#because the patterns for the recent brainworms has all been so literal

[trashbatistrash]

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[bestworstcase]

clearly the wonderland stuff has hit critical mass because it’s 6 AM and i’m lying here wide awake trying to line up thoughts in order of which ones i want to write out most except i keep bumping into more SO LIKE. send help i am losing my grip

- kernel of a thought i’ve been gnawing on for a while now that there’s a pattern to the wonderland allusion that i can’t quite put my finger on yet. but it’s like—there’s a sort of temporal wobbliness to what and when that feels like it might be something but also just continual swirling it all around D4, D6 and D7, looping in the aaiw stuff and the red queen by constructing new associations (the queen of hearts was the red king, the duchess’s baby becomes the jabberwalker, the cat leads to hatter leads to hatta, the caterpillar lives in the forest where ruby loses her ‘name’, the beach is the garden is the pool of tears is the island for hunting the snark (<- are the mice the bellman’s crew lol. what are they hunting) and like the connecting thread here is mirrored pairs, the tweedles and hatter/hatta and the immanent reflection of the self in mirror-written jabberwocky, with the cat emerging as both the cheshire cat and humpty dumpty to the jabberwalker’s poetry (<- which draws another circle around neo and the jabberwalker in that the cat belongs to the duchess and the duchess is fanatically concerned with meaning in a way that sits kitty-corner to humpty dumpty’s determination not to let denotative meaning get in his way) and then there’s this undergirding idea of ascension and like—never imagine yourself not to be otherwise than what it might appear to others that what you were or might have been was not otherwise than what you had been would have appeared to them otherwise. the you you wanted to be when you were still you. it’s a matter of perspective, i’m afraid. & they want to get to the tree but can’t but the intertextual layer of the narrative has them oscillating back and forth between primarily D6 and D7; they are so close to winning the game but they can’t see the forest for the tree—and the tree functions like looking glass gardens and perhaps more saliently like the red queen, in that alice wants to meet the red queen but cannot find her until she turns about-face and walks away. (“her tree” huh.) (the blacksmith is the tree is the queen; all the ways about here belong to her and, of course, a cat can look at a king. or a queen.)

- the speaker, the subject, the jabberwock; the knight, jaune, the jabberwalker? (<- also occurring to me suddenly that the reason the only critters from the first stanza not present in the marketplace are the raths is, the duchess’s baby turns into a pig—and a rath is a sort of green pig—and neo is both lost and driven by wrath—and her constructs have recently gained the ability to outgribe.)

- in light of the jabberwalker being the story’s [unwritten, unfinished] ending i am feeling SOME TYPE OF WAY about specifically houston!worst day of my life bc like. man. “once upon a time/i knew who i was/some of it was true.” “i feel as if i’m caught between/what i say and what i mean” “could there be someone else to blame/for why it always feels the same/inside this woman i became” MAN.

- actually yeah no no more equivocating someone on the writing team saw this musical during the houston run. i don’t care who i don’t care to confirm i just know in my heart where all the brainworms live. what’s your title/what’s your purpose :)

- c o r n w i n k l e

- laughing hysterically forever about what this implies about ozlem OH YOU MEANT DIVORCED DIVORCED. LOL. LMAO

- ahem.

- wonderland—more precisely hunting of the snark—has a particular invocation of the rule of three (anything said thrice is true) and given the obvious fun rwby could have with an idea like that i’m wondering if we’ll see it repeated in the ever after in some capacity, whether as a literal narrative rule within the ever after or thematically. it occurs to me that it might have done already; “i am a huntress” is repeated thrice before crashing into ruby’s existential dread and uncertainty (<- the beaver loses count and mathematical panic ensues, which incidentally is also the part of the poem where the jubjub bird appears and, further incidentally for the bees people in the audience, is also the bonding moment in which the friendship between the butcher and the beaver becomes so homoerotic that there’s academic discourse about whether the beaver might actually be female, so make of that what you will.)

- the lively carpenter is not the blacksmith so Question Mark. the thing is the walrus and the carpenter is the tweedles’ poem so its inclusion fits the 4/6/7 focus and it connects to both the forest without names and the red king directly, and perhaps to the jabberwalker in the more roundabout sense that where jabberwocky is a poem about slaying a creature the walrus and the carpenter is about people behaving monstrously. who’s the carpenter and what are the oysters