#but the loss of identity... both his connection to his family and the choices he made abt his own appearance and body

[gayvampiresforever]

Istg I thought the reason Arthur had void get his blood for him was bc he blunted his teeth? But I haven't seen anyone else talkin abt that? Anyways. Arthur's teeth re-sharpening when he gives up both humanity and appearance is. Certainly something.

[lxmelle]

Sukuna’s Choice.

I was truly struck by his stubborn resolve. He really stuck to his guns.

He was adamant he did not and could not live another way - as if anything different than what he had achieved would make him “weak”… maybe he did not know how to, or he had just decided so.

We see that he hated the idea that he was given compassion by Yuji - seeing it as pity from him.

Yuji saw him for what he was - as someone who had opportunity after opportunity to find deeper meaning but cast it away; as someone, who was desperate enough to turn himself into objects - for no other purpose than to prolong a hedonistic existence that sought momentary self-satisfaction for himself, alone.

He saw him as a curse to be given a chance… that maybe nobody ever had before - a chance without any conditions aside from being willing to accept his offer.

And it was pity in the end for Sukuna for rejecting salvation and anything to do with humanity. Even when he was shown so much. Given chances to experience it through the eyes of both Megumi and Yuji.

At the point of death, when given the choice to live with Yuji after his defeat, he preferred to die.

This was aligned with his unchanged view that: loss was no different to death. This was in his conversation with Yorozu.

His resilience only went as far as jujutsu. If he wasn’t the strongest, there was no reason for his life or existence. He boxed himself in. As if fearing what he might discover about his worth & identity beyond the Title.

Some people on X expressed their desire to understand him, asking aloud, was he afraid of death?

I honestly don’t know. My instincts doubt it was fear, but maybe there was a subconscious fear of vulnerability that comes with connection, so I think he didn’t see the value in loving or being loved. As if he accepted that he was just alone in this dog-eat-dog world. Disregarded value in connecting with anyone in any other way aside from jujutsu.

Like those who accepted the “monster” in them, none of them thought anyone will care about their bodies after death (think: Geto who didn’t think his family could care “run away if the mission fails”, Gojo who said who cares about one’s corpse, yet said “I want to mourn Suguru’s body”, Toji who wilfully forgets his children but tells Gojo about Megumi in his dying breath: “do what you want” and kill’s himself when his body information is resurrected, and Yuta who didn’t want Gojo to alone be the monster and volunteers himself: “I’ll do it!” singularly ignoring his friends’ concern for him) — Sukuna didn’t think anyone would mourn him. He left no afterthought for Uraume. Who killed themselves after he died. He didn’t want to care. He was prepared to let Yorozu have all of him if he lost which he equated to death.

Because if you consider (and accept) yourself as important to others, you realise your worth and value too. You may want to live again. Recreate purpose. Find new meaning. New beginnings. Like Megumi did...

Sukuna did not (could not?) even want to entertain the idea of living another way. He’d rather die than open his heart to humanity or compassion.

Funnily enough he was strangely “kind” in his own way. He was so objective in his monstrosity that he saw no nuance. He praised others based on jujutsu alone and how they entertained him. He had the capacity to be “human” but complete rejected it. Rejected any outer purpose...

He did not want to have any reason to live if it wasn’t to prove his strength. He did not want to compromise his own version of personal integrity. Instead of enjoying the taste and texture of human life through emotions and relationships - he ate people and enjoyed that! The absolute monster he chose to become in wielding his strength.

We saw Gege write about so many others, not only limited to the main characters… others like Kamo, Maki, Kusakabe, Higuruma, Choso, Yuta, etc. about meaning, purpose, humanity, sacrifice, & love. How they all tie together. How we change as we let others touch our hearts. How being vulnerable truly connects us.

I’ve written before about how it wasn’t for Gojo to teach Sukuna about love, although he played a big part in what was overall conveyed to him… Love that existed between everyone who identified as human, who fought for their own and collective reasons, against Sukuna. We got to bear witness - see and experience - the myriad of thoughts, emotions and reasons behind so many of their unique stories... it sang about meaning and purpose in sacrifice as well as determination.

What an ode to humanity in the face of a desperate situation.

Because if we think about it, the opposite of antidote of Monstrosity is Humanity. Being willing to love another besides yourself = accepting/wanting belonging, embracing the responsibility of being accountable to someone out of/for their love… all these include a willingness to be vulnerable.

Something Sukuna would never accept.

Sukuna was afraid to be vulnerable. If it wasn’t fear, then he actively rejected it. I suspect it was because he saw it as being weak.

Maybe he never knew love; but through what he lived & learned back in the Heian times up until now, saw its power to transform even a monster who aspired to be like him, so he deemed it worthless. Him and Uraume talked about humanity being the thing that prevented them from reaching their potential, after all.

Why should he change if he was already so strong? What was the purpose of connecting to any other being when he was at the top of the food chain? There was no need to give himself a “weakness” through caring for another.

His survival was the singular proof of his perceived worth.

And that seems like what he clung onto. Instead, he ate the actual humans as if they were flavours, because that was the ultimate rejection of humanity - to consume people as if they were food. To toy with them as if they were passing dishes until the next meal came along.

That’s just my interpretation... My understanding is that he chose death rather than accept the vulnerability that comes with love. Not for Uraume or from Yuji. His heart was solidly, fearfully, shut.

He only recognised skill & praised others for it. His chosen singular flavour.

Many of us thought there could be redemption for Sukuna. I guess it remains to be seen if Sukuna did actually choose to evaporate & die, but assuming he did opt to die, he really didn’t want to face another alternative. Choosing to remain on his path and die as the “Strongest”. I had thought that he’d see humanity from living within Yuji & Megumi - and he did, especially within Yuji’s domain expansion. He saw it and rejected it completely. What he disliked about Yuji & said to him at the end reminds me of what Jung said: we can learn about ourselves through what irritates us.

He praised Yuji for being a fool... but maybe Sukuna was the fool himself.

He played a role all the way through too.

He was the unwavering curse in the face of love / acceptance.

Jujutsu Kaisen is truly story about curses and love. Like two halves of one thing. The many ways a person can live their lives, and how it can make sense/is justifiable to them.

Who was he if he wasn’t revered or feared as the Strongest?

So… He stayed true to himself. He likened himself to a curse in the end. Love, once again, prevails.

Ah, I look forward to having a few reads of the whole series again when it is finished...

…but I’ll honestly be so very sad when it ends.

[utilitycaster]

Sean's general self-loathing is well established, but I think the exact nature of it is something I haven't talked about at length or seen discussed in full elsewhere.

At first glance it may seem as though "just fighting squid dogs until I'm dead" and Sean's willingness to go down swinging, throwing himself at most threats, stem from him wishing for a heroic death, but I don't think this is the case. He'd like it - it would give Bee a good thing to tell his mother, for whatever that's worth - but the truth is something he says elsewhere: "No shit. I'm a monster too."

Sean is not terribly worried about harm to himself. It is tempting to assume that his decision to throw the gun down the drain is about wishing to stop himself from using it for suicidal impulses; but I don't think it is. He's worried about using it on others. He throws it away immediately after he envisions the letter in which his mother accuses him of killing innocents and flashes back; later, he acknowledges that had he had a gun, he might have shot Lucas: "I'm not holding a weapon right now, so when my right index finger twitches, nothing happens."

It's helpful to understand Sean in terms of two of the people who come closest to understanding him: Bee and Nathaniel.

Bee, on the surface, has a lot in common with him: both lost their entire family, one way or another, other than each other, Marion, and Peggy (who they did, in a way, lose) and their homes in the war. Bee understands Sean's past - him as a boy, before all of this - in a way no one else can, since Marion was also himself quite young. The difference, however, is that Bee wants to return to that past - and, to be honest, that would fix the majority of her problems. Were Bee's husband to still be alive? Were she to have her home again? That's what she wants! That would be life-changing! And so she thinks about happier times, and urges Sean to go back to a more innocent time, and blames Nathaniel as a figurehead for the war that took this from them.

The problem is that Sean's problem, in the end, is that he went to war and found out he was the kind of person who'd kill things that look like children. He doesn't think they were real children, maybe, but some days he's not sure. His worst fear is that his mother would know precisely what he did with NoMAD, in Ghost company, and he believes she'd hate him for it. If Sean had an apartment? If Sean's mother were out and living in her tenement? Hell, if his brothers were alive? This would not change. It certainly doesn't help, that there's immense loss and poverty on top of all that, but in the end, Sean does not trust himself to make choices, believes it to be only a matter of time before he hurts someone again (to the point that I wonder if this is why he's avoiding his mother, or if it's because that if he spends more time with her she might realize who he is now), and now sees himself, in a way, as, well, kind of like a squid dog - can be tasked to be a protector, but corruptible, easy to turn, and liable to bite those on the same side.

Sean explicitly equates death as freedom from having to make decisions - because he believes he will make wrong ones.

Nathaniel, on the other hand, is much more ignorant of Sean's material losses - he is unaware Sean is living at the chapter house nor does he know about his mother - but what Nathaniel does share, and Bee does not, is that sense of identity shaped by a specific action (or in Nathaniel's case, inaction). Nathaniel thinks himself a coward because he did not save his older brother from drowning; it defines him perhaps even more profoundly than the war (though his response to his officer's pistol indicates the war left plenty of marks on him as well).

Nathaniel might not know the details of Sean's connection to baseball in the same way Bee does (though, notably, they are the only two to engage with it; Jean and Marion haven't). It's not clear if Nathaniel knows quite what happened in Ghost Company either - it's not even stated if Sean came to Echo Company before, or after, though it really only makes sense after. However, he does understand someone who doesn't think they will make the correct choices; he understands guilt and self-loathing in a way Bee does not. He understands being the surviving child and believing your parents got the worse deal out of that. And so it's Nathaniel who understands the importance of giving Sean orders, and the (temporary and false) absolution even an imperfect institution and the identities it confers provides.

Nathaniel's issues with himself are not on the same level as Sean's - he seems to have come to a place of "I'm a coward, and would prefer not to be, but at least I'm attempting to use what skills I have" [ignore whether or not he's actually a coward, that doesn't ultimately matter in this discussion, the same way that it doesn't matter that Sean bought his sick brother a hat with his paltry spending money] whereas Sean is actively opposing any indication that he isn't a monster, or at best a weapon. But he does understand that Sean's issues come from a similar place and how to live with them - which is something Sean does not yet see as a possibility.

[hazelnut-u-out]

Initially, my opinion on ‘Rick: A Mort Well Lived’ was… not a positive one. 

I felt like having the ‘I love you’ conversation between Rick and Morty without actually having our Rick and Morty on screen was a weak choice. Especially with it being so early in the season, I assumed it was a way of subverting the backlash of having Rick be ‘softer’ on screen by making both his and Morty’s progression more palatable to a wider audience. 

I recently got to this episode on my rewatch, and almost considered skipping it. After a bit of internal debate, I didn’t. 

The episode was never one of my favorites, since it embedded a deep anxiety within me about the state of Morty’s character. I know it sounds silly, but the concept of splitting Marta from Morty entirely (and maybe even permanently) triggered a thought loop about his character that I couldn’t shake for weeks. It even makes me nervous to think about it now! 

That being said, I was surprisingly glad that I made the decision I did, because my opinion on the episode as a whole has definitely shifted upon my most recent rewatch.

I see, now, what they were attempting to do. I think that the episode was meant to be an acknowledgement of Rick’s love and appreciation for Morty, but done in a way that doesn’t desaturate the emotional intensity of later conversations between the two in a ‘real’ setting. When Rick says that he loves Morty and values him as a grandson to Marta, the audience gets concrete confirmation that those feelings exist in canon. By removing Marta from Morty, Morty has no idea that Rick ever said those things. Narratively speaking, this staves off the satisfaction of having Morty both know and believe this, leaving room for more fulfilling and impactful admissions in the future (or highlighting a lack thereof). 

Do I think they did this well? …Somewhat. 

I think that there should have been more of a focus on exploring Morty’s feelings outside of Rick, and how those play into his predisposition to being a victim. At the same time, enough is there to get the point across. In my opinion, though, it still somehow leaves Morty as a whole feeling a bit neglected. 

That being said, I noticed some interesting (and arguably brilliant) details/foreshadowing that definitely shine through only on rewatch. 

The first of these details is the language hinting at the nature of the relationship between Rick and Marta, and how that compares to his relationship with Morty. 

Near the beginning, Marta refers to Rick explicitly and directly as ‘Grandpa.’ This is something that Morty isn’t shown to do after season one, opting to call him by his name instead. He only ever refers to Rick as ‘my grandpa’, and never the title directly. The closest instance to Morty using this title post season one (aside from ‘Solaricks’) that I can think of is when he and Summer use the term ‘Papa’ as a title for Rick in ‘Childrick of Mort.’ 

Later in the episode, as tension builds between Rick and Marta, she changes the way she refers to him, calling him ‘Rick’ rather than the title ‘Grandpa.’ This is a direct parallel to the evolution of the way Morty speaks to/about Rick himself. 

Marta seems to be a part of Morty that is very confident in her identity, intelligence, and capability. She’s so talented at converting other bits of Morty to their cause that Rick seems to rely nearly fully on her efforts while he focuses on building the ships. Most of the other pieces of Morty seem to trust Marta more than they trust Rick, as she can appeal to their identity. She can make them proud to be Morty in a way that Rick cannot. 

I don’t necessarily think that Marta and Morty abandoning the term ‘Grandpa’ means that they lose respect for Rick. In fact, I think that a huge part of Morty still respects Rick in a plethora of ways. Instead, I think this is a hint at a perceived loss of familial intimacy/connection on their behalf. 

Even though the two are very physically close and exist within a shared space a lot of the time, Morty doesn’t identify with familial titles or terms of endearment when it comes to Rick. He doesn’t feel safe or valued with Rick, so he doesn’t feel like Rick is his grandpa a lot of the time. 

It’s interesting to me that the piece of Morty Rick calls his ‘right hand Morty’ seems to be the piece of Morty that is also the most willing to rebel just to hear Rick’s love for him voiced. 

You could even view the ‘Holy Wars’ as the majority of Morty being willing to die just to know that Rick cares. 

Just to be valued. 

Secondly, there’s most definitely some MAJOR foreshadowing when it comes to the existence of Rickbot and the events of the last two episodes of the season infused into ‘Rick: A Mort Well Lived.’ 

The most obvious, to me, was the scene where the robot Rick made tells Marta that he ‘loves and respects’ her. When he malfunctions, Marta exclaims, ‘A robot! Of course!’ 

It really made me wonder if creating a robot that could make Morty feel like he was loved and respected in their dynamic when Rick himself was incapable was an idea Rick initially conceived while the two were in Roy, and later drew upon in ‘A Rick in King Mortur’s Mort.’ 

Another thing I found thought-provoking was Marta’s awareness that replacing himself with a robot is something that Rick was likely to do. After the airing of the next couple episodes, I chalked the line ‘I trust you implicitly.’ up to being a throw-away line that didn’t mean much, especially after the events of ‘Analyze Piss.’ I realized, though, that I was probably misinterpreting non-compliance as mistrust, which are not the same thing. When it came down to Morty actually suspecting Rick might be a robot, he trusted Rickbot’s coded answer (‘There are enough clones and robots in this family.’), in his own words, implicitly. 

There is more I could probably say about this episode, but this post is already a novel, so I’ll leave those for their own posts. I just thought sharing why my overall opinion about the writing of this episode has changed for the better would be interesting!

[louisupdates]

Review: ‘All Of Those Voices’ proves Louis Tomlinson has always been the coolest member of One Direction

WE GOT THIS COVERED

Francisca Tinoco | Mar 23, 2023 10:50 am

Everyone loves an underdog story, and it doesn’t get much better than Louis Tomlinson‘s. Often ignored in the first few years of One Direction’s short-lived run, the singer had a point to prove from the jump, and he hasn’t stopped chasing that “gotcha” moment since. The former boy bander’s documentary All Of Those Voices is a testimony to Tomlinson’s no-nonsense approach to fame, and how he has always been the most interesting artist to come out of the British pop sensation.

The doc doesn’t waste any time in addressing the aspect that surely drew in most of the audience, the One Direction breakup. It doesn’t reveal much that isn’t strictly related to Tomlinson’s perspective and lived experience of the events, but within those limits, it goes deep nonetheless, effectively setting the tone for the remaining hour and a half.

Back in the heyday of 1D, you could always count on Tomlinson to be the one to tell it like it was, and it’s warming to see that that hasn’t changed one bit. If anything, the freedom now of not being as high-profile as he once was has allowed Tomlinson to relax into his identity as a good-natured troublemaker willing to be vulnerable enough to sit in front of a camera and talk about his most profound insecurities. At one point, the singer’s voice coach, Helene Hørlyck – with whom he is shown to work extensively – in what is a reflection of his commitment to exposing all his sorest points, says “he’s so gentle, he’s so sensitive on the inside.”

Only those who have followed the artist closely can know exactly what Hørlyck is talking about. Life toughened Tomlinson up by dealing him more than a few tough hands, and the excitable, sensitive, bubbly teenager he was at the start of his career can only be found now in specks when he’s hanging out with his son Freddie, looking at old photographs of his mother with his grandparents, or in private videos from his closest friends. On the outside, he’s built a very lad’s lad image, always down to party, with a beer or joint in hand, but the way his feet have always been so firmly planted on the ground is entirely connected to that core gentility Hørlyck mentions, which in turn is largely a result of his relationship with his mother.

Johannah Deakin passed away in 2016, followed shortly by her 18-year-old daughter – and the singer’s sister – Félicité Tomlinson. Obviously, these losses had to be referenced in the documentary, whose purpose was to document Louis’ evolution as a solo artist; an endeavor that was seriously altered by the untimely passing of the two women in the first year after One Direction’s breakup. The tone in which the events are addressed, however, is never melodramatic or sensationalist as it could have easily slipped into at the hands of another director.

Charlie Lightening crafts a film that perfectly reflects the artist and person at its center. It’s genuine and open but doesn’t ever wallow in the misery – and there was plenty of misery to be wallowed in. Tomlinson’s family and friends praise his ability to keep his head above water after so much heartbreak, but for the singer, there was never any choice – that’s what his mother would have wanted, and the only thing she would have accepted.

With all the cautionary tales in the industry, All Of Those Voices becomes a fascinating music film purely because it documents the life of someone who managed to stay focused and humble, not only throughout being a part of the world’s most popular act at one point but also through immense personal tragedy. Tomlinson’s ability to survive temptation and stay focused on the music, with no intentions of becoming famous or necessarily filthy rich is refreshing.

There’s a piercing moment that perfectly encapsulates this duality, where Tomlinson reflects on the contrasting aspects of the life he has kept in the small South Yorkshire town of Doncaster – where he still lives for the most part – and the pop star mode he has to turn on when he attends talk shows and promotional tours. He admits to struggling with it and feeling easily overwhelmed, because that’s not at all the life he leads the other 90 percent of the time. Still, if that’s what he has to concede to be able to tour the world and play live music – the favorite part and driving force of the job for him – then so be it.

“I need you, and you need me, and I f*cking like that ” – a spur-of-the-moment declaration made by Tomlinson in one of his first solo shows – has become a sort of motto among his fandom. The truth is, fans of the underdog are always more protective and loyal. So, even though it came as a surprise for the former member of One Direction that, even after taking four years to release his first solo album, he was still able to sell out arenas, it made complete sense to anyone paying close attention to his trajectory.

Even after all that, Tomlinson had to deal with an agent who told him he wasn’t sure he would be able to sell tickets in Mexico – a moment he proudly wears on his sleeve after proving him wrong. He knows he’s the perpetual underdog, and while that used to bother him in the past, now he treats it as his biggest weapon.

All Of Those Voices very effectively documents this journey toward self-discovery for Tomlinson, both at a personal and an artistic level. What it lacks in behind-the-scenes exclusives of his songwriting process, it makes up for in heart, authenticity, and plenty of footage from the singer’s time on tour, which he prioritizes anyways.

On stage, by his own admission, Tomlinson feels like a “god,” but once the show’s over, he invites the band around to the back lounge of the tour bus for some beers and mischief, or takes them on a helicopter ride to a private yacht in the middle of the Brazillian sea. Even if the former might feel a lot more attainable than the latter, his presence always makes any party feel like a get-together with old friends at the local pub.

[syncrovoid-presents]

Researching for my hazbin fic (A Cannibal's Guide on Living Comfortably) has also made me realize that my adoptive family (and me in relation to my birth family) actually suffer from cultural loss. And this ties to my adoptive family being half french like Alastor.

This is sort of a personal ramble about my experiences and how it relates to cultural loss. Just thoughts I've been having that's making me rethink a lot of things from my life.

(Technically I'm not but that's a whole other thing. I was found as a kid and never allowed to learn about my birth family or heritage so yeah. I'm just whatever people say I am. Means I have double the cultural loss, both from the people that raised me and my own! Yippee! <- sarcastic)

Both my parents are half french and grew up in small communities where there was very very high English vs French tensions. Both of my parents parent's decided that it would be best to give their children the easiest life they could so they raised them as English as possible.

They weren't allowed to learn french and were punished if they tried (both by family and the community. It was a lot worse where my mother grew up), and weren't allowed to continue any traditions, songs, or anything culturally French. Assimilation was the best chance at a future, but meant that they lost all ties to culture that wasn't acceptably English/colonial.

They were born a long time ago, so this was during the era of corporal punishment in school, my mother wasn't allowed to wear pants, my father was punished repeatedly for using his left hand, etc. They were also forced into churches because that's what The Good English Do, even though neither are religious now nor would they have been forced to if the hatred against the french hadn't been so strong.

The small town my mom grew up in had a segregated neighbourhood for the french, and her family fought to cut all ties. Her mother was french but was forced to only speak English and cut all ties to her family.

I don't know as much for my father, but it was his father that refused to teach or share anything French because of the hardships he went through growing up (he also ran away and lied about his age to fight in the war too young, so he likely faced heavy trauma too)

While neither of my parents are half english, they were able to pass as english at the expense of their cultural identity and connection to their family. I've spoken to my mother about it and she says white culture is genocide, but I don't know if she realizes how it hurt her too (not to say the french did nothing wrong. They were colonialists and took part in genocide as well)

It's weird to realize. I was put in french immersion and while my french isn't great, I've realized that my parents did that to give me the only opportunity I could have to learn about their lost culture. They learned a bit from me and would use french words and sometimes share translation quirks their parents had caused by learning english after french.

I grew up thinking that because I don't know anyone I'm related to that i had no culture. I've realized that part of the reason it feels that way is because anything non-English was forced out of people. The more you could pass as english the heavier the assimilation is. To join the oppressors is to sacrifice culture, history, and family, but that's a choice both my parents parent's made and it's one we all struggle with.

As far as I go, I don't know my precise ancestry, but I do know my birth grandparents fled from a country that was dealing with fighting for independence and a highly struggling economy. I'm not supposed to know that or know anything more, but from what I can guess and based on what people have said I look like (closest thing I got) my ancestors dealt with fighting against being colonized for centuries, their culture and history actively being destroyed and demonized, and the language borderline dead because of it (isnt the british imperialism great? <- sarcasm). A bit over a century ago it would have been the cause of much prejudice and hatred, but like my adoptive parents parent's they traded culture for assimilation.

It's.... weird. There's not much I can change nor not much I can do with this information movie forwards. It has helped me connect my experiences more with that of cultural loss, especially those felt by others who don't know any birth family. Because I pass as white (I do not know my genetics, so I'd rather say that than call myself white. Especially because what ancestry I do know I have weren't historically called white and faced discrimination by white folks) I previously thought these experiences could not apply to me.

As a side note, I do hold the belief that orphans like me, or others that lacked any family for much of their lives are part of a "hidden" minority. I faced a lot of extra difficulties, social pushback, and was treated worse than my peers because I am an orphan, as did different foster siblings I had over the years. Adoption means either never speaking about my life to pass as "normal" or speak about it and face the consequences. Every person's experiences are different when it comes to this, but it really changed the expectations adults had on me and forced me to be more mature, resilient, perfectionistic and less reactive to my peers. The expectation was if you acted bad you didn't appreciate having a home and therefore didn't deserve it. What others kids could get away with can be what loses your home when you grow up an orphan.

Anywho, circling back to my fic I'll be adding some elements of my experiences in there too. Not as the main focus, mind you, but some of the struggles of adapting/assimilating to the majority to avoid discrimination will be present (as well as some French (more focused on Creole French history. It was something a few of my french teachers focused a lot on) ). Just background info, I'm as of yet undecided on how much of a character study it will all be, but if it does go into it more then these themes will be present

[terrifyingstories3]

daisy has mixed feelings about their birthday. it wasn't until they were twenty six that they learned the date of their birthday, or met their parents, for that matter. being able to have a normal dinner (all things considered) with her parents and learn the story of her birth is one of the best memories daisy has and one of the ones she holds the closest, but it was tainted after things fell apart with her parents so quickly. she'd never truly expected a happy ending where they would reunited and live happily ever after, but it doesn't make their loss, or the nature of their loss, any less painful.

there's a lot of really complicated grief there, but a lot of love and desire to preserve the good memories that she does have and the people she believes her parents once were. all of these conflicting feelings often bubble up around their birthday, and it's not a day daisy has a huge desire to go all out and celebrate.

sometimes she's a little quieter than normal, not for any upset about growing older but because she finds herself grieving what was lost and what maybe could have been. there are times she's angry, but it happens rarely. she'll always carry pain over what became of jiaying and cal, and she'll never forget jiaying's hands drawing the life from her, but mostly she wants to honor the life lost - whether that means honoring jiaying's actual life, the life cal had stripped away when they altered his memories, or the life the three of them could have shared.

a part of reclaiming the name daisy is honoring the family and identity that was lost because of hydra and shield. they do it not because they feel obligated to because of cal or jiaying but because it's a little piece of what they should have had that they can take back, a symbol of the good in both cal and jiaying and the love they had for their child. daisy can't change the past and she isn't the child they expected to have, is so aware of the many ways she is so much more damaged and scarred, but they're critical to her story and who she is all the same. she can carry them with her, and use their memory not to be bitter or sad but become a person more whole, less defined by the void of the family she grew up missing her entire life but never even knew. it's an active choice to choose to embody someone fuller and healthier with meaningful history and use their pain to make a difference to those who are vulnerable and in need.

daisy was never a person who had birthday parties or a day filled with celebration, and thus never a person who had any kinds of traditions for birthdays or any other special day of the year. but she makes a habit of seeing flowers if she can and picking a bouquet for her room, thinking of cal and the flowers he brought her, and will usually have some ice cream in his honor. and she finds a few moments to sit in the quiet in nature and think of jiaying, if she can out far enough that she can safely let loose with her powers. she had such a limited time with them, but she holds the time she did have very close. it's hard to find a lot of downtime to really pursue this, but she's interested in learning more about different chinese traditions, to further connect with jiaying and that aspect of her own identity.

it's a day where she needs some quiet and time to reflect, but also loves to spend with family, surrounded by loved ones, even if she doesn't feel super up to talking.

[bookwyrminspiration]

hi!!!! been trying to wait out a semi-scheduled blackout so i don't have to fall asleep to generator noises but remembered to send you a message before my phone dies--was talking with my brother the other day about our conversations and just. enjoying each other's presence BUT he brought up something really cool that even i hadn't thought about which is, like. so my family is rooted in chaozhou in china, right. and i think abt it all the time like who were we back then and if i am chinese why can't i be chinese like them- but my brother threw in an interesting point: the reason that we were in cambodia to absorb all this culture was because there is a portion of our family in chaozhou who moved to cambodia, decades before the khmer rouge, which means that--and i was talking about this just before he said this, how isn't it a powerful story to be made up of all these things and experience these things so uniquely and yet so similarly to anyone who's migrated anywhere--there is a part of my family that willingly took themselves up and went to live in cambodia, and make a home there. i'm unsure Why-- i never really asked the parents-- but huh. not even just in the sense of random strangers but also several generations before me someone else was experiencing this feeling of confusion and loss and gain in equal, powerful measure. it makes me realize, like.... my many-greats grandparents. my great-grandmother who was so beautiful and kind. my mother, even, who thinks fully in english and not khmer anymore. there is so much pain and shame and ridicule i can't let myself touch on tonight but *hits play button on saturn by sleeping at last* IT'S THE RAINBOW CONNECTION QUIL.......

You sent this in august but i think about this all the time Sorya, all the time. All the connections and all the ways we are not alone and yet are unique in our experiences, you know? What really hit it home for me was a semester or two ago when my dad was taking a linguistics course and had to write about his own experience with language, and he asked me to edit his paper for him and I just sat there reading it like oh. my fucking god. we are experiencing the same shame and the same yearning the same hole in our chest where we know something used to be.

And of course we're not exactly the same--he was born in Mexico, spanish was his first language before he lost it, etc. But it's like. We were both cut off from our heritage. We're both trying to find it. We're both struggling on our own. So perhaps not as many generations as your family has, but it was just like. A moment of revelation that it's not just me. And logically I know I'm far from the only mexican american who's confused about where they fit into the grand scheme of things and what they're allowed to call themselves and how much of each side I can/should claim. i'm not the only mixed person, not just not the only mexican american. it's just. very easy to feel like you are sometimes

Just thinking back, too, on how many things had to happen a certain way to get you to where you are. All the choices other people made that shaped your today. All the people in your family who chose to move that created such a unique and specific set or circumstances for you and your sibling(s). It fucks me up thinking about it sometimes, how intricately connected we are to so many people and choices we don't even know!!

we have lost so much but gained so much...you are very right. I think it's frighteningly easy to focus on what's no longer there, because there are people who did/still have it and they're so much more abundant and easy to compare to. but comparing will never make us them, and we've created a new, separate identity out of the pieces we do have that we've put together with what we've gained that they don't have. not in a competition way, but in a we are similar but not the same and neither is lesser way. you know?

identity, man

[kanonkwoka]

Moor's Account Materials Blog Post

Part 1:

The passage I chose was from chapter 6. Here is the passage:

“I pulled both of my brothers into my arms. I will be back, I said, not because I believed it at that moment, but because I did not know what else to say. I would never hear their playful bickering in the bed next to mine at night, I would never shake them awake for the morning prayer, I would never sit beside them to eat from the same plate, I would never watch them running toward me when I turned the corner of our street—all these things and more, I would miss. I entreated them to be faithful guardians to our mother and sister in my absence, to be good sons to our uncles, and to spend the money wisely. If it lasted until the next fall, my family might be saved.” (Page 83-84).

This passage is about Mustafa before he was a slave still at home with his family. In this chapter there is a drought happening causing a famine in his town. People are starving and everyone needs money and work. Mustafa had lost his job and his father had passed away. Now all that is left is his mom and his siblings. None of which had a job. They were left to sell everything they owned. Eventually this ran out. Mustafa was desperate to help his family. He came to the decision to sell himself to the Portuguese to provide some money to his family. He brought his brothers with him so they could deliver the money back home to his family. His brothers protest and then the passage begins.

Mustafa is feelings are scattered. He does not yet know what he feels or what he truly feels. But his emotions are filled with desperation, sadness, fear, hopefulness, and loss. He feels desperation because he and his family are starving and are running out of ways to make money. This drives him to sell himself to slavery. The sadness he feels is in the fact he is leaving his family and his home. Not only this but he is losing his freedom and his identity. The fear he has comes from the fear of the unknown. He does not know if this money will save his family. He does not know if he will survive his slavery. He does not know where he will be going or what horrors await him in his future of slavery. But out of this he is hopeful. He is hopeful that his sacrifice will save his family and help them survive and live a better life. He is hopeful that his family will not have to arrive at the same fate as himself. But most of all he is filled with loss. He is losing himself. He is losing his family. All the daily reminders of his life will be taken away. These all will become mere memories.

A relevant citation I found that informs how I feel about the passage is here: This citation is on sadness and grief.

Bonanno, G. A., Goorin, L., & Coifman, K. G. (2008). Sadness and grief. In M. Lewis, J. M. Haviland-Jones, & L. F. Barrett (Eds.), Handbook of emotions (pp. 797–810). The Guilford Press.

Part 2:

A big message I believe the author is trying to convey is that every person has the choice to be good even if they made bad decisions. Good and evil decisions are made by everyone. But the choice is up to them. But even if a person has made evil decisions, they can create a positive future for themselves regardless of previous decisions. I found a source on this.

Tanasugarn, Dr. Annie. “Healing from the Past and Living in Your Present.” Psych Central, 6 Apr. 2020, psychcentral.com/lib/healing-from-the-past-and-living-in-your-present#1.

Part 3:

Source 1 bibliography:

Darian, C. D. B. (2014). A new mourning: Synthesizing an interactive model of adaptive grieving dynamics. Illness, Crisis, & Loss, 22(3), 195–235

Gaviria, J., Rey, G., Bolton, T., Delgado, J., Ville, D., & Vuilleumier, P. (2021). Brain functional connectivity dynamics at rest in the aftermath of affective and cognitive challenges. Human Brain Mapping, 42(4), 1054–1069.

Heshmati, S., Sbarra, D. A., & Mason, A. E. (2017). The contemptuous separation: Facial expressions of emotion and breakups in young adulthood. Personal Relationships, 24(2), 453–469. 

Source 2 bibliography:

Donald, J., et al. (2016). Daily stress and the benefits of mindfulness. Journal of Research in Personality, 23 (1), 30-37.

Gacs, B., et al. (2020). Time perspectives and pain: Negative time perspective profile predicts elevated vulnerability to pain. Personality and Individual Differences, 153, 1-6.

Part 4:

These sources are mostly about the emotions of humans. But they are quite different from each other. One side focuses on making your life positive and getting better from your past. While the other side talks about loss, grief, and crisis. But generally, has the intent of making one’s life better by learning how to deal with hardships and overcome them.

[alanlechuszaauthor]

Insights on Native Identity in Modern Literature Stories of Resilience and Cultural Renewal

Native identity is a complex and multifaceted concept that has been explored in various forms of literature. In modern literature, Indigenous authors have provided invaluable insights into the experiences, challenges, and triumphs of Native peoples. These stories offer a window into the intricate journey of reclaiming and asserting Native identity in a world marked by historical injustices, cultural erasure, and the ongoing struggle for recognition. In this exploration of "Insights on Native Identity in Modern Literature," we will dive into some notable works and examine how they contribute to the broader narrative of Indigenous resilience and cultural renewal.

The Ongoing Struggle for Recognition

Native identity in modern literature often begins with the acknowledgment of the centuries-long struggle for recognition and sovereignty. Indigenous peoples have faced oppression, forced assimilation, and the loss of their lands, but they continue to assert their identities in profound ways. Works like "There, There" by Tommy Orange shed light on this ongoing struggle. In "There, There," Orange weaves together the stories of a diverse group of characters who share a common connection to an upcoming powwow in Oakland, California. Through their narratives, he explores the complexities of contemporary Native identity, showcasing the impact of historical trauma and displacement. Orange's novel is a powerful testament to the resilience of Native communities and the determination to reclaim their identities.

Cultural Renewal and Resurgence

Modern Indigenous literature also reflects the resurgence of cultural practices and the renewal of traditions that were once suppressed. Louise Erdrich's "The Round House" is a compelling example of this theme. Set on a North Dakota reservation, the novel explores the aftermath of a traumatic event and the role of traditional customs in the healing process. Erdrich's work highlights the importance of storytelling and rituals in maintaining Native identity. Through the protagonist, Joe, readers witness his journey of discovering his Ojibwe heritage and finding strength in his cultural roots. The novel celebrates the resilience of Native communities and their unwavering commitment to preserving their traditions.

Family and Community as Pillars of Identity

Native identity is deeply intertwined with the concept of family and community. In "The Absolutely True Diary of a Part-Time Indian" by Sherman Alexie, the protagonist, Junior, grapples with his identity as a Spokane Indian living on a reservation. He ultimately decides to attend a predominantly white high school outside the reservation, a choice that brings both opportunities and challenges. Alexie's novel emphasizes the significance of community ties and the complexities of navigating between different cultural worlds. Junior's journey highlights the importance of family, the role of mentors, and the resilience required to uphold Native identity amidst societal pressures.

Connection to the Land and Nature

The connection to the land and nature is a fundamental aspect of Native identity, and it is a recurring theme in modern Indigenous literature. Leslie Marmon Silko's "Ceremony" is a powerful exploration of this connection. Set in the Laguna Pueblo reservation in New Mexico, the novel follows Tayo, a World War II veteran who returns home carrying the psychological wounds of war. Silko's work delves into the spiritual relationship between Native people and the land, emphasizing the healing power of returning to one's cultural and natural roots. "Ceremony" serves as a testament to the enduring connection between Native identity and the environment, offering profound insights into the importance of preserving this bond.

Exploring the Intersectionality of Identity

Modern literature by Indigenous authors also delves into the intersectionality of identity. In "Heart Berries" by Terese Marie Mailhot, readers are introduced to the complex layers of Native identity through the author's personal memoir. Mailhot shares her experiences as a member of the Seabird Island Band, her struggle with mental health, and her journey to self-discovery. "Heart Berries" explores not only the challenges of Native identity but also the intersections of identity markers such as gender and mental health. This multi-dimensional narrative reflects the reality that Native identity is not monolithic but shaped by a myriad of experiences.

Resistance and Activism

Many works of modern Indigenous literature also highlight the themes of resistance and activism as integral components of Native identity. "An Indigenous Peoples' History of the United States" by Roxanne Dunbar-Ortiz offers a comprehensive examination of Native resistance throughout U.S. history. Dunbar-Ortiz's book serves as a call to action, emphasizing the importance of acknowledging the long history of Native resistance against colonization, forced assimilation, and land dispossession. It underscores the enduring strength of Native identity and the ongoing fight for justice and recognition.

Intersections of Traditional and Contemporary

Native identity in modern literature is often a dynamic fusion of traditional and contemporary elements. In "Monkey Beach" by Eden Robinson, readers are immersed in the life of Lisa, a Haisla woman in British Columbia. The novel explores her connection to traditional spirituality and the supernatural, while also addressing the challenges faced by the Haisla people in a contemporary world. Robinson's work beautifully captures the duality of Native identity, where ancestral traditions coexist with the demands and complexities of the present. "Monkey Beach" reveals the richness of this interplay and the resilience required to navigate these intersections.

The Evolving Narrative of Native Identity

Modern Indigenous literature offers invaluable insights into the ever-evolving narrative of Native identity. These literary works serve as a platform for Indigenous authors to reclaim, reshape, and share their stories. They shed light on the complexities of Native identity, including the struggles, resilience, cultural renewal, and enduring connections to the land and community.

Insights on Native identity in modern literature

As readers, we have the privilege of engaging with these narratives, learning from them, and contributing to a more comprehensive understanding of Native identity. By amplifying Indigenous voices in literature, we honor the diverse experiences and rich heritage of Native peoples while acknowledging the profound impact they continue to have on the literary world. Native identity in modern literature is not a static concept; it's a living, breathing testament to the strength and resilience of Indigenous communities.

[fairrryprose]

[BOOK TOUR] NO SAFE HAVEN (MALITU #2) // JAMES LLOYD DULIN

I'm thrilled to be hosting a stop on the book tour today for this just-released adult dark fantasy book NO SAFE HAVEN, book 2 in the Malitu series by JAMES LLOYD DULIN, with ESCAPIST BOOK CO. I'm thrilled to be sharing my thoughts on this series so far; for more information on where you can get the book, what it's about, and other content you can check out on this tour, see below!

"NO HEART FOR A THIEF, NO SAFE HAVEN, ONLY A GRAVE WILL DO"

What you get in this series:

Magic

Found family

Colonialism and resistance

Wit, heart, and humanity

In this world, magic and colonialism intertwine. Magic exists in the spirit-marked, bestowed upon by the seven great spirits of Ennea, where those with the gift can call upon one (or two) of the elements, each associated with a virtue -- forgiveness, guidance, patience, etc. These magic wielders are called Dancers, and the way they harness their magic is described definitely lets you understand why they're called so -- moving with the grace and connection of dancers, yet also with their passion and vigour when they use their magic to fight. Spirit Thieves (Malitu) -- as one of our protagonists Kaylo is -- are reviled for their ability to 'steal' magic. When colonisers possessing crystals that can steal their magic arrive, the natives of Ennea quickly become subjugated, and the way this is explored, the many different facets of colonialism we see -- linguistic subjugation, mission schools, physical indenturement, etc. -- was done so well.

I flew through the first book, NO HEART FOR A THIEF, and NO SAFE HAVEN within a few days. The series' narrative is compelling and riveting in flipping between current events and storytelling. In the present day, we follow middle-aged jaded Spirit Thief Kaylo -- the once Hero of Anilace, now reclusive and living alone in a forest -- and fifteen-year-old Tayen, a Shadow Dancer mired in her desire for anger and vengeance after her entire family was murdered by the oppressors and taken in by Kaylo as an apprentice after he saved her life, as they live and train together and get drawn into events reminiscent of Kaylo's past, which we get told to us through his narrative recounting of events to Tayen -- her price to pay for his training her. The power of stories and what we can learn from them as a theme meshes well with this form of narrative.

With a complex cast of characters, each with their own pasts and paths that are inextricably intertwined, said compelling storytelling, and riveting action-packedness, it's no wonder I flew through the books!

The series ultimately charts themes which are further explored in NO SAFE HAVEN from the first book to do with the power of stories and how they play a role in culture, history, and (self-)identity, the choices we make and their consequences and how these shape us, action vs inaction, family -- both blood and forged -- grief, loss, and anger vs forgiveness, power, and above all, enduring strength in finding love and hope amidst all this dark devastation -- a reason to fight, to hope for a better life for one and all fellows.

Book Links:

Amazon: https://www.amazon.com/No-Safe-Haven-Malitu-Book-ebook/dp/B0CFTBVQH9/ 

Goodreads: https://www.goodreads.com/book/show/193551687-no-safe-haven 

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Book Blurb:

Anger will not be quenched by blood alone.

The Missing, a rebel army that is little more than a rumor, may be Kaylo’s only path to exact his vengeance against the empire that claimed his home and killed his family. If it means a chance to balance the blood he owes, he will steal spirits and become the Missing’s tool, as long as they aim him in the right direction.

Eighteen years later, a war is raging between factions for control of Ennea. With Tayen, Kaylo, and Nix caught in the middle of a power struggle—Kaylo will have to find a way to fulfill the promise he made to Tayen, Nix must face the consequences of her betrayal, and Tayen will have to choose between vengeance and her spirit. When blood is owed, virtues will be challenged.

See Also: 

(This is our attempt at a bit of fun. We ask our authors to come up with a few short, clever, possibly pop culture laden, descriptions of their books just to give a little taste of what’s to come for readers.)

Joel and Ellie face colonialism and genocide with swords, magic, and heavy sarcasm rather than mushroom zombies with guns, grenades, and heavy sarcasm. 

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Book Information:

No Safe Haven by James Lloyd Dulin Series: Malitu Genre: Dark Coming of Age Fantasy Intended Age Group: Adult Pages: 495 Published: October 24, 2023 Publisher: G&D Publishing (Self Published)

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Content/Trigger Warnings:

Shown on Page (things clearly told to the reader): 

Graphic violence

Violence towards children, including torture

Racism

Ableism

Colonialism

Child soldiers

Death of loved ones

Kidnapping

Slavery

Survivor's guilt

Grief

Trauma

Religious manipulation

Alluded to (things only mentioned in passing or hinted at):

Drug addiction

Genocide

War

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About the Author:

James is a nerd with a head full of stories and limited time to put them on the page. 

He grew up in Grand Rapids, MI, spending an excessive amount of time at a local community theater where he developed his affinity for storytelling. This affinity grew into a deep admiration for language and spoken word poetry while studying mathematics and education at the University of Michigan. A few hundred mediocre poems and lackluster performances later, he decided his dream of writing a novel might not be as ridiculous as he once thought. He firmly believes that art—even silly books about magic, or maybe especially silly books about magic—has the ability to tell stories that sink beneath the surface.

Author website: https://www.jamesdulin.com/ 

Twitter - https://twitter.com/JamesLDulin 

Instagram - https://www.instagram.com/jameslloyd27/

TikTok - https://www.tiktok.com/@jamesldulin 

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Check out other stops on the tour here:

[screenspirit]

Personal Stories and Memory in Jay Rosenblatt’s and Su Fredrich’s Avant-garde Cinema

Avant-Garde offers distinct artistic strategies that can be steered to hold aesthetic representations of the filmmaker’s mindset and objectives set when creating the film. To elaborate, some experimental filmmakers choose their aesthetic strategies concerning how well they highlight experiences they aim to convey through their work, one particular example being their personal stories and memories, which they use as stimuli for Avant-Garde films. Two prominent examples of this idea in Avant-Garde are Jay Rosenblatt’s Phantom Limb (2005), a communication of the filmmaker’s experience and growth surrounding his younger brother’s death and Su Fredrich’s Sink or Swim (1990), which articulates how the filmmaker’s relationship with her father impacted her outlook on her childhood and personal identity. Both these experimental features draw on the filmmakers’ subjective memories of their past events which serve as their works’ narratives, all conveyed through the stylistic devices that highlight their position in Avant-Garde cinema.

One crucial artistic strategy used by both filmmakers which assists in elevating the anecdotes presented narratively is the use of found footage as the imagery. Rosenblatt and Friedrich both rely on shots and sequences that have been previously filmed by someone else and through the use of editing and placement, tell their own story through found footage. This feature of avant-garde cinema conveys how they partake in first-person filmmaking where everything shown is ‘overtly filtered’ by their ‘sensibility and ‘point of view’ [Rascoroli, 2009]. It is this artistic choice of structuring personal films through recycled sequences that serves as a distinct bridge between the Avant-Garde and the documentary, emphasised by Rascaroli who states how ‘their foregrounding of autobiography and their expression of authorial subjectivity position them in between…that of the Avant-Garde…and that of first-person documentary’ [2009].

Therefore, these filmmakers are expressing their autobiographies through a combination of Avant-Garde and documentary style, with found footage being one primal artistic choice. Friedrich’s example of the use of found footage connotes heavily to her memories of her father and childhood, exemplified in one of the earliest sequences shown in the film titled ‘Witness’, in which spectators see shots of a father holding his young daughter in what appears to be a home movie. Rosenblatt mirrors this in his film by showing personal home movies of him and his younger brother from their childhood as an opening to his visual storytelling.

Both these examples fulfil the purpose of building up context and introductions to the filmmakers’ individual and personal narratives and their themes; Rosenblatt’s story of loss visually articulates what he had before his brother’s death and Friedrich introduces ideas of parenthood and childhood using her images of parents interacting with their children. Taking this choice in source of footage into account when observing ideas of memory and personal stories, one can identify the filmmakers’ objectives because ‘home movies have much the same status as family photographs as regards of temporal reference’ and thus, ‘offer an image of the past of individual shown’ [Turim, 1989]. Thus, both filmmakers are using footage they did not capture themselves to present past events that connect to their narratives. This aesthetic action causes the sequences to immediately hold a personal and unique characteristic to them since spectators are observing what should be private moments in a young family’s life that have been captured on film for nostalgia and memorial purposes. As a result, identification of the filmmakers’ memories and stories can be easily distinguished since they are using found footage from the past to build up the narratives.

Found footage as an aesthetic decision articulates the contexts relating to the storytelling and with separate motives about emotional responses and cognitive approaches to their work. Rosenblatt’s example of recycled footage showing his brother before his passing is working to drive emotions of sadness and sympathy from his audience because he is allowing them to witness the memories he has of his brother visually through the shots shown. Additionally, they will later observe Rosenblatt’s experiences following his brother’s death such as the funeral and healing process. As a result of this, they will recall back to the opening sequence of the film and find themselves sharing the feelings of sadness Rosenblatt must be experiencing since the home movies allowed them to see a minor example of what the filmmaker has lost. Friedrich, however, is aiming to produce a separate instance of sympathy towards her personal story using her recycled footage. Her spectators will take in the imagery of the father holding his young daughter and identify its associations with family and child development since relationships and bonds with parental figures are credentials in a child’s early life.

It is these connections the audience has made from observing this example of found footage in the film that will assist in creating emotional responses of pity towards Friedrich when they later see such articulations as her parents’ divorcing and father leaving through voiceovers. The spectators will then think back to the recycled footage of the father and daughter and feel sympathy towards Friedrich as her family has broken up and she may no longer have interactions demonstrated in the home movies. Thus, both examples of found footage in the films are soon laced with specific emotions which assist in building the filmmakers’ personal stories since they are showcasing their past which hold significance to their storytelling.

It is this concern with the past that serves as a critical element to the recycled footage aspect of the Avant-Garde, it provides an opportunity for experimental filmmakers to demonstrate their creativity because they are taking fragments of film that were captured for one reason and editing them into their narrative. Usually, the past is engaged within film through the temporal editing technique of a flashback which helps to ‘merge the two levels [shared and recorded] of remembering the past’ and is used in the Avant-Garde as an ‘element in creating an expressive manipulation of the image and film montage’ [Turim, 1989]. Thus, they are a device that breaks the current narrative time shown which bridges the past with the present.

However, Rosenblatt and Friedrich have instead placed their examples of footage connected from the past in the openings of their films in a chronological structure to provide their spectators with ideas of their past which will benefit how they interpret the events they witness in the upcoming sequences. This mirrors the use of flashbacks as a device because it coheres to the story and elevates character development since spectators observe events in the film subjects’ lives that affect their character. Furthermore, the past and how it is demonstrated holds connections to one’s memory which can be explained as ‘a system of storing and retrieving information’ [Baddeley, 1997]. This means that the filmmakers offer their interpretations of events psychologically held in their memories through the already recorded footage in which the memories are visually stored. This effectively links back to Turim’s claim that the two levels of recalling the past coincide with one another to structure the filmmakers’ personal-based narratives and convey further emphasis on how important the artistic strategy of found footage.

Friedrich emphasises the presence of personal stories heavily and consistently throughout her film, combining her story with those of her mother and father which all share connections and influences. Friedrich’s story is the focus of the narrative, highlighted in a majority of the sequences such as the one titled ‘Journalism’ in which a series of experimental techniques combine to convey the story and its themes. One of these is the voiceover that plays over the images shown; a young girl, who is telling Friedrich’s story throughout the film, shares with the audience how Friedrich was given a diary when she was young in which she wrote down her stories, thoughts and secrets. One can interpret the symbolism of the diary as a manifestation of Friedrich documenting and expressing her personal story, as a diary consists of one’s ‘record of facts and events…own impressions, ideas, sensations, self-analysis and reflection’ [Rascaroli, 2009].

A diary also mirrors the epistolary novels of the 18th century, a genre consisting of novels telling stories through letters and journaling which takes an ‘interest in individuality and the inner self’ and a phase of ‘deep transformation and great expansion’ [Rascaroli, 2009]. The Avant-Garde is a cinematic style that draws inspiration from other mediums of art, particularly ‘relating to the fields of literature’ which it ‘pays homage to and finds inspiration in’ [Rascaroli, 2009]. Therefore, the diary mentioned throughout this sequence of the film links with how Friedrich is presenting the story of her parental relationships and childhood as well as conveying the influence literature as a medium holds on Avant-Garde cinema and how it is incorporated into it.

The childhood aspect is emphasised using the footage of young girls playing in a playground; a further example of filmic techniques used to elevate narrative ideas since the images connect to the voiceover articulating an event in childhood. The voiceover then mentions how Fredrich’s parents divorced and this serves as the pivotal point in the narrative and a painful memory Fredrich documents in her diary, which we are told is erased by her mother as it was written in pencil. Here, Friedrich is drawing ideas of different levels of memory which coincide with Turim’s claim on recorded and shared past. Her mother may be able to erase the physically recorded presentation of Friedrich’s memory of the divorce kept in the diary yet is unable to do so to store it in her daughter’s mind, thus, conveying ideas of memory and personal stories in Fredrich’s narrative with relation to how they are documented and interpreted.

In addition to this, Friedrich develops the memory of her parents’s divorce by combining events she can recall that serve as their personal stories and memories. Friedrich first does this in the sequence titled ‘Ghosts’; a calling which holds connotation to figures of the past haunting individuals connected to them which alludes to the idea of memory and the past throughout the film, where the shots are of a letter addressed to Fredrich’s father being written by her on a typewriter. This links to the previous connection between the Avant-Garde and literature, specifically this film and the form of an epistolary novel since a letter is being used as the source of articulation of events. The use of the letter as a stylistic strategy is effective in that it elevates the personal element to Friedrich’s work, mirroring the symbolism of the diary and allowing further insight into her deepest emotions at this point of her story thus progressing the development of that personal story.

In this letter, the spectators learn more about how the separation is impacting Friedrich’s mother when Fredrich writes about how she watched her mother spend most nights alone and crying while listening to a song called ‘Gretchen at the Spinning Wheel’; an articulation on the loss of a loved one which coincides with the experience both the mother and Friedrich are experiencing yet this particular communication is tied more with the mother. Here, Friedrich has captured one parental figure’s personal story in the film in which the medium of music is how her mother expresses her emotions, with lyrics such as ‘Where I do not have him/That is the grave/The whole world is bitter to me’ [Schubert, 1814] which link to the experience of a breakup. In contrast, her daughter does so in writing and later filmmaking.

The letter ends with a statement made by Friedrich on how difficult it is coping with the ‘conflict between memory and the present’, therefore, Fredrich is emphasising how the positive memories she has of her parents do not match what is taking place in the present time, specifically when watching her mother cry and this must be creating emotions of bitterness and grief within her. The memory of watching her mother go through this while writing it in the letter must bring these emotions forward and in turn connect the feelings and memory as one. Baddeley highlights this when stating ‘anything experienced in a given mood will tend to be recalled when that mood is reinstated’ [1997], thus memories and events in a story are tied with emotions that echo them.

The audience observes this in the later sequence ‘Drinking’ where Friedich communicates how watching her half-sister and father interact reminds her of her memories of her childhood with him as ‘her childhood was being played out in front of her’. This conveying of her mother’s story is connected to Friedrich’s memory of having to witness her mother go through this and this memory is then incorporated into the personal tale shown in her work. Friedrich then adds her father’s personal story during the ‘Envy’ sequence in which the voice-over articulates how her father wrote poems to express his own emotions towards Friedrich and the situation. The poetry as a medium echoes Friedrich’s diary, letter and filmmaking in addition to the mother’s choice of music, thus, elevating personal stories being compressed into different formats of artistic medium with the experimental film being the overarching form since Friedrich has collected all mediums implied in her Avant-Garde work.

Overall, both filmmakers recruit the Avant-garde film model in a tapestry of aesthetic organisation and sentimental essence, the former stemming from pre-filmed footage and the latter ideas around memories of family as part of an individual’s personal story, highlighting the mode’s unique stylistic and storytelling properties. Rosenblatt’s feature recruits its footage, as building off from its subjective contextual messaging, in a somewhat raw and touching manner. He narrates a stage of life any audience member can resonate with, using the experimental aesthetic toolset of a collective archive of diverse found footage he can edit together into one cohesive personal meaning. A sufficient portion of this can additionally be applied to Friedrich’s work, one that encompasses the power of using pre-existing objective footage and other mediums of art to communicate stages of her subjective experience. However, Sink or Swim’s story is slightly more niche in its subject matter and aftermath. Regardless, Friedrich’s creation also resonates on profound levels due to the immersive emotion in vision as combined with the relentless quality in execution.

Bibliography

Nardelli, Matilde. (2010). Laura Rascaroli (2009) The Personal Camera: Subjective Cinema and the Essay Film. Film-Philosophy. 14. 191–195. 10.3366/film.2010.0058.

Constance Balides, Maureen Turim, Flashbacks in Film: Memory and History, Screen, Volume 32, Issue 1, Spring 1991, Pages 120–125, https://doi.org/10.1093/screen/32.1.120

Schubert, Franz, Gretchen am Spinnrade, Part One, scene 15 of Johann Wolfgang von Goethe’s Faust, 19 October 1814

Baddeley, A.D. (1997) Human Memory: Theory and Practice (Revised Edition). Psychology Press, East Sussex.

[trendingtattoo]

Should I Get a Tattoo of Hitler on My Chest?

Tattoos are a deeply personal form of self-expression, often serving as a canvas for individuals to commemorate meaningful experiences, express their passions, or showcase their creativity. However, there are limits to what is considered appropriate or acceptable when choosing a tattoo design. One such limit is whether or not it is appropriate to get a tattoo of Adolf Hitler on one's chest, or anywhere else on their body, for that matter. In this article, we will explore the reasons why such a choice is highly controversial and ill-advised.

The Controversy Surrounding Adolf Hitler

Adolf Hitler, the infamous dictator who led Nazi Germany during World War II, is a historical figure who is universally reviled for his actions and beliefs. He is responsible for the genocide of approximately six million Jews and millions of other innocent people during the Holocaust. His leadership and ideology led to a devastating world war that caused immeasurable suffering and loss of life. Hitler's legacy is one of hatred, racism, and unspeakable cruelty.

Reasons to Avoid a Hitler Tattoo

Offensiveness: A tattoo of Hitler, whether intended as a joke or not, is highly offensive to many people. It is a direct affront to the memory of the Holocaust victims, their families, and survivors. Such a tattoo can be seen as glorifying a man responsible for the unimaginable suffering of millions.

Social Stigma: Displaying a Hitler tattoo can lead to severe social stigma. People may distance themselves from you, and it can affect your personal relationships, making it challenging to build meaningful connections with others.

Legal Consequences: In some countries, displaying Nazi symbols or promoting hate speech is illegal. Depending on the jurisdiction, you may face legal repercussions for having such a tattoo.

Professional Impact: Tattoos are often visible, and having a Hitler tattoo can have serious professional consequences. Many employers have dress codes or policies against offensive tattoos, which could limit your career prospects.

Ethical Considerations: Beyond the legal and social implications, there are ethical reasons to avoid a Hitler tattoo. It demonstrates a lack of empathy and respect for the suffering of others and can contribute to the normalization of hate symbols.

Choosing a Meaningful Tattoo

If you are considering getting a tattoo, it's essential to choose a design that reflects your values, interests, and personality in a positive and meaningful way. Tattoos should be a source of pride and self-expression, not a cause of harm or distress to others. There are countless beautiful and meaningful tattoo designs to choose from that can celebrate your passions, honor loved ones, or symbolize your journey in life.

Conclusion

In conclusion, getting a tattoo of Hitler on your chest or any other part of your body is a highly controversial and ill-advised choice. It is offensive, socially stigmatizing, potentially illegal, and ethically questionable. Instead, if you are looking to express yourself through body art, consider a design that reflects positivity, respect, and your unique identity. Tattoos can be a powerful form of self-expression, but with that power comes the responsibility to choose wisely and consider the impact on both yourself and others.

[blogasilaniya]

Why Denny Ja Elected Work 4: Dry Flower Farewell is worth noting

In the world of Indonesian literature, Denny Ja has been known as one of the prominent writers. Essays poetry Essays always invite public attention and often become a warm conversation among readers. One of his latest works that deserves attention is "Dry Flower Farewell". In this article, we will discuss why the chosen Denny JA 4 work deserves more attention. First of all, it is important to understand the author's background. Denny JA is an Indonesian writer who has written various fiction and non-fiction works. He is also known as a social and political activist. Most of his works reflect his critical thinking about various social and political issues in Indonesia. "Farewell Dry Flowers" is one of the chosen Denny JA 4 works that attracts the attention of many readers. This essay poem tells the story of separation, both separation from loved ones and separation from the past. In this work, Denny Ja succeeded in describing feelings of loss, sadness, and hopes related to the moment of separation. One of the reasons why the "farewell dried flower" deserves attention is because of its interesting writing style. Denny Ja has the ability to describe the situation and emotions in depth. He is able to make the reader feel and understand the feelings of the characters in the story. His straightforward writing style but full of meaning makes the reader amazed and connected to the story emotionally. In addition, the theme of separation in this work is very relevant to everyday life. Everyone must have experienced a moment of separation in his life, whether it's with friends, family, or partners. In "Farewell Dry Flowers", Denny Ja managed to lift this theme in depth and interesting. He invited the reader to reflect on the meaning and meaning of separation in their own lives. In this story, Denny Ja also highlighted aspects of Indonesian culture and history. He described the separation with the past and invited the reader to look back at the history of the nation. In the modern era like now, often we are too busy with our daily lives so that we forget our roots and identity as a nation. Through "Farewell Dry Flowers", Denny Ja reminds us of the importance of understanding and respecting our own history and culture. In addition, the chosen work of Denny Ja 4 also offers deep moral messages. Through the story, Denny Ja invites the reader to reflect on values such as honesty, forgiveness, and courage. He invites us to self -introspection and question the actions and choices of life that we have done. These messages are very relevant to the social and moral conditions of Indonesian people today. In his conclusion, "Dry Farewell Flowers" is one of the chosen works of Denny Ja 4 who deserves more attention. Interesting writing styles, relevant themes, and moral messages conveyed make this essay poem into literary works that are worth reading. He is able to bridge the beauty of literature with the daily life of the reader. Thus, there is no doubt that the elected work of Denny Ja 4 should be noted by readers who want to enjoy quality Indonesian literature. 

Check more: Why Denny JA Elected Work 4: Dry Flower Farewell is worth noting

[shallowstories]

Notes on I'm just not a Cosmopolitan Gal

Stuff I was thinking about grief:

Cas's doubt + grief: In season 14, Cas runs headlong into denial. Revealing his own doubts about Jack’s stability would skirt the uncomfortable concept of angels as wholly incompatible with humanity. “Oil and water,” as Jack’s subconscious insists in 14x18 "Absence."

Cas + fear + communication: Cas really should be giving Dean the directive to “stay with Jack at all times; don’t leave him alone with people,” but his denial and his need to reassure overpower it. It's possible Cas assumes that monitoring Jack “goes without saying” and that Sam and Dean should obviously know that even the potential of soullessness means he should be handled with extreme care.

Dean/Cas + denial: In season 14, I think Dean and Cas are both living in the denial phase of grief, even if they don't consciously see it. Dean's even insisting Jack must be okay, right up until 14x18 "Absence," when he barks, "We don't know that he doesn't have a soul," in response to Sam entertaining the though. Such is grief. It's awful.

Dean + Michael + nihilism:

Dean vs Nihilism: It's wonderful to rewatch seasons 14 and 15 with Michael’s nihilism in mind. I believe it’s why Nick’s struggle with enmeshment and loss of identity was so highlighted, even if they didn’t bold and underline Dean’s emotions and Michael!trauma quite as clearly as usual for the audience.

Dean + Pamela is blind + love is blind: Even though Dean initially connected the Cas-Lucifer possession to his own Michael struggle in 14x09, “The Spear,” we see the specter of a blind Pamelia just an episode later, in 14x10 “Nihilism.” Perhaps, this hints that Dean was struggling with Cas-as-angel in deeper, darker ways as well.

Angels: Perhaps, Dean felt he’d chosen the wrong family, that his choice of angelic partner and child was a dangerous, foolhardy mistake. Later, in season 15, perhaps he even wondered if God, knowing Dean’s heart, had planted Cas and Jack in his life just to torture and punish him. Or, in even weaker moments, that they were in on it with Chuck.

[notyetbulletproof]

Seriously one of Anthony’s best lines for me was “she was harsher than I knew her capable of being”.

Already at that point, he was over his laundry list of things a good wife/viscountess should have. Already then, we knew that he proceeded with the wedding for Kate’s benefit and returning to his initial plan of duty and honour. No deviations. No distractions. A good marriage for a good life for his family. And he thought in his warped mind, he was giving Edwina what she wanted to. She wanted to marry him. She wanted the life with him but he would not/could not lie to her about that life. And to be honest, she did. It was the only reason to continue with any of this. They (Kate and Anthony) could not hurt or ruin her. However neither of them (Edwina and Anthony) were really being themselves with each other. Just constructs. The diamond and the viscount.

He’d seen Edwina as more than just a diamond in his first real conversation with her about her interests and the books she had read but just like Edwina was truly hearing him for the first time (in ep 6 post altar run) and also seeing the truth of their hearts, he was seeing HER for the first time. She was seeing herself too. Not the version they had all spent years perfecting but what she actually wanted for her life. And when he reinforces what their marriage will be— duty not love, she sees that neither of them want that. He will never look at her like he does Kate. Like a fool so in love. And they both deserve that. All 3 of them do.

And when she says as much and asks for time to think and Anthony takes a breath and says “of course, of course”. He already knows. He cannot give her what she wants or needs and she can’t give him the same. They cannot be what the other needs or wants. But his heart seeks out Kate and finds her and even as he tells her to help her sister — because he cannot watch her be ruined because of his feelings, he still cannot say that it’s (the marriage) what he wants. It is what he will do. He concedes that he doesn’t know her as well as Kate (duh) or as well as he thought. He underestimated her but he will not be the cause of pain for them or rather more pain and you can see him desperate to regain control of the situation. To not have his actions cause any of them more pain. You can see the wheels turning from the moment she runs away from the altar.

And when he tells Kate they must do something, Kate states plainly — what more can be done? She literally admits that none of her plans truly serve her sister and when she falls into despair about it, saying she ruined Edwina’s life, Anthony steps forward to challenge that and comfort her and then the whole WAIT moment.

And in the church, when Anthony tells Kate - “Your sister is braver and wiser than us both. She had the courage to act on what she sensed between us and here we are standing perfectly still having felt it for months.” is 1) like redemption for Edwina for doing something the moment she realised. Redemption in the sense that she didn’t see it for months but once she did was like YEP NO I CHOOSE ME, 2) Both Kate and Anthony see Edwina for who she is— a capable woman who can make up her own mind or at the very least should be allowed to make her own choices (a thing Anthony had to learn in S1, the hard way too), 3) He calls out their cowardice, their fears, their refusal to accept what was right in front of them because it clashed with who they thought they had to be. The duty they thought they had to fulfil. The feelings they didn’t have the courage to act on because of what it would mean to the identity they built for themselves and the coping strategies they employed to keep love and loss away, to not act on the things their heart truly desired (love and connection) because it could all be taken away or they could leave someone grieving and hurt forever.— all of which Edwina called out in that same church. All of which anyone who looked at them could see—- Violet, Daphne, Lady Danbury and now Edwina. (Why not Mary i will never understand but whatever. Maybe they wanted to play up the idea of isolation.)

It’s just a really beautiful moment for me not just because of what it means for Kate and Anthony but for what it means for the way Edwina is perceived. The way she is regarded. The way she is respected. Don’t get me wrong, I still have issues with what Edwina said when she was lashing out and the one sided view of that but as I said before, I respect her right to do so. The sense of betrayal even if you understand what was happening is hard to shake. I still really like what it meant for the idea of the Diamond. Of what that actually means. Of iving up to being more than just beautiful on the outside. The idea of who Edwina really is truly being seen by all who know and love her. And both Kate and Anthony fessing up to the fact that they forgot that or stopped seeing it because they focused so hard on duty and honour and futures, they pushed down what they knew to be true. And looking at what it cost them and those around them. And of course it wasn’t solved there. We still had ep 7+ 8 to work those things out but still. I think about those moments alot. They are so layered.

TLDR; I like what those quotes indicate about Anthony’s new understanding of Edwina and the implications of the life none of them wanted but almost led because they both presented false versions of themselves to the other.