#yeah hi CONTEXT MATTERS

[snickerdoodlles]

its so weird seeing posts that mock uncle jim for worrying about li ming's queerness as though his dead boyfriend's parents (legally) stealing his entire life savings and leaving him to manage a restaurant business specifically because gay couples aren't legally recognized as couples wasn't what put him in a cycle of crushing debt and endless poverty in the first place

[girl-drink-drunk]

shoutout to rebecca romijn for changing the entire trajectory of my life when she just casually lifted john larroquette's entire six-foot-four self on her back

[astranauticus]

stultifera navis rerun AKA thinking about Iberia hours again because a lot of the Iberians have such fascinating relationships with the concept of home but specifically Thorns and Lumen are eating at my brain. like where do you call home when the place that is your home Just Fucking Hates You? Elysium's rewinding breeze specifically makes a point to hammers home how differently Iberia treats its Liberi and its Aegir

(which is especially interesting since this comes right after a conversation where Purestream commented on how despite Leizi being a high ranking government official, there are still some experiences that are universal for all Yanese people - because the experience of what Iberia itself is like isnt universal for all Iberians)

But all that being said, Thorns also straight up states that Aegir is not his home, and yeah, how could it be? How could a place you've never been to, never truly known, ever be your home? How could it ever feel like a home?

so where do you go when the place that you are from hates your people and the place your people are from is completely unfamiliar and alien to you? Thorns' answer at the end of the conversation with Aya is: my home is where i chose it to be. my home is where there are people I care about and people who care about me

in the complete opposite direction, Lumen's oprec asks: why do you still stay in a place that wants you gone? because the people of Gran Faro like Jordi well enough but when push comes to shove, they will want the only Aegir in town gone

and yet, when Rald the messenger offers him a chance to leave Jordi turns him down and when he's forced to escape Gran Faro after the people there literally try to send him to his death (or worse) at the hands of the Inquisitors he keeps trying to go back because like everyone in stultifera navis, Jordi is clinging to his own dreams of a golden age

but the shape of that dream is unique to every character and for Jordi, his dreams are deeply, inseparably bound to the Eye of Iberia, the legacy his parents left behind

and it's this dream of becoming someone great, of bringing about that golden age that his parents devoted their lives to help create that ties Jordi to this nothing town because despite everything, despite the mistrust of the townsfolk and the hostility of the Inquisition and the danger from the ocean, he simply cannot leave it behind

(or, because i personally dislike the official translation,)

"I just see this place as my home"

so yeah. not sure what overall point i was trying to make here i'm just. deeply in love with these stories about chosing what is and isn't your home, of saying you will not call a place your home because it has given you no reason to or saying you consider a place your home even though it has given you every reason not to. deeply unwell about them <3

[zeb-z]

hunter this, hunter that, I think hunter is well within his rights to be wary of a distress signal from crosshair, especially considering how much of a trap the last signal was

[commsroom]

doug eiffel is, in his own words, a man of many fears, but i think two of the most interesting ones are these twin fears he has about his self perception: he's afraid that no one will ever take him seriously. and he's even more afraid that they will.

i think a lot about his story in all things considered - what it betrays about eiffel's psyche that both minkowski and jacobi present versions of the narrative where they're in the right, but he has this fear. that he's screwing it up, that everything is his fault and everyone knows it, even when he's barely involved and just trying to help. that within his own narrative he is still in some way the one at fault, but also a victim of circumstance who everyone will jump to unfairly blame.

it's his attachment to this perception of himself - as the perpetual screwup, as tragically unlucky, as everyone's punching bag, as ultimately unimportant - that holds him back for so long. because the thought that he will only ever be those things, only ever his mistakes? that terrifies him. but it's safer than the alternative.

with his efforts to cast himself in that tragicomic role, taking eiffel seriously is such a central point to his character development (and specifically in what it indicates re: where he stands with the others) - everything about shut up and listen and constructive criticism, of course, but also. when hera connects with him in bach to the future by opening up about their shared insecurities, she shows him that she takes him seriously and tells him that he should take himself more seriously too. and minkowski can't fully understand eiffel or connect with him as a person until she comes to terms with his conviction and all the complexities that forces her to acknowledge in him.

it's so much scarier for doug "why the hell do you even care what i think? i'm so far beneath both of you that i shouldn't even register on your radars" eiffel to consider that maybe people can take him seriously, that maybe they already do. because if they want him around, if they value his effort, if they care about him and think about him and take the things he says to heart, then that means those things matter. and it means that he matters, which is terrifying both in what it challenges about his own self hatred and the weight it gives to his otherwise careless words and actions.

[angorwhosebabyisthis]

there are a lot of reasons i think pericles is really slept on as one of the most tragic characters in sdmi, and they start with how easy it is to connect the dots that he took a mind-destroying curse full to the face as an infant. one that breaks adult humans and renders them unrecognizable, when pericles was not only a baby but is from a species that is explicitly much more vulnerable to it. right from the beginning of his life the entity obliterated his sense of self so thoroughly that there's not even a version of him who shows up in the Sitting Room.

fuck, man.

[lab-gr0wn-lambs]

To be honest the dialogue in twd is absolute ass sometimes but the actors deliver their lines with so much conviction that it kinda slips by. You yell that convoluted sentence with your whole cunt, girl.

[yellowloid]

I kinds expect Alex and Miles to not interact that much during the concerts after the whole drama during the last days... really hope I'm wrong. Wanne see our boys happy together

lmao nah anon i honestly think if they do end up acting weird with each other (which i'm hoping doesn't happen, but. yknow. chances are low but never zero), the whole recent drama would be the very least likely reason behind their behavior skfhshks

[writeouswriter]

Me: *Has written plenty of great opening scenes that I'm actually quite fond of*

Also me when trying to write a new opening scene for a new project: I have never written an opening scene in my life, what's an opening scene any more, has there ever truly been an opening scene to anything, there is no beginning, so there is no end, there is no one out there watching over this monstrosity, I am in the void, my mind is adrift, how do I open this scene without a key, where did I leave my keys??

[coquelicoq]

In talking about Chaucer (p. 74), I said that, in general, puns and verbal connections of sound were unimportant and not to be sought out; and now, you will say, I have been using them to explain cruces in Shakespeare. Alas, you have touched on a sore point; this is one of the less reputable aspects of our national poet. A quibble is to Shakespeare [Johnson could not but confess] what luminous vapours are to the traveller; he follows it at all adventures; it is sure to lead him out of his way and sure to engulf him in the mire. It has some malignant power over his mind.... A quibble was for him the fatal Cleopatra for whom he lost the world, and was content to lose it. Nor can I hold out against the Doctor, beyond saying that life ran very high in those days, and that he does not seem to have lost the world so completely after all. It shows lack of decision and will-power, a feminine pleasure in yielding to the mesmerism of language, in getting one's way, if at all, by deceit and flattery, for a poet to be so fearfully susceptible to puns. Many of us could wish the Bard had been more manly in his literary habits, and I am afraid the Sitwells are just as bad.

William Empson, 7 Types of Ambiguity, ch 2 pp 100-101

i'm sorry this is so fucking funny. that pathetic loser shakespeare who loved puns so much it cost him everything, except of course his status as the most famous, most read, most immortal english-language author of all time. but everything else, he lost and it's all because of how weak he was to resist a pun :/ pouring one out for my sad little girly man who could have had it all if only he was better at writing, the thing he is the most famous guy in the world for.

even empson, who disagrees with johnson that shakespeare "lost the world", is like, too bad our favorite poet is susceptible to the thing that made him famous :/ really tragic that the guy whose wordplay we've been talking about for 300 years likes wordplay :///

also i can't get over writing a book about the types of ambiguity and NOT INCLUDING PUNS?? sorry but puns are ambiguous! that's where their juice comes from! imagine liking ambiguity so much you write a book about it but never mention puns except to dunk on them. imagine being a POET and POETRY CRITIC who looks down on sound-based ambiguity! could not be me!!

[the-acid-pear]

I never tried the option myself bc it'd probably mean skipping the Reason You Suck speech at the end (fire for speedrunners though) but I Love that you can frame your Phoneys in 3, especially so if you've already killed the previous two. Like yeah couldn't send you off to die so i'll let the goverment do it for me 🧸 like its just Peak evil imo.

[floorpancakes]

this chapter was truly happy birthday but at what cost

[lesbiansanemi]

*through gritted teeth* ppl can ship whatever they want and it’s fine it doesn’t affect you ppl can ship whatever they want and it’s fine it doesn’t affect you ppl can ship whatever they want and it’s fine it doesn’t affect you people can—

[amaurotine]

in a world of ppl who can perceive aether (and therefore possibly the impact of emotions upon the soul in real time); in a world where everyone is polite to a rehearsed and almost rigid degree at times, in a world where being too straightforward could be considered unkind/improper and therefore poetic vagueness is often necessitated for the sake of propriety, i think it would actually be nice to be told, point blank and with no room left for ambiguity or misinterpretation, that you are loved and needed. that you are loved and needed, outside the context of you being someone's friend or wingman but for yourself and the other things that compose your essence and your person.

i think it's smth that hyth really fucking needs to hear and i think so much abt ppl interacting with him just to ask where e.met or a.zem is (which, to be fair, is a natural question bc the two are often inseparable and it is generally widely assumed by everyone in ama.urot that hyth knows where ha.des is, due to him also being notorious for keeping tabs on most of what goes on in ama.urot) but it's also kind of painful because he would like to be needed and loved for himself and not because he's someone who can someone else for you bc he is friends with that person,

[mx-paint]

.

[hazeism]

hi!! wanted to ask if you have any favorite books, either that you've read recently or of all time. Your prose is insane and I need to broaden my own vocabulary so if you have any book recs, fiction or nonfiction, I'd love to know :')

Hii :D ! ahaha, what a well-timed question; lately I've become the kind of guy who just really wants to talk about what people are reading, or are planning to read, and responding in kind, so thanks for giving me an opportunity to indulge that, haha. What a wicked invention the printing press was!!! (Also--thank you!! I'm glad my prose is to your taste. I'm happy !💕)

If you don't mind, I'll put a cut on this right away, because I know I'm very talkative, but let me put a TLDR above for all the novels/authors I mention here. Disclaimer also that I am kind of a dunce (I think you know this) so I like silly shit a lot of times . please be nice to me adfhbjkdg. :D

(No nonfiction also because I'm a frivolous and unworldly little sprite or something but if you want straight philosophy [which counts] come back and I'll do my Top Ten Epic Platonic Dialogues Compilation for you .)

TLDR: Read any UKLG you get your hands on, Cain by Jose Saramago, or any Saramago (though maybe not Skylight, which is not a good introduction to Saramago), very much enjoyed Sartre's The Age of Reason recently, Shadow & Claw or The Fifth Head of Cerberus by Gene Wolfe. If you feel like it, come off anon and tell me what you like, so I can give more tailored recommendations!!

Now if you're asking for favorites, like just the particular and arbitrary objects of my partiality, that stir my stupid little heart, the true answer is probably UKLG's The Farthest Shore, just because it is very special to me. I can't, of course, in good conscience, recommend the third novel of a six-novel fantasy series to someone (but of course read Le Guin, everyone should be reading Le Guin, it's dire for universal soteriology that we all read Le Guin; You'll probably get told to start with Left Hand of Darkness, and that's pretty solid. I liked The Lathe of Heaven as well. And if you read any Le Guin it doesn't hurt to pick up a copy of the Tao. I love the Tao man.)

Some friendlier recommendations, though:

José Saramago is someone I really consider peerless; There's no way to pick up a Saramago and not know who's written it. Cain is a bit drier, a bit more abrasive (almost accusatory, in that particular way you'll find in a Buddhist parable) and bleak than some other Saramagos, but it's one I like (perhaps for the trite reason that I like bucolic atmospheres and Classical antiquity as a setting) so it's the one I'll put forward.

Uhh, I've also been enjoying Sartre's Roads to Freedom lately, starting with The Age Of Reason. I'm partway through the second novel and umm... despite all the other things you could say about Sartre, lmfao, let it not be said that he is not a serious literary force. Serious is maybe the only word for it. Dire, too. I keep a commonplace book, so usually I take excerpts, but this was the first time in memory that I felt compelled to commit entire pages, ahah (I just took pictures though, fuck copying all that).

If you're itching for esoteric language, Shadow of the Torturer (as usually collected with Claw of the Conciliator in a single omnibus edition titled Shadow & Claw; the first of the give-or-take five volume Urth series) by Gene Wolfe will scratch you BLOODY. If you're particularly fussy, you might be irritated by your compulsion to Google, but I find it really makes the experience when you type in a word and the only results are "what the fuck did Gene Wolfe mean by this?" hahaha; Honestly, though, those kinds of complaints are borne from a lack of immersion, but you'll notice pretty quickly that the verbiage is a pretty crucial vehicle OF the immersion.

It may or may not become a commitment, though, if you like Urth enough to want to read through, so if you want Wolfe without the strings--though less of the exciting vocabulary, which is pretty necessarily constrained to Urth--I'd really highly recommend The Fifth Head of Cerberus (the novella OR the novel, I mean the former is volumized in the latter so just start it and if you feel like stopping then stop, haha). Mr. Terminal E is incredible but I scrape enough time out of my daily life to gush about his crazy literary density so I won't do it again here (you should ask my coworker, lmfao, who one time went "stop, hold on, hold on." because my face started getting really red while I was explaining to him some Wolfean gesture). If you read any Wolfe, and I mean ANY Wolfe, because his permatypes and his manipulations of them are endlessly interesting, feel free to come back and chat with me over it!!!

I guess I have to disclaim that my habit is mostly to pick through an author's corpus over a course of, usually, a couple years, and then sometimes I'll read things that will inform my understanding of the genre conventions or currents that the author is writing in (been enjoying Golden Age sci-fi recently)--it's not really as deliberate of a process as it sounds, but I think if you were to map my habits, that's the landscape of it. This means, though, that my reading is actually pretty narrow in scope, and I am not very well read or very knowledgeable in general (who is, in this economy) but it does mean that of the authors I do like, I can probably find the novel that'll work best for your taste.

If you want to come off anon, or I guess just leave another message, haha, (or if someone else wants to, idgaf, we're all friends here at tumblr user hazeism) describing the things you like or look for in a novel I can probably give you a more relevant recommendation. I've been dosing people up a lot lately tbh, it's like a parlor trick I've been doing; I have a conversation with someone and afterwards they'll have a PDF with a relevant Asimov story in their messages, hahaha. I can't help myself sometimes.

Come back anyway, though, if you read anything I talked about, okay? I want to hear about it 🥺

And alsooo (turning to face the audience) if anyone ever wants to put recs in my inbox (or my dms : ) slow replies though sorry I'm a hermit) I'd be happy to take 'em down. Can't guarantee I'll read them in a timely manner, or that you'll ever find out if/when I do, but it's good for me to leave my comfort zone.