the Great Desert of Death with nothing but dried meat and-"

"Yeah, yeah, I know, I'll make sure Luffy doesn't take too much off your plate this time, Great Captain Usopp!" You saluted him with a smile before running off to help set the table.

As you made your way ahead of Usopp, the wind changed direction, ruffling your clothes with the slight breeze. The signs of food were no longer taking over his senses, a new smell mingling and overpowering it. As he inhaled he could practically taste the way the cigarette smoke soaked into your clothes from how long you spent alongside Sanji, Usopp's stomach rumbling tauntingly at the thought. A deep ache settled in the sniper's chest, feelings far more bitter than the slow-poisoning tobacco the other man found pleasure in.

~~~

"I know you have nice hands Luffy but please keep them out of other's food," you remarked as you stabbed at your Captain's greedy fingers with a fork, trapping it against the table as you thanked whatever God out there responsible that Franky didn't see, avoiding a lecture from the Cola-fanatic.

Luffy whined when you moved the utensil away from his flesh and back to your meal nonchalantly. You looked up at Sanji with an affectionate smile.

"Go get our Captain some more meat, lover boy."

"With pleasure."

The blond strutted away and you let a deep fondness for your crew show on your features. You were lucky to have found such extraordinary Nakama.

You turned to face Usopp, teeth showing as your lips lifted into a grin. His cheeks were stuffed with food, his fingers gripping the fork as he side-eyed an impatient Luffy. You couldn't resist the opportunity to grab hold of his other hand, interlacing your fingers as you waited for him to look at you.

The eye contact never came though.

Usopp shot up, fingers digging painfully into his palm as he struggled to remove himself from his seat for a moment. His crewmates startled faces turned to him as he backed away from his meal. He stumbled in his haste to get out, eyes darting around the room before muttering some excuse about having to use the restroom.

"What's all that about," Sanji's questioned as he placed some more meat upon Luffy's plate.

"I'm not sure," you spoke.

~

"Nice hands."

Such a simple compliment. One he had never received.

Usopp was aware of how his hands had hardened over time, building and playing from a young age causing his fingers to be riddled with small scars and other imperfections. He trailed one of his digits along a particularly uneven patch of skin, grimacing as he became overly aware of the calluses donning it.

He supposed Luffy had gone through the same if his unpredictable and adventurous personality was anything to go by. So then why did he receive such kind words? Maybe it was the way that Usopp went about doing things that had made his hands so grotesque.

The small marks swelled in his mind's eyes, taking up any room for positive thought. With a sigh, he shut his eyes, finding solitude in his skewed view of the world, accepting his fate of being inherently lesser. The sniper allowed himself to take in a deep breath, washing his hands thoroughly - albeit a bit roughly - before returning to the room.

You looked up from your empty plate as Usopp rejoined the group, giving a small smile before noticing his downturned eyes. The mood had soured slightly from his outburst but the others continued on, feigning casualty so as not to alienate him further.

The words echoed in his mind but no one seemed to care, thoughts unvoiced yet meant to be heard. The sniper continued to suffer in silence while waiting for someone to notice his inner turmoil.

[girlhell2002]

“THESE HEAVENLY CREATURES”: Femininity, Rage and Cannibalism through the lens of Horror

Caravaggio’s ‘Judith Beheading Holofernes’ depicts the sweet, young Judith decapitating a seasoned general. The act is not unmotivated – the murder is a response to the destruction of Judith’s home, verbal degradation and attempted sexual violence. The painting therefore acts as a notable example of female resistance figured as body horror. Jeffrey Jerome Cohen argues the monstrous body, a key component of ‘art horror,’ is inherently cultural – the embodiment of fear through a ‘particular time, a feeling, a place.’ Judith’s monstrous nature, beyond her choice to murder, is rooted in cultural conceptions of gender, possessing a form of sexualised femininity and contradictorily brutal masculinity, and presenting as ‘virtuously superior to men’. But the connection between the feminine and the monstrous endures, over time and throughout different mediums. No matter the shifting context, within the genre of horror, there is always something fearful about a woman; whether she be a threat, victim or vaguer expression of deeper pain and repression. 

Historically, the internalisation of women’s pain has had untold psychological consequences; the notion of the female-oriented diagnosis of hysteria, the silence and betrayals of female psychiatric care and the fraught history of lobotomy, responsible for the way female bodies and minds have been forcibly ‘feminised, rejected and policed.’ Horror has fruitfully interrogated this subject, asking the question: when this pain can no longer be contained, how does it manifest? Ducournau explores the malnourishment behind femininity in her film ‘Raw’ (2016), where we follow Justine, our heroine, who is opened up to an overwhelming desire for human flesh after being force-fed meat for the first time. The film presents femininity and female sexuality as a destructive force. Justine transforms from a quiet, docile young girl into a highly sexual, empowered and predacious woman - biting a chunk out a man’s lip after kissing him, and then later eating it in a repulsive close-up. Her actions and her perceived promiscuity are driven by one thing: hunger.  The act of satiating that hunger to its fullest is seen as repulsive and unfeminine by society. No surprise then that we’re seeing women in fiction subvert that hunger into something else, something more carnal, fulfilling a desire deeper than just starvation. A desire to be seen. To be noticed. To be perceived as more than just a woman. 

The physical manifestation of female rage and its viscera is further touched on in Zulawski’s Possession (1981), a marital drama drenched in existential dread, body horror and black comedy. Anna, played by Adjani, is a housewife boxed in by her domestic life with a desperation to flee. She is uncontrollable, unpredictable and hysterical - the opposite of what a housewife should be. She is an unlikeable character, she rejects motherhood, marriage -  the antithesis of a typical heroine. Anna is trapped between her abusive husband and an affair with an insufferably self-important man, with both sides manipulating, threatening and physically attacking her under the sadistic guise of love. Neither man can own or control Anna. Perhaps one of the most transfixing moments in the film is when Adjani breaks down in a passageway by herself, losing all sanity before experiencing some kind of volatile miscarriage. Anna’s breakdown is not a breakdown borne out of frustration nor exhaustion. It is guttural, disgusting and oftentimes grotesque. Shot in several long agonising takes, the audience is forced to watch Anna screech and scream, overcome by a horrific force as she expels gunge, blood, urine and other puss-coloured fluids from her body.  The act of being disgusting, and to disgust others is unfeminine, and to see Anna lose all control in a sequence like this perfectly demonstrates the ache to break out of the passivity of being a woman. Another example of this could be Anna’s ‘pet’, or the monster she hides in her secret apartment - a wet, gluttonous, fat mound of tentacles that eats men, and later takes the form of a man in order to protect itself from physical threat. In an attempt to regain her own agency again, Anna controls the ‘pet’ like her husband originally tried to control her.  

Body horror has been an ongoing theme in this genre for over a decade: Marina De Van’s In My Skin (2002), which explores self-mutilation as a means of surviving the smothering patriarchy, explores similar thematic and visual spheres. The film follows Esther, a successful businesswoman about to move in with her boyfriend, who stumbles upon an obsession with butchering herself. The film is gory, but not violently so, it is clear from Esther’s actions that her extreme form of self-harm is merely a coping mechanism; a part of her routine, and it should be treated as such by the audience. The scenes in which Esther harms herself are also very sensual, often poised in close-up shots or excruciatingly long takes that let the audience inside her POV. De Van is careful in her portrayal of self harm, and makes sure to never minimise or belittle Esther’s self-destructive escapism. If it means regaining agency back from standards of beauty, work and performed femininity imposed by the people who supposedly care about her, Esther is willing to do anything. She does horrific things to her body: cutting at her skin with random pieces of metal, biting her arms and thighs, even going as far as cutting off a chunk of her skin to preserve and eat for later. Despite Esther's life seeming outwardly fine, she feels nothing. At work, she is bored, unfeeling. At home, she is placid but numb. In self-injury she finds intrigue and pleasure, fascination and joy. The world around her is ordinary, misogynistic, and lacking meaning, there is no sense and no purpose. So to feel pain, and to bleed, is to be alive. To consume one's own flesh is to prevent the world from consuming you instead, and to detach the body in order to feel something, anything at all, is to achieve stasis not only as a woman, but as a human. 

Art horror extends beyond the cinematic. Female cannibalism has frequently made the transition from film to literature, exemplified in Chelsea Summers’ novel A Certain Hunger. Summers’ narrative follows a cannibalistic high-powered food critic as she reminisces on the murders of several of her old ex-lovers. Dorothy, its protagonist, is not a likeable character. She has no remorse, guilt, or empathy for what she has done. She takes great pride in her actions, often embellishing her baraborous endeavours with grotesque details. After dissecting her lover, Dorothy describes cooking a pound of his flesh in a frying pan, adding that she ‘skinned it, trussed it, rubbed it with olive oil, red wine, lemon, garlic and salt.’ She takes pleasure in her bad deeds, and feels no need to be remorseful over them, murder - much like self-harm with Esther - is part of a routine. It is a step that must be taken in order to stay afloat in the misogynistic haze that threatens to invade Dorothy’s world. While in previous examples protagonists have sought out pain to feel something more, Dorothy seeks to suppress and minimise. In Dorothy’s world there is no room for emotion, no time for it. In order for her to remain in a position of power and agency she must act without guilt. While many murder out of fear or anger or pain, Dorothy kills just to kill. She enjoys it, takes pleasure in it, and has a very nonchalant response to being labelled this way, casually mentioning, ‘I became a serial killer.’ 

Other examples occur in both the mainstream and the liminal spaces of popular culture. From the cult status and reemergence of Kusama’s teenage comedy-horror Jennifer’s Body (‘I’m going to eat your soul and shit it out’) to the enduring influence of Fiona Apple’s Paper Bag (‘Hunger hurts and I want him so bad, oh it kills’), female cannibalism and body horror permeate even the most unexpected of cultural spaces. Femininity is a destructive force, whether that be through murder of the self or murder of the body. It is worthy of such dissection across media because it remains incomprehensible and dark. Even now contemporary social structures are unprepared to confront the inherent pain of the female experience, and the hunger it leaves behind. 

[theonyxpath]

Eric Zawadzki here. As there seems to be a lot of interest in the Clades, I thought I’d share a bit more about these. To that end, I’ve provided the introduction to Clades, most of the write-up for the Mutant, and the current version of one Mutant Variation – Rapid Healing. A usual caveat applies: This game is just entering the first round of playtests, so things (especially mechanical things) could change.

Clades

Origins are how you went into the Divergence; Clades are how you broke. Which of the five Clades a Deviant belongs to depends on how her mind and body adapted to the process that fractured her soul.

While individuals within each Clade transformed along similar pathways, every one of them is unique and carried specific variances into their transformation. The Divergence brought the inevitable conclusion that the human subject would be altered into something inherently inhuman, either through dying or breaking and accepting becoming one of the Remade. While the outcome was unavoidable, the specifics were never certain. Despite any similarities that may exist in appearance, function, or powers of Broken within the same Clade, every transformed is unique. Each survived the Divergence in their own way and came into their Variations and Scars as individuals. No one within a Clade need have consistency or predictability with their peers.

Every Deviant has three Adaptations – two as a function of their Clade, plus Stubborn Resolve (p. XX), which is universal to all Remade. However dissimilar various Broken are, the Adaptations denote shared experience in surviving the horrors. For some Remade, the fact that others share their Adaptations is the only comfort they have in knowing they’re not alone.

Cephalists: The minds of these Psychics lashed out at the trauma of their Divergence, reshaping themselves as their souls cracked and giving them power over the world through sheer mental will, beyond anything a Baseline would understand.

Chimerics: Also known as Hybrids, these Remade combine human and foreign species to try and gain the best of both worlds. Hybrids may incorporate animal organs, plant genes, hastily attached limbs, or play host to voracious pathogens and parasites to merge human and other and see what results.

Coactives: The Infused blend the intangible with the solidity of human flesh. The precise power bound to the Broken that shattered her soul could be nearly anything. One harnesses deadly levels of electricity or radiation while another channels angelic light or demonic darkness. The intangible source is irrelevant to belonging to this Clade, only that the human controls it.

Invasives: The Cyborgs gained power as their flesh grew around invasive, inanimate matter, taking it in and incorporating it to be one with the human. Some Invasives benefit from shiny technological marvels while others make do with tarnished jury-rigged devices, but gadgets aren’t the sole province of this Clade. Magical artifacts, alien devices, and other exotic materials bonded with human meat also mark Invasives.

Mutants: Something in the genome of the Grotesques rebelled at the horror of the Divergence, rejecting whatever was trying to force change by responding with a change of their own. As the Mutant’s soul cracks, his body becomes something more, something with the ability to refuse the alternative insult to his flesh.

Classifying the Unclassifiable

Conspiracies focus on Clades because it gives some predictability to the Divergence, but this is far from perfect. It may be somewhat logical to think that slicing open a subject and surgically implanting mechanical parts produces an Invasive, but the victim’s body may reject the cold metal and latch onto the warm electricity inside the machines, becoming Coactive, instead. Or some quirk of genetics may force her body to violently destroy the foreign substances and rewire her Mutant physiology to be inimical to all machines. The stimulus of the Divergence is impersonal, while the response of Clade is nothing but personal.

Clades are not truly random, as statistical clusters do exist. The individual subject is important but not the only factor. Divergences appear to follow certain trends based on the events that brought about the rupture of a Broken’s soul. As an example, overcharging energy supplies — even with ephemeral energies poorly understood by science — while performing procedures may help skew results towards producing Coactives. Implanting living biological material is best suited to achieving a Chimeric result, just as grafting machines to human flesh most often gives an Invasive, when it delivers anything at all.

Progenitors who work under controlled conditions tend to have some level of repeatability to their methods, or at least try to limit the variables as much as possible to channel the results down the pathway they desire. To help deliver the control they so desperately crave, conspiracies specializing in producing certain Clades may use psychological profiling and genetic screening to identify those subjects with similar characteristics to what has previously yielded favorable results. What worked to make one subject of given background and health characteristics may work on another.

Despite these efforts, the Divergence is more art than science and any method can just as easily result in psychic Cephalists or genetic Mutants instead. Overall, Progenitors know every population has its outliers, and statistical anomalies exist. Sometimes, accidents just happen. Ignorant bystanders or isolated observers in the right place at the right time can undergo the Divergence as readily as carefully prepared subjects. In the end, which Clade a Deviant joins depends largely on the physical, mental, and spiritual state of the transformed herself.

Mutants: The Grotesques

Adapt and survive.

Every Mutant is a miracle, a statistical anomaly that, by rights, should have died as a result of the Divergence. Somehow, they didn’t. Their body rejected the cybernetic implant, or transplanted organ, or infusion of exotic energy as though allergic to it. Then it went a step further, transforming into something that would never suffer another such incursion. Unfortunately, this aggressive immune response still splintered the Grotesque’s soul.

The Mutant can endure almost any environment, for a time. Grotesques only rarely encounter situations that they can’t adapt to overcome. If a Mutant doesn’t have what it takes to thrive at that moment, she can change herself and triumph. If the Grotesque needs some advantage to save the day — or tear down a conspiracy — she will adapt and make it happen. These changes carry a cost — always a cost — but many Mutants are willing to pay this price if it advances their cause.

Welcome to the Freak Show

Mutants embody humanity’s adaptability to overcome any situation, including the Divergence. Regardless of whether the Remade was willing and prepared for the transformation, something within her genome refused to obey. Her body changed to survive, developing its own way of coping, and rejecting what was on offer.

Most Progenitors agree that this surprising immunity has roots in some quirk in the Grotesque’s DNA, but they argue vociferously over whether it would have occurred in the face of a different Divergence trigger. In short, no one knows with certainty whether the Mutant’s genes would have reacted the same way to a nanotech injection as it did to the implantation of a unicorn’s heart, or even whether the heart of a lion would have succeeded where the unicorn’s heart did not. Genetics might predispose a person to mutation, but it is equally reliant on the much less likely possibility that she is exposed to a Divergence-triggering stimulus that will unlock this potential.

Inhuman Resources

The very adaptability that refused compliance is what conspiracies want with Mutants. Every loyal Grotesque is a wildcard giving power to the conspiracy. Rivals may plan for attacks from many fronts, but they can never fully prepare for the Mutant dedicated to the conspiracy’s disruption or destruction. This unpredictable power makes Renegade Mutants just as terrifying to the conspiracies they’ve betrayed. Even Mutants who have worked within a conspiracy for years as Devoted could return for vengeance from any direction and despite the obstacles placed in their way.

This risk and uncertainty prompt smart conspiracies to approach identified Mutants carefully. Recruiters would rather proffer the carrot than the stick, enticing the Remade to join on her own terms, and under what she at least believes is her own free will. The cost of keeping a Grotesque onside and at ease is usually far less than forcing her to comply. Among several conspiracies, Mutant assets enjoy a freedom unmatched by other Clades, and coexist with the organization as a valued freelancer or consultant rather than a slave. The main question is how long can the Mutant turn a blind eye to the treatment and propagation of other Broken in the conspiracy’s clutches before her maladjusted conscience realizes the truth of her ‘business partners’?

Mutant Variations

Mutant Variations penetrate the Deviant’s anatomy down to the cellular level. Grotesques suffer frequent comparisons to cancers, for their most common capabilities are disturbing perversions of normal bodily functions, and they are the Clade most prone to fatal deterioration due to Instability.

Rapid Healing (• to •••••)

Subtle Discrete, Perpetual

The Deviant’s body works tirelessly and unerringly to restore itself.

This Variation must be Persistent. This Variation cannot heal damage caused by Scars (such as Perilous Variation) or Adaptations (such as Adrenaline Surge or Overclock).

At Magnitude •, the Deviant’s natural healing times are halved.

At Magnitude ••, the Remade heals one bashing damage per turn in action scenes and heals all bashing damage at the end of each scene. This also removes minor ailments such as colds, food poisoning, or sprains.

At Magnitude •••, as Magnitude ••, but the Deviant also heals all lethal damage at the end of each chapter. This also cures most diseases and purges the Broken’s body of toxins.

At Magnitude ••••, as Magnitude •••, but the Deviant instead heals one bashing or lethal damage per turn in action scenes, heals all lethal damage at the end of each scene, and heals all aggravated damage at the end of each chapter. This also regenerates damaged or destroyed limbs and organs, eliminating relevant Persistent Conditions such as Blind or Crippled.

At Magnitude •••••, as Magnitude ••••, but the Deviant is nearly invulnerable to death, except as the result of Instability. Even if decapitated, dismembered, or incinerated, his body still makes itself whole. After being killed, the Broken’s body can remain inert for as long as his player wishes, such as to wait for enemies to leave the scene or until he is no longer immersed in a vat of strong acid. When he rises from the dead, the Deviant heals points of aggravated damage equal to Scar Power.

The Coactive Symbiote doesn’t remember the assassination missions her body carried out on behalf of her old employers because the spirits they coaxed into possessing her never let her — at least not until she convinced one to help her escape (Amnesia; Persistent).

The Invasive contains powerful nanites capable of rebuilding his body from a fragment, if necessary. They have done her mental health no favors, however (Murderous Urge, Persistent).

The Mutant possesses regenerative abilities that would make a starfish jealous. Although he heals quickly, he also feels pain more keenly (Fragility; Persistent).

[joseph-coward]

Vegan again

Hello,

If you’ve ever read an interview with me or taken an interest in my frequent online political witterings, you may be aware that, for the past decade, I have abstained from eating animals, and generally avoided animal products. 

This decision was precipitated by my 2007 viewing of a DVD given to me by representatives of the group PETA (People for the Ethical Treatment of Animals). Interspersed between concert footage and interviews featuring bands of which I, aged 15, was then a fan, were recordings of a much more disturbing nature: images of animals being abused and inhumanely slaughtered by disaffected abattoir/farm workers in the most shockingly cruel, brutal ways. I remember seeing birds bred to have their insides made into påté being held down and force fed; still-conscious cows were impaled with hooks and hoisted into the air to be bled to death; a secret recording showed a man smashing open a live pig’s head with a breeze block. These fleeting (and grotesque) examples of a regime that, daily, sees millions of animals sent to die in agony and desolation shocked me into giving up my carnist lifestyle. Having been made to think directly about the violence of which I was only vaguely conscious until that time, I couldn’t bring myself to continue consuming animal flesh. 

For the next eight years I remained a vegetarian before transitioning to veganism but, until a few days ago, have again been eating eggs and dairy. It was when the idea of Veganuary was brought to my attention that I decided to reassess my motives for consuming animals products of any kind, since I already knew that the dairy and egg industries are just as cruel, bad for the environment and unhealthy for the human body as the meat industry. 

The Veganuary movement aims to alert people to the fact that “production of food and clothing [using animals] causes them to suffer in innumerable ways,” and that adopting a vegan diet lowers blood pressure and the risk of disease, as well as reducing your carbon footprint more than you would by giving up driving your car. In short, by choosing to forego animal products, we can have a hugely positive impact on the world in which we live, both for ourselves and all the others living in it.

It’s not about moralising or telling people that they are inherently bad for consuming flesh, it’s about education: if you really knew what had gone into the production of your bacon and eggs, or your pepperoni pizza, would you still eat them? If you would, would you be able to do so without any flicker of conscience? I myself found that I couldn’t, and so I stopped eating animals. And I actually found it a very simple thing to do in terms of how I adapted my lifestyle to this new diet, given that so many major food retailers now commit to providing a range of affordable vegan friendly foods. 

Veganism is the next step for me in terms of living as ethical a life as it is possible to do in our Western, Capitalist, post-Imperial society. I don’t expect anyone considering a change to the way they eat to make any radical leaps straightaway. But giving up animal products, even if it’s just for a few weeks, is definitely a start.

If anyone else is thinking of giving this a go, let me know. I’d love to talk to more people about this experience, and what impact they think it will have on their outlook when January is over.

Thank you,

JC