#my identity is deeply tied to my art :)

[kishavo]

-taps mic- Detroit fandom, you out there? Can I interest you in a sketch dump of Connor and Gavin barely tolerating each other’s presence?

[blushedfemme]

could you give some words of encouragement for a femme who isn’t really feeling femme? I know that all femmes are different but I feel I don’t look it, and it’s making me question whether I’m femme at all

(Sorry about the excessive amount of words, hope you’re well)

-a fellow femme

firstly, giving you a big femme hug 🫂💞💕💓

this ask feels so serendipitous because i’ve been having some big thoughts about this lately, about what it means to “feel” femme and how that relates to “presenting” femme. i find that i feel the most femme when i’m doing things like making space for a friend to vent, making art for someone, bringing baked goods to an elderly neighbor, appreciating the beauty in something unusual, giving someone a reassuring touch or a hug, talking deeply with people and hearing their stories and sharing mine, all of these make me feel like myself and feel femme. how i look when i’m doing these things is of no consequence, really.

my hot take is that the connection between butch and masculinity does not translate to the connection between femme and femininity. i do love being feminine, but it’s complex because my femininity does not exist in a vacuum, and there are a lot of aspects of femininity that feel alienating to me, that i disagree with, or that i personally can’t access. and i’d like to point out too that femininity as a social construct has its roots in whiteness and white supremacy, as it mostly came about in white western european racist ideology regarding the superiority of white people being tied to the “difference between the sexes,” creating this beauty standard and category of ‘feminine’ that is only accessible to white women (and as beauty standards have evolved) now only thin white women. as a thin white person usually perceived and treated as a cishet woman, my femininity is recognized and reinforced by society and i’m rewarded for it, in a way that i do not want. my femininity is inextricable from privilege, yet it is also inextricable from my erasure.

this is why i strive to be an accomplice to dismantling that link between femininity and whiteness, between femininity and thinness, between femininity and cishet-ness. i learn from and am inspired by femininities of color, Black femininity, fat femininity, trans femininity, all forms of subversive femininity, inventive and alternative femininity. to me this is also part of being femme. my innate femininity is very personal to me, which makes me less inclined to present feminine in public, because people don’t see it the way i want it to be seen. when i present hyperfemme, i get treated differently, i get talked down to, and i get a LOT of weird attention from random cishet men. i really only enjoy being feminine around my butch, femme, queer and trans friends. the rest of the time i prefer to present more visibly queer and androgynous, or i prefer to avoid being perceived at all. and all of this and i haven’t even touched on the energy and maintenance required to present hyperfemme!!! it’s exhausting! it’s fucking expensive!! it’s simply not accessible to me all the time, and to many folks it may not be accessible, period. and this doesn’t make us any less femme. 🥰

i highly highly recommend any writing by leah lakshmi piepzna-samarasinha about femme-ness because that’s where a lot of my understanding of femme comes from and it helps a lot to disconnect from “looking femme” as a meaningful basis of femme identity. sorry this turned into more of an essay than words of encouragement!! 😅 but i hope it was encouraging all the same. i have so much love for all femmes everywhere especially those of us who struggle with feeling valid in our femme identity. we’re doing the thing, loves. we’re so fucking femme 🧡💖💓💝

[vasito-de-leche]

;NSR DJSS - General Headcanons

Compilation of headcanons and analysis about DJ Subatomic Supernova and other related things.

I got an ask asking for DJSS' love languages (don't worry! working on it!) but then it hit me that I don't think enough about DJSS to talk about love languages right away, so I'm getting this out of my system to try and fleshen out the way I write him!

this might be, a BIT TOO LONG BC I GOT CARRIED AWAY RIGHT FROM THE START BC EVE WAS INVOLVED AND I LOVE HER

The most healthy and solid friendship DJSS has is with Eve.

Eve's post is still fresh on my mind, so it got me thinking about how DJSS and Eve are very similar - like, two sides of the same coin, or two opposites in the same spectrum. But before I get carried away, let's talk about DJSS.

Out of all megastars within NSR, DJSS is very clearly the one with the least amount of connections to other characters, at least in the way he's presented in-game. Like, all of them are connected to NSR and Tatiana because they work for her, that's obvious - but the Sayu Gang have each other, Yinu has her parents, Neon J has 1010, Eve and DK West both have Zuke and Tatiana/NSR respectively. Tatiana has Kliff, the Goolings and Mayday.

DJSS is just. There?

Maybe it's because he's the tutorial boss, but very similarly to Eve, themes of loneliness and not being appreciated enough or understood are prominent in his background. The casettes literally show him spiraling from an underappreciated but very passionate teacher to a very influential but egocentric megastar.

There's just something about how DJSS and Eve share loneliness as a theme. And how both of them also fully embody their work, becoming a personification of their craft and passions so that their self-worth and identity is DIRECTLY tied to how said passions are received and perceived. To others, music and art are simply an extension of themselves, an important part of their lives, not the whole of it. But DJSS and Eve? You can't separate them from their work. Again, the Sayu Gang are a bunch of teens bonding over a shared interest. Yinu is a megastar BECAUSE of her family, not by CHOICE, she plays the piano FOR her deceased father. Neon J is, first and foremost, a war veteran and protector of Vinyl City before he is a musician, even if dancing and music are his passions.

There is also something to be said about how their respective journeys are opposites of each other yet end the same way. They've gotten what they've wanted, but they're stagnant and unfulfilled.

We see DJSS starting as a starry-eyed teacher, thanking the THREE students AND A JANITOR who came to his lessons because he's grateful for anyone who will listen to him. He's using his passion and work to teach others and expand their minds and whatever other cool one-liners he says in his videos and cutscenes. This directly mirrors Eve, who starts as a self-loathing, deeply insecure artist who uses art as a way to cope and vent. (If you read my Eve post, throwback to the duality theme - outside and inside. DJSS is channeling his work to the world, to the outside. He's looking for people who understand him. Nadia is channeling her work to herself, to the inside. She's looking to understand herself.)

The middle part of their whole journey shows a moment of introspection and healing for both of them.

DJSS reconnects with his love for music and the reason he even became a teacher in the first place - not out of love for teaching (which is another point I wanna talk about later in this post) but for a genuine love and intrigue for the universe. After years of trying to get anyone to listen, he finally remembers how it feels to look up at the sky. He finds a way to merge both music and space as a means to further his goal.

Eve heals because she believes she's found someone who can complete her, someone who isn't herself but who can understand and see her just as good. She doesn't hide her pink side, she doesn't hide her face with her hair, she is shown to be very, very lively, excited and intense. This is the moment she realizes she can be understood and loved, all the things she saw as impossible before meeting Zuke. Her art reflects this, she can now focus on something other than hating herself.

(It's very important to me that we remember her heart piece with Zuke is made out of recycled bottles. Both DJSS and Eve were shown to have this thing for helping others - DJSS through teaching and Eve through art.)

And then, their last collectible shows them at their worst.

DJSS has finally managed to be influential enough to have thousands of people actually pay attention to what he's saying. And he explicitly says that, even though he's gotten this far, he feels empty. And he feels empty because all of his work will disappear, because he will be forgotten in a few generations. And we see how music has replaced his love for the universe, it's a subtle shift in which DJSS goes from wanting to learn and teach others about something he's deeply passionate about from wanting his music and hard work to live on forever through space.

There's a metaphor somewhere in there about DJSS' legacy being not his work as a teacher, astrophycisist or even a pillar of the EDM movement - but a few of his songs. Attached to an NSR satellite. Going through the empty void of space.

And then there's Nadia, all alone again. Because she's gotten so comfortable with the idea of being understood, that she expected Zuke to see everything the same way she did, and therefore setting his hair on fire wouldn't be that big of an issue. And this is her worst fear, but it doesn't hurt as much as she thought it would - because she's expected this to happen at some point, even when she was at her happiest with Zuke.

I want to draw a line between this moment and the way their loneliness permeates in their words and actions - DJSS who has tried for years to reach out to like-minded people, finally has an audience that respects him, he still feels unfulfilled and empty. And he further distances himself from everything by setting his sights and his legacy on THE COLD VACUUM OF SPACE. Eve, who has always believed she would end up alone, IS NOW ALONE AND ABANDONED (from her perspective anyways, since it would be unfair to say Zuke was a horrible monster for leaving a relationship this complex) and yet she doubles down on finding someone like her.

DJSS states that no one is able to think like him, no one within NSR shares his ambition nor vision - he's resigned. Eve states that she will bring everyone to her level one way or another - she's desperate. Two sides of the same coin. Two extreme opposites in the same spectrum.

It all boils down to believing that somewhere out there, whether in Vinyl City or the universe, there's someone who can really appreciate them.

The two conceal a sense of inferiority, the difference being that Eve's comes from a place of pure, genuine hatred for herself (if her work can't be understood, she can't be understood. if her work can't be appreciated, she can't be appreciated) and DJSS' comes from a place of blind confidence in his own potential and ideas (if his work cannot be understood, it's because no one has the ability to understand it. if his work cannot be appreciated, it's because no one is sensible enough to appreciate it).

There is also something about how, at their worst and/or when they feel threatened, they seem to switch?

This is most notable in Eve's boss fight, in which she acts condescending and dismissive to both Mayday and Zuke - saying all the things she knows will hurt just for the sake of hurting Zuke. She establishes her superiority over those who can't understand her, similar to how DJSS treats B2J initially. And in DJSS' case, hints of this reversal can be heard in his casettes, already explained above. He somewhat resembles Eve during her final section, a resigned and numb acceptance to being alone.

I think these two would be friends because they would be able to recognize their similarities - not openly address them, mind you, that's too much for either of them to handle - but enough to just chill with each other. There is an underlying feeling of understanding between them, even if all they do is hang out to do superficial things, gossip or rant about work.

And I like to think they're both fine with this arrangement, because sometimes people need relationships that aren't mentally or emotionally exhausting or intense! Sometimes you just need a buddy who shares a similar trauma that neither of you will address and who wants to go bitch about Stacy from HR! It's an unlikely friendship that surprises everyone, but once they stop to think about it, it just makes sense for them to click - at least with the façades they present to the world.

No matter how hard he tries to rebrand, DJSS knows that he'll always be a teacher at heart. Not necessarily a good one, but a teacher anyway.

TOOK ME FUCKING YEARS TO GET TO THIS POINT BUT ANYWAY.

I really like that one post I saw through the NSR tag about how DJSS makes sense as the tutorial boss because he used to be a teacher, we can assume that there was a time in his life where he loved to teach and shape the minds of the future generations. It's a little meta connection that makes sense to me!

And I like to think that this is something that DJSS can't ever get rid of - the need to just teach. It can come across as DJSS not being able to shut his mouth when it comes to telling people why they're wrong and why he's right, but at the end of the day, he's still trying to clarify misconceptions and teach others new things. It just happens through layers and layers of his condescending attitude.

Of course, this also doesn't apply to just teaching, it applies to learning as well.

DJSS strikes me as someone curious and very driven, instead of asking others why, he sets out to find out answers himself - either because it's easier and faster, because he has something to prove, because of he's so full of autism and hyperfixates easily or whatever other reasoning you like the most.

I like the idea of a DJSS who knows his worth and knows he shouldn't bother trying to argue with people who clearly don't care about facts, logic and research, let alone putting the effort to learn or have an open mind - those simpletons who aren't worth his time - but still struggles with keeping his mouth shut.

During his boss fight, he immediately dismisses B2J because they're small fry, they're not even here for him, they're here for inconsequential reasons that he doesn't have time for. Why should he even entertain them? AND THEN HE DOES. HE GETS RILED UP AND JUST GOES ON TO TALK ABOUT HIS ENDEAVORS AND GOALS ANYWAY.

He REALLY reads as a guy who makes the funniest of jokes and can't help but explain them anyway - and he gets away with it most of the time.

Very organized, detail-oriented person, loves routine and to plan things beforehand. DJSS cannot stand spontaneous decisions and has a hard time adapting to sudden changes.

Sometimes it might be easy to forget that DJSS is most likely the smartest member of NSR as a whole, specifically because of the way he acts and presents himself typically - even if he makes a point of constantly reminding others of his intellect and academic achievements. But! Nothing escapes DJSS' keen vision.

Out of other members of NSR, Tatiana trusts DJSS the most to keep up with his responsibilities as charter and many other projects benefitial for the company, like the rocket launch! He's proven time and time again that he's more than competent to be left to his own devices. Even if he doesn't care much for the other megastars, he still shows up on time for meetings and speaks his mind on things that need addressing (that he considers worth addressing, at least), never pulling his punches when offering his opinion.

Literally that kind of annoying coworker that loves to nitpick and someone you don't get along with but who makes the best points and arguments ever.

I like to think this is reflected in his position in Vinyl City - he's the furthest away from the NSR Tower, because he requires little to no supersion at all. He's also closest to the heart of Vinyl City: Festival Plaza and the Grand Qwasa, maybe because he can absolutely take care of any problems that might arise with it.

Even if he's extremely dismissive, DJSS does remember the people he works with - mostly based on their skills and how useful they are, just so he can know who to send away and who to keep around. He doesn't remember your name, but he remembers that you're competent enough to do a quick check on his turntables or other equipment. That sort of thing.

DJSS likes when things go his way, the way he expects things to be, the way he planned them out to be. He thinks of every possible outcome and prepares for it, without going overboard as to hinder his progress. So he can live with someone on his team messing up the rocket launch procedure - because that was already something he expected that would happen, even if he throws a little fit about it. But he can't deal with suddenly being told that someone else will handle the rocket launch entirely - because that's just not a possibility in his mind.

I can see DJSS being a fan of to-do lists or spreadsheets to stay on top of his game. He doesn't need them, he remembers everything he needs to, but hey, it's a fun flex!

I also just remembered one of the interactable things in Cast Tech - a drone that Zuke comments on, saying:

 "It must have crashed from all the conflicting signals. DJ Subatomic Supernova really likes the idea of blasting his signal into space..."

Which makes me think that yes, DJSS is great at solving things, he's careful and meticulous, doing anything to ensure his success in whatever he sets out to do - but his tunnel vision makes him careless enough to overlook some of the most obvious things in the world. Like how blasting his own signal might disrupt every other drone in the city or mess with other machines.

And this whole point is totally not me subtly trying to write DJSS in a way that compliments the way I perceive Neon J because I think the ship is fun and their dynamic is even funnier, absoluTELY NOT LETS MOVE ON

Cast Tech is the most academic district in Vinyl City. Basically paradise for nerds.

The same way Eve supports the arts in Dream Fever by having a lot of galleries and art studios, it makes sense that DJSS would support academic endeavors by having schools and other academic institutions, funding people's research and etc. It's another little thing that ties in with his background as a teacher.

In-game, Cast Tech is basically a short main road with two or three paths that lead to small areas. It's very lackluster compared to the rest of districts and I blame that on the way the game is structured, showing the boss first and then the district - plus the fact that DJSS is the tutorial boss so by proxy, he gets less content. But it's serviceable enough for the main plot in the game, which is to show us that NSR can be superficial, shallow and careless company.

And I'd like to argue that, maybe, the area Mayday and Zuke go through within Cast Tech, is not meant to be representative of the entire district. It feels more like an area meant for tourists or general NSR propaganda that ended up flopping massively because people weren't that interested?

DJSS is a megastar, sure, but he's not shown being that much of a public figure outside of advertisement. Compare him to any other member - Sayu and 1010's popularity rely on their fanbase, because they're public figures. Eve is an artist, we also see her dabble in all types of art, not just music, even fashion! Yinu is a literal child, but she's still in advertisements for healthy food and drinks.

Did you notice how Cast Tech and Club Planetarium are the only places that lack NPCs? Unique NPCs to be more exact, like Celine in Dream Fever, Mia in Festival Plaza, Yiruk in Metro Division, etc. People who most likely live there?

Once again, DJSS is an outlier. It makes sense to me that, even though this area has a statue of him and a store selling products based on him, literally just revolving around him, playing his advertisements and etc it's not... That important overall within his district. Even the Planetarium where he hosts concerts has a bunch of small stores outside, nothing grand. Even though it's HIS district, he's NOT the focus, ironically.

I would love to get into details about how the actual district works and what goes around, but I dropped out of my bachelor's degree and I don't know enough about science to get super in-depth about it! So anyone who DOES know or wants to develop this more, feel free!

[beesmygod]

have u considered just starting over? just going under a different name and making a new comic in a different space? i love your work and totally understand feeling burnt out by crab bucket communities, but you can literally have a fresh start and new name without all this baggage tied to it. the only good thing about online.

im trying to be nice about this but just to be clear: your advice is to abandon the comic i have been extremely open and earnest about having a complex but deeply close relationship with for the past 10 years, completely wipe 20 years of online history under the same name somehow, and start over with a new identity because other people are fucking losers? how would that benefit me in literally one single concrete way. why do you think my art style and uhhh idiosyncratic way of talking (typing) wouldnt be easily recognized. are you under the impression that i dont work for a living and have the time to waste playing master of disguise all fucking day?

are you insane?

[aalinaaaaaa]

Contemplations

In lieu of this week's Flash Friday prompt by @flashfictionfridayofficial !

—

What is so seamlessly given, yet so seamlessly lost, as a name? We are bound by its use, called to its intention and purpose, and to the people who use it.

It is as much an instrument as a weapon. The deeper its truth, the more it hurts.

True names only catalyse the loss of control, the spiral of life, Fate’s threads spinning out of your hands.

A reminder that Fate, not you, nor I, is the weaver of our tapestry. And one small move is all she needs to cut the thread.

Names are the tags of our identity, yet nebulous. Some go through their life with one name, entwined deeply with their soul. Others, the lines are blurred.

I lost my true name on Zabyelta (the Night of the Blue Embers) at the tender age of sixteen. She died alongside my sister, her thread cut by Fate’s fatal machinations. Never will the world know of it, of the future she — I — could’ve had.

Each name afterwards I wear as coats, once or frequently or not at all. Some cycle between phases, while others languish in the depths of my brain, not to be used again. These names are tied to the façades I wear, all fake and transient at a second glance.

How many of them realise they’re fake? Likely a few. How many know the truth? I would hope none, bar the one fellow who recognised me and wanted me dead, yet cannot bear to make the final blow.

A twisted logic says I should’ve killed him, yet I refused. Enough blood festers on my hands, such a decision is Fate’s, not mine.

I have spent since that night my life running. Running from my troubles, running from those I have tricked. Running from Fate. Her wrath and mine.

I know I can never run from her. Within me she is entwined. But I run anyway, with my coats and the tags and the labels.

Though I cannot cut my thread, I can create distance, unspool the thread far enough to complicate any notions of pulling it back.

For now I am trapped in the walls of another court, marked by foreign spells older than history. Where some façades can be thrown off within days or hours, others must perpetuate. There is an art to it, mastering that balance. They know me here as I was known previous.

By one name I am bound, buried as it might be. By any other name, I am free.

-

Tagging the Flamebearer taglist here:

@scarletteflamerald @midnight-and-his-melodiverse @ceph-the-ghost-writer @another-white-void @outpost51 @mattresses-and-macaroni @thebluesthourcommunity @thelaughingstag @thereadingfoz @glassstardust22124

[meliake]

Just finished reading one of the fullmetal alchemist light novels, "The Ties That Bind," and overall I thought it was pretty cute.

I really liked the insight into Roy Mustang's character and the responsibilites he has to his men. There's a whole scene where he's thinkibg about why he decided to go on this mission at all as a commanding officer, and how he feels he needs to hide the inner rank politics from the people under him to protect them.

That and the heavy comparison the narrative places between him and Luon surrounding their methods of attonement following Ishbal lead to me to care deeply about his arc specifically. I was overjoyed reading the epilogue, in which it all was worth it and he finally could move to Central.

Other than Mustang, Kip's struggle between his identity as an ishvalan child and adoptive parents was developed well. Often, I found Kip to be annoying, as happens with literally every child in fiction, but these small moments flesh out his character and struggles in a realistic enough way, that by the end the emotional corr was not drowned out by my apathy towards him.

Edward had a good base of, "If something like the Ishvalan War happened again, could I live with killing someone? Would I give up?" and there are moments that really sold it for me. At one point he states, "I don't think I could ever bear with making kids like Kip orphans." and it stuck.

However- the end drew near and it just like- never resolved. In the last few pages he's still sitting there like 'Would I?!! 🥺´ and I was like I get it Edward you're having a moral crisis you have a page and a half left get over it.

It was unsatisfying.

One major thing I did not like- Luon.

Like bro was the worst. I get he was traumatized by the war and desperate to bring his friends back, but like- it wouldn't have worked? anyway?? He left his baby son and wife alone for months on end to attack people with chimeras for their blood to do experiments, and he justified the attack part to himself because supposedly they were all dicks, but its stated that they also just mawled innocent people sometimes and he just accepted it as 'I'll do anything for them'

All to perform human transmutation in friends he specifically cremated to keep some of their ashes. He was a State Alchemist, he knew it wasn't going to work. And all the while he's lying to everybody.

The worst part is his wife and kid find out and their just like?? fine with it????

Kip's like, 'I can't be mad at him for killing my parents and traumatizing me and lying to me for years guys, hes my dad!!' Not to mention Shelley. And when he takes one sentence to go to federal prison they say they'll wait for him. I want Luon to just sit and think about his actions a ling time. So dumb.

Second worst thing,

It all just felt very, childish?

Like the whole book they generally say all their thoughts and feelings iut loud to the reader and it can get boring. Dell becomes an 100 foot long blood octopus demon and its like, my suspension of disbelief was ruined 20 pages ago. What is even going on. The themes all seem very mature and all the blood and murder would make you think it was for an older audience, but at some points I questioned why I was reading it at all.

Overall fun at times, boring at others, down right goofy a decent portion. I give the book a 6/10.

(The art inside was gorgeous)

front cover ^

bear with me just taking pictures of the book- but you get the drift. Very cute.

[raspberryjellybrains]

Something I find interesting as I delve deeper into different mediums of The Sandman is the way that Dream's appearance is used as a literary device. I don't remember whether I've discussed it here or not, but throughout the comics, his outfits serve as an indicator of his outward emotions and attitude while the style of the artist is often used to depict some aspect of his internal, unspoken emotional turmoil/peace. This carries over to the audiobook, though without the graphic aspect inherent to the original medium, it manifests in an interesting way through narration and further solidifies this interpretation of significance.

I had to start on Volume II for *cough* reasons, and the usage of detail is quite similar to other works by Gaiman, in that they are only included where it is important. He doesn't hit you over the head with scenery at every chance, it's carefully slotted into the scene at the points where it is most necessary and poignant, with the depth of these descriptions being directly tied to the importance that you, the listener, understand. We only hear that the random park is peaceful in the soundscaping because the park itself serves no purpose beyond that, but we get a couple paragraphs of description of Hell because it is vitally important we understand the scale and intensity of the horrors found there; setting is only acknowledged when it contributes to the narrative. This is echoed in The Sandman: Annotated, where we get some notes in the script regarding artistic choices—many of which are gestural, some of which are very detailed so that the artist may understand from this where their (and by extension the reader's) attentions must be drawn, which provides a sort of visual pacing.

To draw my point in a bit, Dream's castle follows this rule as an extension of his will and selfhood. It changes often to reflect what facet of himself he wants to convey outward most directly; appearing first as a rather low set, art nouveau affair with perhaps a silly bit of phallic imagery, then a gothic castle atop a mountain, most clearly establishing things when he puts it at the needlepoint top of a physically impossible peak covered in turrets and rooflines which jab into the air forbiddingly during Season of Mists as he contemplates the Key. When Dream is settled, the Dreaming is as well, when he is tumultuous, such follows. We don't get blow by blow descriptions, only when it is necessary.

Now that the visual language has been established and connected (insofar as I really can with the allotted mental energy for a tumblr post, however much of a passion project this may be, I am tired), it can be connected to Dream himself. His character design is very intentional, it reflects the post-punk, modernist take on its themes through his incredibly goth Look—he has the big, messy hair and impossibly white skin, dark clothes and dramatic fashion sensibilities—but beyond that, it reflects what feeling we are supposed to get from him. Morpheus' sense of self is ridiculously deeply tied to expectaction and perception of others, his entire personhood is based on what they expect. Despite this, to his infinite chagrin it seems, he has a personal identity sitting at his core that we see in his "natural" versus "put on" appearance (for lack of better terms): he's quiet and withdrawn but highly passionate and caring with all of the expected emotional regulation issues we would expect of someone with these temperaments they desperately repress; What he can control (clothes and hair) are utilized similarly to the castle, conveying his outward intention—think his driving outfit in Brief Lives versus his family dinner outfit in Season of Mists versus his final outfit in the Kindly Ones—where the things he cannot consciously seem to control are disguised by him, but utilized by art or narration to make a statement on his surroundings and feelings—think again of those outfits, of what his behavior means through that lens, what is conveyed through detail and silhouette.

What these more consistent physical attributes say is quite interesting, and quite revealing: Dream is not that scary. Sure his eyes will make you feel like you've stared down the cosmos and felt god touch your soul, but beyond that? Really? He's just a dude. A beautiful and strange one, but really nothing especially imposing. He's tall, but that effect is sort of diminished by his slight build. His face is angular and ethereal, but often careworn or haggard as well in a way I would compare to a very old and very poorly maintained stone statue. What this means to me is that Dream was never meant to be this frightening and imposing figure, that this was a choice made by the active individual we know exists because he is the one telling us about this all! A choice against his own nature that is concealed as often, swiftly, and mistakenly as his internal nature. This is, to conclude my point, supported by where these aspect of his appearance are given weight through art and narration. We only hear about his stature when he's sad or scared, only hear about his inhumanly pale skin when faced against the more beautiful aspects of personhood or mortality, only hear about his eyes when he uses them to scare or comfort.

These details of appearance are as woven into the narrative as any plot point, and used as any theme; which makes sense, he is the Prince of Stories afterall.

[hunpin]

Concha y Toro and Costco’s Kirkland: Navigating Brand Identity and Consumer Perception

The journey of Concha y Toro offers invaluable insights into the art of brand positioning and market adaptation. Reflecting on their challenges and strategies, I couldn’t help but draw parallels to Costco's success with its Kirkland brand — a staple for my family and especially my wife, who swears by its quality.

Understanding Market Dynamics

Concha y Toro, faced significant hurdles with currency fluctuations and intense competition. Their response? A robust strategy focusing on premium branding and meticulous market segmentation to enhance their global presence. This approach mirrors the ethos behind Costco’s Kirkland brand, which has successfully positioned itself as a symbol with quality and value. Both brands highlight the critical importance of understanding market dynamics and consumer expectations.

The Power of Brand Perception

Costco has crafted a distinct identity for Kirkland. They've transformed it from a label into a hallmark of quality. This feat is not just about maintaining high standards but also about shaping consumer perceptions. Our regular pilgrimages to Costco, whether in Canada or the U.S., are testaments to how deeply Kirkland has embedded itself in our shopping rituals.

Premium Quality as a Market Differentiator

Kirkland’s strategy is straightforward yet effective — offer superior quality at competitive prices. This mirrors Concha y Toro’s efforts to elevate their wine profiles while maintaining affordability. The result? A loyal customer base that views these brands as go-to options for reliability and excellence.

Lasting Customer Relationships and Memories

As we plan our next visit to Costco, or select a wine for our upcoming family gathering, it’s clear that behind every product is a story of dedication and quality. Both highlight the importance of trust in creating lasting customer relationships — much like the trust that ties a family together.

In the end, whether it’s wine or groceries, it’s about more than the products we buy — it’s about the memories we create and the comfort we share in knowing we’ve made the best choice for those we love.

[nineeyedartist]

For as long as I can remember, gender has felt ambiguous within this body. As a child I learned — from a book about bones — how the Biblical story of Adam and Eve has led some to believe that males have one fewer rib than females (on account of Eve being made from one of Adam’s ribs). This fascinated me, so I would lie awake at night trying to count my ribs to find out if I was a boy or a girl — surely the skeleton cannot lie, I thought. Invariably I always lost count, left frustrated that I would never know the truth of my gender. Beyond my own questioning, others have inquired about my gender since birth. From an ambiguous birth name to androgynous features, being asked “are you a boy or a girl?” began long before I even knew about gender variance and what it is to be transgender or third gender.

As I’ve told in Spirits We Are, I identify as part of a collective being: the product of trauma and a thread connected to our ancestors. This experience of multiplicity and ancestral connection has everything to do with our shared and individual relationships to gender and the body. As we’ve begun the process of healing within, I’ve simultaneously been on a journey to rediscover the queer history of my ancestors. My twin spirit has been my primary guide on this exploration, as they are the one tied to our ancestors most deeply. They expressed clearly our ancestral connection to persons with male genitalia who would partially or fully castrate themselves, whip their bodies to bleed, dancing ecstatically to tambourines and the clashing of knives. In time, I was able to uncover a name for these people: the Galli.

The Galli were just one of several spiritually connected gender variant peoples in the ancient Mediterranean world. Throughout the region male, female, and intersex bodied people (male-bodied being most written about) would take on the role of the opposite sex or a third gender for cultural and spiritual purposes. Only a few of these variant identities continue to exist in some form today, many having been erased with the expansion of Abrahamic religions. The Feminnielli of Naples, Italy is one such identity which traces their origins back to the Galli and the cult of Cybele.

Discovering that my ancestors have an ancient heritage of gender variance felt like opening a door I had been unable to see, but knew must exist. It was an even greater feeling of comfort to see my experience of gender reflected in people living today in the land of my ancestors — a rare vestige of an ancient cultural gender identity. Although my body’s ancestry and our ancestral connections do come, in part, from Southern Italy — because I am third generation, raised in the United States, I feel it is not my place to claim a cultural identity as Feminniello. Instead I claim an identity of third gender, as this reflects a generic cultural gender identity, something more specific than non-binary or gender variant. The cultural piece — though diasporic — is significant for me and for us as a collective. For us, gender has ceased to be an individual matter — it’s connected to ancestral spirits and to the very fabric of our spiritual beliefs. It is not so much a personal desire to be between as it is a duty to our ancestors. This life does not belong to one person. This life begs to remember for our descendants what our ancestors were forced to forget.

This month is LGBTQ+ Pride Month in the US and in sharing this I wish to express a sort of pride for a gender experience that isn’t often mentioned in the European-American cultures. Our collective roots have been cut so long ago that many have forgotten the tap root we all once shared, now that we are left with thin fibers tangled at the surface. But some of us are compelled to dive deep into the soil, to recover the withered remains of that deep wellspring of culture that recognized (imperfectly) the varied genders of humanity within Europe. Perhaps, if enough of us can twine our roots together, regrowth and renewal can come forth; opening the way for healing within and between cultures. Perhaps, in reviving our queer ancestors we can provide foundations for our queer descendants to grow upon. For this some of us must find our genders in the past — digging in the dark recesses to recover the blood an bone — while others must find them in the present or future. Many strands wound together become stronger than a single thread can ever be.

Can you imagine my excitement, then, to learn about a documentary on self-discovery and the Feminniello called Summer Within? Here is another descendant from Southern Italy, also raised in the United States, who is seeking connection to their queer ancestors and modern people whose gender exists between. Once again I felt a sense of reflection and relation. Though our paths and stories are vastly different, we share a commonality; we walk parallel to each other on the margins.

The digging into the deep recesses has felt like my/our path. As we explore our ancestral connections to spirit and gender, the distinction between “self” and “other” becomes increasingly blurred. To be trans and third gender in this life is not just about a desire to be a singular “me” — it is about being someone my great-great-great-great grandmother could not be. It’s about healing the misogyny of many generations of grandfathers. It’s about reviving ancient ways that my blood and bone hold memories of. It’s a way to honor the mother-fathers of the deep past where words no longer hold meaning. It’s about living for those who came before us and those who will come after us. It’s about the thread that ties us to the spirits of our ancestors and the old gods the once called by name. It’s about honoring this life as a gift, even when that gift is named a curse by the society we live in.

What more can we do — those of us who are queer by label or identity — than exist, live, breathe, love, and sing as we are. So that we may reflect in each other’s eyes and feel a sense of momentary belonging. There are some of us who must be seen in order to speak to the hidden ones, “you are never alone”. With such variety of human experience — of gendered experience — there must be such a kaleidoscope of bodies existing in the glorious light of day and glistening in full moon light. FROM OUR SKETCH BLOG

[taylortruther]

i frequently think about how people who discredit taylor's creative process, or her emotional growth, seem to willfully misunderstand writing and creating art in general.

often, writers (of any kind) aren't writing autobiographically. but an artist creates in order to share their perspective of the world, their personal philosophies, their insights on life. how can you write about any of those things, without mentioning your own experiences? writing is a deeply personal art.

take one of my favorite authors, curtis sittenfeld. she's actually a wonderfully apt comparison for how taylor writes. some quick background: curtis is currently 47, grew up in ohio, attended an extremely selective and elite boarding school in massachusetts throughout high school.

prep ~era~

her first novel was called prep, about a young girl who grew up in indiana and attended an elite private school in boston. clearly drawn from her personal history, but it's fiction. the ny times even wrote about this very thing.

the man of my dreams era

then, at age 29-30, curtis wrote the man of my dreams, a coming-of-age-esque novel about a miserable young woman who, at 29-30 reflects on her life, her mundane misery, and whether she'll ever find love. it is a book of biting, clever internal dialogue, but the main character is deeply unlikable. on purpose.

to the blog earthgoat, sittenfeld explains her own fascinating with the excruciatingly awkward minute details of life--something that contributes to her extremely detailed, lively writing. she's intensely curious to the awkward, emotional parts of the human experience, especially as it pertains to young women.

sound familiar? almost like that experience of going from girlhood to adulthood is a huge well of inspiration, and exciting to revisit:

eligible era

in 2016, sittenfeld wrote eligible, a modern re-telling of pride & prejudice. she includes bits of modern choice feminism, reality tv, how we hide our true identities behind our phones... this wasn't a story about her life or her experiences, and yet!!!

she tells vanity fair that she relates or enjoys the grumpy, unapologetic mary, and that loves writing grumpy characters. t's a theme we see throughout her work (see above and below.)

and, again, her personal history comes into play. the book is set in cincinnati. this reminds me a bit of taylor's revisiting of nashville and pennsylvania throughout folkmore (seven, 'tis the damn season). it's fun to play around with your own history, beliefs, opinions, etc. in art. you draw inspiration from it!

you think it, i'll say it era

in 2019, sittenfeld wrote you think it, i'll say it, a collection of 10 short stories. like prep and the man of my dreams, the characters are very relatable--painfully so, at times. boarding schools and feminism and politics and the right to choose one's own misery (or happiness) are present. as a reader, you feel like you get a clear sense of sittenfeld's own personality and politics by reading, even though the characters are quite different. she excellently describes feelings of insecurity, shame, and self-aware hypocrisy (whether it's the liberal woman sleeping with a trump-supporter she hates, or the woman who has to confront her high school bully, who now wants to be her friend.)

town & country interviewed her about her background and inspirations. she touches on how age, maturity, and even politics can change how you reflect on your memories... similar to how taylor has described her relationship with joe, and her relationship with a post-trump united states, in songs like miss americana & the heartbreak prince (wanting to run away to safety with joe), or even dbatc (comparing their love to a lawless country.)

she mentions to the lifted brow that writing is therapeutic (but not a replacement for therapy), but she's still creating fiction... or at least a fictionalized account of something that happened.

she also says in that interview that she's not interesting enough to warrant a book or film--and that reminded me very much of taylor's desire to stay out of the public eye. at one point, her life felt huge and unmanageable because she was the it girl. and now, she ran away from it all to save herself and finds comfort in that (the lakes, ciwyw, mirrorball.)

rodham era

sittenfeld wrote a fictionalized "alternative universe" novel about hillary clinton, called rodham, in 2020. basically, it follows what sittenfeld imagines what hillary's life could've been, had she never married bill.

this isn't about sittenfeld at all! it's about another real person, and exploring her feminism and her politics and her life--and what that means for all women--through a fictionalized version of her.

even so, some of sittenfeld's personal life does sneak in. again, we've got the politics, the feminism, the classism of ivy league boarding school types. and she even includes anecdotes from her personal life in the novel about fictional hillary clinton! she shares an example in her interview with vox:

it's impossible for a writer to separate themselves from their art. you write what you know, even if the subject is something foreign to you. you find a way to take interest or relate to the material, because what's a novel or a song if not a story about a universal human experience?

[turbulentscrawl]

Hi there! I was wondering if I could request a matchup for Identity V? I love your work! You manage to capture the characters personalities accurately! It’s very refreshing! Also sorry in advance, this submission is very long 😔

For my preferences, I’m a heterosexual woman, so I would prefer to be matched with a male character!

Currently, I’m attending college as a dual major (psychology and sociology) with a minor degree in law. I’m still deciding what career path I want to pursue. Right now, I’m torn between forensic psychology or becoming a therapist for victims of crimes. I’d say I’m pulled toward the ladder, because I feel like victims aren’t focused on enough and they deserve to have access to such a resource. I feel like I’d make more of a difference in that line of work and my heart feels more invested in it.

For hobbies, I enjoy sketching, kickboxing, playing video games, creative writing, listening to music, cleaning and playing around with makeup.

As for my personality, my MBTI is INFJ and my enneagram type is 6 (the loyalist).

I’m usually quiet around new people but I’m friendly when spoken to. I take a bit to fully open up. I’m polite but guarded, so to speak. And since I am introverted, my friend circle is kinda small since I prefer quality over quantity.

I can maintain conversation well and have been told that I come off as pretty confident person, though I’m really not. I’m not deeply insecure either, more so, I just think of myself as in the middle if that makes sense. Normally, I’m a very calm person but I do like cracking jokes (sarcasm) and teasing people and can seem quite chaotic sometimes (because of my stupid ideas and occasional risk-taking) but I also know when to draw the line.

Kindness is a virtue of mine, as I like to help others whenever I can. That said, my love languages (giving) is physical affection, quality time and gift-giving. When I have the money, I love to spoil those I care about! Even more so if it’s a person I’m romantically interested in. I just like knowing they’re cared for and showing that they’re appreciated in the small ways. On that topic, my receiving love language is physical affection and quality time. I like gifts, but I’m more content just having that person near me. One hug (or cuddle session) is good enough for me! I’m affectionate but I can lay off if needed.

I’m considered to be fairly open-minded and understanding. I’d like to think I can read people pretty well and can adapt to whatever they may need. For example, if someone is quiet and prefers to have space, I can give them that easily. Additionally, I like learning about new perspectives on almost anything! I like to make people feel safe around me, like they could tell me anything and trust that I’ll listen and won’t judge them. I believe firmly in balance and equality and prefer to avoid conflict (if possible) so I’d say I’m a pacifist at heart, though I am not afraid to resort to aggression if I have to. I can be very cruel if I feel like it, so I try to avoid lashing out (verbally) because I feel guilty for causing harm afterwards. Sure, I love martial arts but I try to remain disciplined, I believe it shouldn’t be used to hurt others besides defensive reasons. Hurting others or seeing other people hurt upsets me. In fact, I’m the first one to speak up when I feel like something is an injustice. My friends tell me I have a “strong sense of justice,” which fits I suppose. It ties into my stubbornness because man, I can be VERY stubborn, especially when I am angry or annoyed. Funny enough, it takes a lot to make me truly angry. I can get annoyed at things (like at arrogant people or people not taking a hint) but I can stay mostly composed and brush it off. Unless someone insults my friends or family, I don’t get angry much. That said, yes, I have a protective streak. And if someone is younger than me, it doubles tenfold.

Unfortunately, I have resting bitch face and have moments where I can come off as kinda stoic. I tend to feel my emotions deeply and I also suffer from anxiety, so sometimes I just shut down and become very bleak for a while, usually from overthinking. I prefer to be alone in moments like these, at least until I recover. I usually bounce back within a few hours or days.

Another flaw of mine is that I get distracted easily and I don’t function well without a schedule. I need one to stay productive, otherwise, I can be lazy.

Lastly, relationship deal breakers…arrogance or refusing to be vulnerable AT ALL and clinginess. I also CANNOT stand people who try and pressure me into conforming to what they want. I’ve had guys try and pressure me into being more submissive (I’m very independent) or traditionally feminine, which I hate. I’d rely on my partner, trust him and accept him WHOLLY, but I expect the same in return! If a man accepts me wholly and treats me as an equal, I would allow him to be the more dominant one in the relationship. Basically, lack of respect and inequality is a major turn off in a romantic relationship.

Sorry this was so long! Have a great day/night! 💕

---

I Ship You with Eli Clark!

-I'm getting the "high-school sweethearts" vibe from this matchup! You and Eli share a lot in common, with both of you being kind, empathetic, and pretty patient people. I can see the two of you becoming fast friends, and the relationship just naturally develops from there. I honestly can't see there being many, if any, disagreements between the two of you.

-Eli sees you not only as an equal, but as his literal other half. Eli likes people for their hearts, so it doesn't matter to him what sort of societal "role" or "dynamic" you two fall into, just so long as you both take care of one another.

-He prefers to give Physical Affection! Quality time is sometimes a little harder because he's such a natural leader and well-liked person, but when he is with you he likes to be touching in some way. Holding hands, linking arms, whatever you prefer is good with him. He just wants the skinship. He may struggle occasionally with receiving gifts from you, but only because he feels guilty if you spend large sums on him.

-You're on the same page as far as injustices and standing up for other people goes. Eli's calm nature lends itself well to his charisma, so he advocates on behalf of other people a lot. It would make him proud for you to do the same as well--but please, please do not start any fights. Finishing them is something else...though he still doesn't like it.

-Eli is very emotionally available and is usually pretty good at comforting people when they feel down or anxious. As his partner, you'll be his top priority with things along that line, so expect him to try pulling you out of any slumps with a helping hand.

Runner Up: Antonio

[danamuseum]

Questions related to creating an equitable co-creation process with the Planet Word museum, D.C

Dana Golan Miller, October 22th, 2023

These days are definitely among the most challenging ever for the Israeli community, not just here in Rockville but throughout the entire Israeli immigrants in the United States. The conflict in Israel has a profound impact on all of us. The organizations here and the community have come together with a singular purpose: to support Israel in any way possible and to encourage everyone to contribute.

Our community here in Rockville, is now more united than ever, reflecting the profound bond that ties us together. However, simultaneously, we are all deeply concerned about the uncertain future in our homeland, our families, and our friends who are there. These are undeniably stressful times for all of us.

at the image: one of IAC activities to the Israel local community.

With this in mind, families like ours here are striving to maintain a semblance of normalcy in our daily lives and prioritize our well-being. This past weekend, two families and my family embarked on a trip to the Planet Word Museum. When the rain intensified on Saturday morning, making outdoor travel unfeasible, I proposed visiting the museum. I couldn't help but wonder how our family's friends would experience the museum. Would they take pleasure in the interactive activities it offers? Would they find themselves contemplating the Hebrew language and grappling with questions about their identity, especially during a period when we're acutely aware of being here while a conflict rages on in Israel?

When thinking about co-creating with the community, I was reminded of Bergeron, Anne, and Beth Tuttle in "Magnetism and the Art of Engagement" (2013). Over there they claimed that "Magnetic Museums practice 360 engagement, involving internal and external stakeholders in meaningful experiences that make a difference for both the individual and the institution. By doing so, these museums strengthen and expand the reach of their "magnetic field" by drawing more people in, creating more powerfully charged connections, and aligning them more closely with the work of their institution engagement is a catalyst for action and advocacy. Creating personally meaningful experiences while providing opportunities to participate, contribute, and make a difference builds a sense of common purpose, efficacy, and loyalty that inspires everyone to do more"[1]. I think that Planet Word Museum provided its visitors exactly this experience and for that reason, it is definitely a "magnetic museum".

I also considered the concept of SWOT[2], which stands for Strengths, Weaknesses, Opportunities, and Threats. The strengths of the museum are abundantly clear to me, as previously mentioned. They are numerous: the museum is highly interactive and enjoyable, providing families from my community with a welcome respite from the constant barrage of news. Additionally, it raises awareness about the language we speak, highlighting its significance to our identity. Furthermore, the museum's unique concept is also a strength. However, on the flip side, there are certain weaknesses. It's almost overwhelming in its richness. A single visit is insufficient to fully explore and engage with all the museum has to offer, which can be a bit frustrating. So, this poses a potential threat, as it necessitates multiple visits. But in this case, the museum's main strength lies in its capacity to expose us to the true essence of words and our language, Hebrew. The encounters with the Hebrew language on the third floor are particularly impactful. Seeing Hebrew represented alongside numerous other languages enhances our sense of identity and fosters collaboration.

The magnetic museum concept and the SWOT tool of analysis, make me think more clearly about the above questions when co-creating.

Resources:

Bergeron, Anne, and Beth Tuttle. "Magnetism and the Art of Engagement." In Magnetic: The Art and Science of Engagement. Edited by The AAM Press, 55-61. September/October 2013.

Center for Community Health and Development at the University of Kansas. 1994-2023. "SWOT Analysis: Strengths, Weaknesses, Opportunities, and Threats." In Community Toolbox, Chapter 3, Section 14.

Planet Word museum website, "What in the word", 3rd floor. Access October 19th, 2023.

[1] Bergeron, Anne, and Beth Tuttle, "Magnetism and the Art of Engagement." In Magnetic: The Art and Science of Engagement. Edited by The AAM Press, 60, September/October 2013.

[2] Center for Community Health and Development at the University of Kansas. 1994-2023. "SWOT Analysis: Strengths, Weaknesses, Opportunities, and Threats." In Community Toolbox, Chapter 3, Section 14.

[bright-eyed]

Long post

Part of me thinks the whole relatability in books problem is overblown. Like the only people who refuse to read books that aren’t “relatable” are not the people who engage in reading or even much of anything with any depth anyway so like lost cause.

But also, I feel like they took this argument of “we need more representation in literature because certain voices and perspectives are being purposefully excluded from the mainstream and I would like to see more works told from perspectives that appear more like my own because as it stands it feels like my slant of experience is not seen as an expression of a universal humanity” (good) and that became “representation in literature - and every sort of art or media - is an arbiter of our perspectives and of what we are allowed to be, and we are incapable of experiencing common feelings outside of the bounds our social classes and identities, as intrinsically distinct types of people” (nonsensical also contradictory to the original intent).

And it’s weird because it feels like only wanting to read “relatable” books thing is a backlash to the inclusion of new perspectives but one that still conforms to this new paradigm, and I guess what sort of backlash it is would partially depend on who you were. Wealthy cishet white men refusing to read books they find “unrelatable” sends a different political message than minorities including women doing the same due to the fact that most of the western canon is catered to those men in a deliberate political effort that lasted centuries. Nevertheless to have anyone refusing to read anything on account of its “unrelatability” underscores an age-old reactionary political idea that there is something inherently different about being a minority, which is part of what kept those minorities excluded for so many centuries - though now the tone has changed and that difference is considered a moral strength rather than a moral failing, at least in some circles.

So like, the idea that we can’t understand books written by men from like the 18th century for example because there’s an unpassable bridge between us and them is not a new idea; it’s actually a deeply conservative idea. It’s a “you couldn’t understand literature because you’re other, you’re not one of us, so we’re going to censor the few of your contributions that we allow to make it comprehensible to real human beings like us, you’re a side project in the great noble work of mankind” argument. The progressive inversion of that would be to say: “yeah I’m a member of a so-called minority group removed from this writer by class and gender and 300 years of history etc but there is still something intrinsically human that ties me to this person and to say that is impossible would be to deny one of us our humanity, and it will probably be me. Like, there’s actually nothing that separates me and them, I dare you to tell me how I’m wrong, etc. All the horrors they are capable of and all their flaws and sufferings and struggles are mine, and all their heroics and glories and strengths are also in me. How the world processes what we are might look different but at our heart we are the same. To say otherwise is to carry on the legacy of suppression and othering.” It looks cleaner now, to otherize, because the legacy evolves and camouflages itself into new times and it always takes a while to pick it out from a new environment, but the act is the same cuz people always have a drive to do this for whatever stupid reason. The same human drive that gives rise to things like nationalism and stuff. Anyway

i guess the thing for me is that literary works are a lot like people in that they’re defined less by the vessel than what they carry, even if their vessel changes the face of the way they interact with the world. Relatability is a superficial way of looking at us cuz we’re all always more, and we can change and be contradictory and expansive even to ourselves. We’re bigger on the inside cringe but yeah. When is anyone ever just what they appear to be, or what society deems them to be? That’s a belief you can only have if you’re living in a state of constant bewilderment and denial. Are we so eager to believe there are distinct bounds to what we are capable of being or experiencing, does that idea console us or help us make sense of the world? It might make us feel like we’re safe because it gives us parameters and a code but then we’re left confused and in denial when inevitably the contradictory world gets in anyway and we experience things we had prematurely decided were impossible. Also the idea that there are certain realms of human experience that we are blocked away from is always a denial of our autonomy and humanity and it’s never going to help us understand anything about anything. And it just makes us cruel and stupid. Anyway um

Basically tldr the call for representation was a call for including more people in the definition of humanity and to share more art and forms of beauty, but now for some people it seems to be more about separating people into different types of humanity with different levels of subjective worth and understandability. Which is just a remix version of what we were doing 100 years ago. And the people who were being excluded historically don’t even benefit from this because their humanity is still being denied and can still be denied in a world where it is commonly accepted that there are irrevocable differences between types of people. Am I making sense????? It’s just not helping and it’s dumb. And annoying

Also on top of that the call for meaningful representation turned into “we need to include certain identities in order to check off a box so more people will buy our content and our work will be inherently moral” and “reading previously-excluded perspectives to perform politically instead of just seeing those perspectives as intrinsically worth reading even if they weren’t bolstering your identity as a moral and politically progressive person or giving you whatever exposure you think you need to make yourself superior or something” which are also not humanizing endeavors but that’s a whole other post and I need to stop cuz I didn’t even mean to write this one

Ugh

[katnissgirlsmakedo]

are you still on the topic of the kit and ty art bc my brain is. like i’m so insane about the prominence of kits voyancy rune. imagine if you were kit herondale and you got out of the most toxic summer situationship/necromatic ritual in the world by moving to another country without saying goodbye and you were trying to get over this guy who you hate and whos deeply hurt you and who you’ve deeply hurt and who knows you better than arguably anyone ever and who you’re not speaking to but you’re in love with him and you might always be in love with him AND THERES A PERMANENT RUNE ON THE BACK OF YOUR HAND THAT HE PUT THERE. and like. this rune specifically represents your permanent place in a world and an identity that HE MADE YOU WANT TO BE A PART OF. and it’s an EYE. like the sight motif makes me insane. like kit believes he’s just a mundane with the sight but he’s being kept a secret so he can see everything but no one can see him. and then TY DOES. tys not supposed to be there and no one is supposed to see kit but TY DOES. and he keeps seeing kit and knowing kit and he gives kit a rune that permanently cements him as part of the shadowhunter world by letting him SEE IT. but then in the end as kits leaving he’s looking at ty and livvy but THEY DONT SEE HIM. there’s also definitely something here about kit and ty being the only people who are able to see livvy and how they are literally inextricably linked no matter how they feel about it and KIT LITERALLY HAS A PERMANENT REMINDER OF THAT ON HIS HAND. anyway. i refuse to believe kit is that tall trust me i know them best.

WELL YEAH I’M ALWAYS SAYING THIS. BASICALLY WHAT IF I WAS SUPPOSED TO BE INVISIBLE BUT YOU COULD SEE ME ANYWAY. AND WHAT IF YOU WEREN’T SUPPOSED TO BE HERE BUT YOU WERE AND IT CHANGED EVERYTHING. AND WHAT IF I COULD NEVER GET AWAY FROM YOU NO MATTER WHAT BECAUSE OUR LIVES ARE JUST INDISSOLUBLY TIED TOGETHER AND NO MATTER HOW HARD I TRIED TO FORGET YOU IT WAS IMPOSSIBLE BECAUSE YOU MADE ME WHAT I AM AND NO MATTER HOW FAR AWAY I WENT FROM YOU WE WERE ALWAYS GOING TO END UP BACK TOGETHER AGAIN. and dare i say. i won’t say that that’s cringe but well there’s this movie. whatever. anyway cassie literally doesn’t even care if i live or die today she struck me with so much psychic damage with zero warning it’s evil

[princeofheartclasspects]

Aspects Redefinition

My reference of the aspects is another thing that was sorely overdue for a rewrite so, finally, here it is.

A core difference in how I view aspects now is that they are complimentary, not antithetical. You’ll notice that some aspects share a key-word – that’s intentional and while I do have some differences explained and written up between them, I’ll save them to be posted about for a later date. 

Time – is related to the End. Time is Endings, Finality, and Destruction. One of the cardinal aspects, it acts as the complimentary to Space. It is Strife and Combat, propelled Forward by that constant Momentum. It is the Finale to it all, what the Result is, where you End at. It is Patience in the face of unyielding Uncertainty – never stopping so they can Progress. Death is tied deeply to Time, after all, what is more Inevitable and signifying of the End? Music, Rhythm, and Entropy are also Time-associated concepts. 

Space – is related to the Beginnings. Space is Beginnings, Isolation, and Creation itself. One of the cardinal aspects, it acts as the complimentary to Time. It is Propagation, Birth, Paternity, and cultivating Life itself. It is Substance, encapsulating everything Tangible and Physical as well as Physical Form and Appearance. Isolation and Loneliness has deep ties to Space, being either literal physical distance or a sense of alienation from societal norms/expectations. Directly stated to be linked to Patience, Space waits and falls back, waiting for the right moment to strike before settling back and resting once more. Physics, Arts, and Destiny are also Space-associated concepts.

Heart – is related to Who You Are. It is the Core of Self, your Soul, what makes you, you. It is the components that make an Individual – their Motivation, their Passion as well as their Identity. One’s Individuality and their Internal Emotional desires, it’s about Who you are and what you Feel. They may don a Mask and with their awareness of what they Do, selectively choose what to show – or their knowledge of Self allowing them to see beyond another’s Mask and reveal their True Self. Emotion, Intuition, and Instinct are Heart-associated concepts.  

Mind – is related to What You Do. It is Thought, Choice, and Logic. It is one’s Choices and the path it takes them on. It is Decision-Making and Reasoning, the Consequences of the Actions one takes and considering the multitude of Possibilities and Outcomes. It is Logical Thought and how one Acts independently of who one is, pushing the concept of ‘Self’ aside. Trickery, Facades, and Deception are Mind-associated concepts.

Hope – is related to Ideology. It is Belief, Positivity, and Possibility. It is having a Broad and Open Perspective and seeing all Possibilities – no matter how farfetched and ‘silly’ they are. It is being fueled by having Faith and Trust in themself, others, or whatever else holds meaning and invokes Positive Feelings for them. It is Dreaming and Imagining a better reality and doing whatever it takes to achieve said reality, even if it seems Impossible. Morale, Escapism, and Imagination are Hope-associated concepts. 

Rage – is related to Skepticism. It is Defiance, Rejection, and Negative Emotions. It is narrowing down the Possibilities and Restricting one’s worldview to focus on One Path. Casting Doubt and Skepticism on the Unjust and Lies, exposing the Truth for all. It is the absolute Certainty in their Ideals and under the Contrivance and Chaos lies Truths. It is the Revolution, annihilating Falsehoods to bring about Change. Chaos, Change, and Focus are Rage-associated concepts.

Light – is related to what is Meaningful. It is Information, Relevance, and Fortune. It is Knowledge and Awareness, driven by Learning and Understanding. It Illuminates what is hidden, giving Meaning and Importance to it, bringing things to Relevance. It is Empirical, taking many sources of Information to reveal the Facts. Factual Truth, Fate, and Predestination are Light-associated concepts. 

Void – is related to what is meaningless. It is Secrets, Irrelevance, and Indifference. It the Unknown, the Unseen, what is Hidden from all. Covert and shrouding things in Darkness, it Confuses and Obfuscates not just knowledge and information, but people as well. It takes things and makes them Meaningless, removing their Purpose and thus Irrelevant - Nothing. Physicality, Nothingness, and Uncertainty are Void-associated concepts.

Breath – is related to Independence. It is Freedom, Quest, and Direction. It is Motivation, what your Goals are, and the Movement to pursue them. It is Personal Freedom, Detaching from their ties to move Forward as an Individual. Flexible, Fluid and Driven - Adapting to whatever comes its way to get to their Goal without being held down and grounded.  Individuality, Motion, and Free-will are Breath-associated concepts.

Blood – is related to Responsibilities. It is Commitment, Relationships, and Security. It is how everything is Connected and Tied Together as well as sacrificing Personal Freedom for the Group. It is Grounded and Tied down by the Connections made, made Secure by Friendships forged. It is upholding the Duty given, fulfilling Obligations, and keeping Promises. It is Loyalty to the Group and keeping the peace for Unity to flourish. Unity, Bonds, and Pacts are Blood-associated concepts.

Life – is related to Defiance. It is Growth, Agency, and Energy. It is Rebelling against Rules and Restrictions, pushing to Grow stronger and overpower it with pure Energy. It is Health and Life-force, Nurturing and Bettering themself and those around them. It is Optimism in the face of adversity, Growing stronger and thriving to overthrow the Limitations in their way. Wealth, Nature, and Luxury are Life-associated concepts.

Doom – is related to Acceptance. It is Rules, Limitation, and Restraint. It is Confining and Limiting to Conserve resources to be used elsewhere. It is knowing when something is Futile, Accepting and Withdrawing. It is Systems and Restrictions, making up the Rules that hold everything together and Guide those who follow them. It may involve great Sacrifice, and while it can be Pessimistic and full of Suffering it instills a sense of Empathy and Wisdom. Technology, Sacrifice, and Order are Doom-associated concepts.

[rockislandadultreads]

Beautiful Book Covers: Hispanic Heritage Month Picks

Portrait of an Unknown Lady by María Gainza, Thomas Bunstead (Translator)

In the Buenos Aires art world, a master forger has achieved legendary status. Rumored to be a woman, she seems especially gifted at forging canvases by the painter Mariette Lydis, a portraitist of Argentine high society. But who is this absurdly gifted creator of counterfeits? What motivates her? And what is her link to the community of artists who congregate, night after night, in a strange establishment called the Hotel Melancólico? On the trail of this mysterious forger is our narrator, an art critic and auction house employee through whose hands counterfeit works have passed. As she begins to take on the role of art-world detective, adopting her own methods of deception and manipulation, she warns us “not to proceed in expectation of names, numbers or dates . . . My techniques are those of the impressionist.” What follows is a highly seductive and enveloping meditation on what we mean by “authenticity” in art, and a captivating exploration of the gap between what is lived and what is told. Portrait of an Unknown Lady is, like any great work, driven by obsession and full of subtle surprise.

Bindle Punk Bruja by Desideria Mesa

Yo soy quien soy. I am who I am. Luna--or depending on who's asking, Rose--is the white-passing daughter of an immigrant mother who has seen what happens to people from her culture. This world is prejudicial, and she must hide her identity in pursuit of owning an illegal jazz club. Using her cunning powers, Rose negotiates with dangerous criminals as she climbs up Kansas City's bootlegging ladder. Luna, however, runs the risk of losing everything if the crooked city councilmen and ruthless mobsters discover her ties to an immigrant boxcar community that secretly houses witches. Last thing she wants is to put her entire family in danger. But this bruja with ever-growing magical abilities can never resist a good fight. With her new identity, Rose, an unabashed flapper, defies societal expectations all the while struggling to keep her true self and witchcraft in check. However, the harder she tries to avoid scrutiny, the more her efforts eventually capture unwanted attention. Soon, she finds herself surrounded by greed and every brand of bigotry--from local gangsters who want a piece of the action and businessmen who hate her diverse staff to the Ku Klux Klan and Al Capone. Will her earth magic be enough to save her friends and family? As much as she hates to admit it, she may need to learn to have faith in others--and learning to trust may prove to be her biggest ambition yet.

A Woman of Endurance by Dahlma Llanos-Figueroa

A Woman of Endurance, set in nineteenth-century Puerto Rican plantation society, follows Pola, a deeply spiritual African woman who is captured and later sold for the purpose of breeding future slaves. The resulting babies are taken from her as soon as they are born. Pola loses the faith that has guided her and becomes embittered and defensive. The dehumanizing violence of her life almost destroys her. But this is not a novel of defeat but rather one of survival, regeneration, and reclamation of common humanity. Readers are invited to join Pola in her journey to healing. From the sadistic barbarity of her first experiences, she moves on to receive compassion and support from a revitalizing new community. Along the way, she learns to recognize and embrace the many faces of love—a mother’s love, a daughter’s love, a sister’s love, a love of community, and the self-love that she must recover before she can offer herself to another. It is ultimately, a novel of the triumph of the human spirit even under the most brutal of conditions.

The Hacienda by Isabel Cañas

In the overthrow of the Mexican government, Beatriz’s father is executed and her home destroyed. When handsome Don Rodolfo Solórzano proposes, Beatriz ignores the rumors surrounding his first wife’s sudden demise, choosing instead to seize the security his estate in the countryside provides. She will have her own home again, no matter the cost. But Hacienda San Isidro is not the sanctuary she imagined. When Rodolfo returns to work in the capital, visions and voices invade Beatriz’s sleep. The weight of invisible eyes follows her every move. Rodolfo’s sister, Juana, scoffs at Beatriz’s fears—but why does she refuse to enter the house at night? Why does the cook burn copal incense at the edge of the kitchen and mark its doorway with strange symbols? What really happened to the first Doña Solórzano? Beatriz only knows two things for certain: Something is wrong with the hacienda. And no one there will help her. Desperate for help, she clings to the young priest, Padre Andrés, as an ally. No ordinary priest, Andrés will have to rely on his skills as a witch to fight off the malevolent presence haunting the hacienda and protect the woman for whom he feels a powerful, forbidden attraction. But even he might not be enough to battle the darkness. Far from a refuge, San Isidro may be Beatriz’s doom.