#esther samsa
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another sentence prompt!
If David Webster were to find himself attracted to a woman, in the exact same way he finds himself attracted to men, he reckons that woman would be Esther Samsa.
Every time he had met her, since that first time at the window, he had felt something pulling him towards her like a tiny spool of thread, as if the universe was pointing her out over and over again.
Here, here is someone you need to know, here is someone important, here's a piece of the puzzle.
She proved it right every time.
Her flat palm on his chest turned into a light rap of knuckles against his sternum, a double tap Web had seen her do on Arthur every time she was reminding him to buck up. He had assigned many meanings to it, and any one of them offered to him made his throat tighten.
A glass was held out in his periphery with an awkward cough, and both of them turned to look at Arthur.
"I can leave if you two want a minute," he said, somewhere between sardonic and sincere.
#THANK YOU FOR REACHING INTO MY BRAIN FOR THIS I LIVE FOR THE ESTHER-WEB DYNAMIC#AND I'VE WRITTEN ALMOST THAT EXACT LINE BEFORE#so much so that this is literally an excerpt from gotta live between the pitfalls. sorry.#people like us#esther samsa#nathan writes#ask game#gotta live between the pitfalls verse#ab tag
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#classical literature#literature#books & libraries#books and literature#classics#polls#character poll#actual polls#english literature#english
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Characters I kin;
(You have a right to be concerned)
Richard Papen from The Secret History
Sybil Vane from Dorian Gray
Esther Greenwood from The Bell Jar
Lucifer from Paradise Lost
Boris Pavlikovsky from The Goldfinch
Raskolnikov from Crime and Punishment
Kate Holiday from Hyde & Seek
Kafka Tamura from Kafka on the Shore
Gregor Samsa from Metamorphosis
Edward Hyde from Jekyll&Hyde
The Creature (Adam) from Frankenstein
Curley's wife from Of Mice and Men
Alice Cullen from Twilight
Shauna from Yellowjackets
Justine Moritz from Frankenstein
Ophelia from Hamlet
Arsinoe from Three Dark Crowns
Susanna Kaysen from Girl, interrupted
Ash from Fantastic Mr. Fox
Todd Anderson from Dead Poets' Society
Maxine from X
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Of the 4 literary characters I “Kin” (the cool new way of saying relate to I think) Gregor samsa is the straight one. Jane eyre is definitely bi and then hamlet of Denmark and Esther greenwood...gay
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junio 2020
01
ante la tempestad, la tradición es nuestro paraguas.
Brenda Lozano
02
El viento recorre el cielo: la imagen de la fuerza domesticadora de lo pequeño. Así el noble va refinando la forma exterior de su naturaleza. El viento, si bien va juntando las nubes en el cielo, como sólo es aire y no posee un cuerpo sólido, no produce efectos grandes, duraderos. Así también el hombre, en épocas que no permiten una gran acción hacia fuera, sólo le queda la posibilidad de refinar en lo pequeño las manifestaciones de su naturaleza.
Brenda Lozano
03
«La animación de lo inorgánico, en Kafka, señala lo extra-ordinario porque, a diferencia del humano, los objetos expresan su imposibilidad de llegar a ser, de desarrollarse, de cambiar de estado. Por eso tienen la libertad de andar por ahí ostentando su perennidad, recordándonos nuestra mortalidad, acechándonos e intimidándonos, provocándonos raros sentimientos, alimentando nuestra “mala conciencia” y nuestra paranoia».
Gabriela D’Ordorico,
04
«Kafka’s works often map out the inhuman in humanity».
Ted Geier
05
«la carta demanda destruir la escritura, lo que lógicamente implicaría la anulación de la carta misma, y en ese sentido anularía incluso el mandato que formula».
Judith Butler
06
«Odradek es la forma adoptada por las cosas en el olvido. Están deformadas. Deformada está la “preocupación del padre de familia”, de la que nadie sabe en qué consiste; deformado aparece el bicho aunque bien sabemos que representa a Gregor Samsa; deformado el gran animal, medio cordero y medio gatito, para el cual “el cuchillo del carnicero” significaría tal vez “una redención”».
Walter Benjamin
07
«Once the narrator realizes that he cannot integrate Odradek into his worldview and fully understand him, he defines the creature as the Other, as that which is not part of the given order but intrudes from the outside and has to be fought off».
Esther K. Bauer
08
«This metaphorical link, however, eschews the dialectical relationship of metaphor. The tenuous relationships result in “opaque sign[s]” that both deny and assert meaning».
Dean Swinford
09
«Animals are the extant representatives of man’s primitive state, their bestial vitality having once been shared by his ancestors».
Tahia Thaddeus Reynaga
10
«What cognitive ethology has taught us is that the mental abilities that so many have assumed to be uniquely human, and that as such have been used to distinguish humanity from the rest of animal creation, in fact are shared among many species».
Marc Lucht, Introduction
11
«The resistances to Darwinian notions of continuities between human and animal intelligence, emotions, and even morals […] diffused themselves far beyond the churches to create curious inflections even in the sciences themselves».
Margot Norris
12
«In Kafka’s oeuvre, presupposed borders that separate humans from animals are constantly crossed: whereas animals have human pasts and memories or display a human-like way of reasoning, animal characteristics are ascribed to human characters as well».
Melissa De Bruyker
13
Corazón: date a conocer también aquí, en medio del mercado. Di a voces el shibboleth [la contraseña] en lo extranjero de la patria: febrero. No pasarán.
Celan
14
«Angostura»,
Llevado
al terreno
del
vestigio
inequívoco:
Hierba.
Hierba,
separadamente escrita.
Celan
15
Se nella traduzione vogliamo far risaltare un aspetto dell’originale che a noi appare importante, ciò può accadere solo, talvolta, a patto di lasciare in secondo piano o addirittura eliminare altri aspetti pure presenti. Ma questo è proprio ciò che chiamiamo interpretazione... In quanto però [il traduttore] non sempre è in condizioni di esprimere tutte le dimensioni del testo il suo lavoro implica anche una continua rinuncia.
Gadamer (en Eco)
16
«Tradurre vuole dire talora ribellarsi alla propria lingua, quando essa introduce effetti di senso che nella lingua originale non erano intesi. Se il traduttore inserisse quel gioco di parole, tradirebbe le intenzioni del testo fonte».
Eco
17
Traducir es la necesidad de regenerarme en otra lengua. Mi lengua madre no es natural: es una adopción naturalizada. Es lengua madrastra. Mi lengua materna contiene a la madre, al padre, a la historia, a la nación. Las palabras en mi lengua madre están escritas/inscritas en el modo en que percibo. Me percibo primeramente en lengua materna.
Mayra Luna
18
¿es mi lengua materna aquella en la que puedo revelar/reventar mi escritura? ¿En la que puedo escribir como deseo? En mi lengua materna las frases se construyen por sí mismas cuando escribo. Las conozco desde que comen-cé mi oralidad. Sin aplicar esfuerzo, la escritura en mi lengua madre es repetición. No es madre flujo, es madre automática. No es lengua madre, es lengua máquina. “Es preciso escribir en una lengua que no sea materna”, aconseja Vicente Huidobro.
Mayra Luna
19
Escribir como oficio requiere abandonar la lengua nativa.
Mayra Luna
20
Traduzco como acto de renovación. O como acto de distancia respecto a mi inconsciente. Aprovecho la hospitalidad lingüística de un idioma para indagar si esa lengua me calza mejor que mi lengua madrastra. “Utilizando mi lengua materna, tengo a mi disposición una infinidad de palabras, lo cual no me sucede con el inglés. Pero mi lengua materna es como un azote, me dice cómo debo utilizar las palabras. Escribiendo en inglés, es como si fuese una niña con muy pocos juguetes, pero con la completa libertad de jugar con ellos como yo desee”, revela Wang Ping, poeta china radicada en Estados Unidos.
Mayra Luna
21
Estábamos muertos y podíamos respirar.
Celan
22
Los rituales son también dispositivos de protección. Cuando desaparecen, nos sentimos a la intemperie. Por eso he escrito que los rituales son técnicas simbólicas de instalación en un hogar. Transforman el estar en el mundo en un estar en casa. Convierten el mundo en un lugar fiable.
Byung Chul Han
23
lo único que le queda es un shutdown o cierre total con enormes consecuencias económicas. Occidente pronto se dará cuenta de una verdad fatídica: que lo único que puede impedir ese shutdown es una biopolítica, una vigilancia digital del cuerpo que permita acceso irrestricto al individuo. Pero darse cuenta de esto significa el final del liberalismo.
Byung Chal Han
24
MARTA
Marta de quien estas viejas paredes no pueden apoderarse, fuente donde se refleja mi monarquía solitaria, cómo podría olvidarte nunca si no tengo necesidad de recordarte: eres el presente que se acumula. Nos uniremos sin tener que abordarnos, que prevernos, igual que dos adormideras forman en el amor una anémona gigante.
No entraré en tu corazón para limitar su memoria. No retendré tu boca para impedirle entreabrirse al azul del aire y la sed de partir. Quiero ser para ti la libertad y el viento de la vida que atraviesa el umbral de siempre antes que la noche se vuelva inencontrable.
MARTHE
Marthe que ces vieux murs ne peuvent pas s’approprier, fontaine où se mire ma monarchie solitaire, comment pourrais-je jamais vous oublier puisque je n’ai pas à me souvenir de vous : vous êtes le présent qui s’accumule. Nous nous unirons sans avoir à nous aborder, à nous prévoir comme deux pavots font en amour une anémone géante.
Je n’entrerai pas dans votre coeur pour limiter sa mémoire. je ne retiendrai pas votre bouche pour l’empêcher de s’ouvrir sur le bleu de l’air et la soif de partir. je veux être pour vous la liberté et le vent de la vie qui passe le seuil de toujours avant que la nuit ne devienne introuvable.
René Char
- René Char, de Le Poeme Pulvérisé/ El Poema Pulverizado (1945-1947)
En Furor y misterio. Visor de Poesía. Traducción de Jorge Riechmann
25
Traduzco como ejercicio de libertad. Tomo del otro idioma el desconocimiento personal. Desde ese desconocimiento, aprendo a conducirme en el lenguaje sin una brújula. [...] Traduzco porque deseo apropiarme de otra cosmovisión.
Mayra Luna
26
Me aprehendo en otro idioma. Me mudo al espacio que se construye en ese idioma. Desconozco el lugar. Sólo del desconocimiento surge el renuevo. Desde ese sitio, transfiero a mi lengua algunos fragmentos de la visión contenida en los textos traducidos. Pero la traducción es incompleta. Hay materiales en su lenguaje que no puedo trasladar al mío. Traducir a otros es apenas la primera fase. Esta primera frase es una transmisión , el cambio de sitio de algunos materiales similares de una lengua a otra. Pero es sólo una visita corta, que trae de la lengua extranjera algunos objetos como recuerdo. Para traducirme, re-quiero habitar completamente el espacio de la otra lengua.
Mayra Luna
27
Llega la tercera fase de la traducción: transversión, escribiendo en la lengua de mi país desde los espacios idiomáticos que conseguí habitar con mi otra escritura. Pero en la transversión mi lengua madrastra se transforma: en ella se hallan instaurados los espacios extranjeros que extrañan mi escritura. La escritura resultante de mi proceso traductivo se encuentra alterada. Una escritura que llama a conocerse, no a reconocerse. Que no es ya ninguno de los dos idiomas. Tampoco una mezcla o una hibridación. Sino aquella que surge del encuentro. Completando las tres fases consigo traducirme. Así la traducción se vuelve destrucción.
Mayra Luna
28
Hablo otra lengua. Habito otra lengua. Escribo otra lengua. Después, regreso a mi lengua madrastra, me traduzco a mi lengua madrastra (Repito: No hay lengua materna. Toda lengua es artificial. Toda lengua llamada materna es, en realidad, lengua madrastra). Con la visión que conseguí desde ese otro sitio del lenguaje, regreso a la escritura de la lengua de mis padres.
Mayra Luna
29
Tomo para mí ese otro idioma que, dice Milorad Pavic, “es un prisma a través del cual se mira la realidad”. Aprendo otro idioma para desconocer la realidad desde ese sitio. Desde ahí, observo ahora mi espacio circundante: las voces que me orde-nan cómo debo mirarlo se reducen a unas cuantas. Se anulan al desconocer mi lengua. Ahora escribo desde ese espacio. Escribo directamente en la otra lengua. Una vez que consigo ejercer la visión de la otra lengua, puedo escribir desde ella. Transvisión: un modo de desconocer mi escritura. Escribir en otro idioma es la transvisión, el segundo paso de la traducción como destrucción. Destrucción de las estructuras que me contienen en mi lengua madrastra.
Mayra Luna
30
La intolerancia lingüística se vuelve nacionalismo. Aplicar sin reserva la violencia de una lengua extranjera a la propia, la re-nueva. La traducción remueve los sedimentos de una lengua. La traducción es una extirpación.
Mayra Luna
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another one!
She can't help but find him so utterly endearing-- especially when he manages to put his foot in his mouth in the most innocuous of ways.
Most of the time he doesn't even know that he's done it, either. So somebody stomps off, and Web sits puzzled at the bar, and Esther gets to pat his shoulder affectionately as she orders them another round.
"It's not you," she reassures him. "Well, it's a little bit you, but not in a bad way."
"How am I meant to think of that in anything but a bad way?" He asks.
#i won't lie im knee deep in glbtp hell rn#esther samsa#people like us#gotta live between the pitfalls verse#nathan writes#ask game#bob ocs
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ok so this is prolly a lot but it has occurred to me that I can't really imagine Lucas as well as I do teddy so!! all the face & features for Lucas for the OC asks? and for esther too, since they're both samsas and I'd love to see their shared similarities!
Ooh okay wonderful I love talking about the Samsas! Sorry this has taken so long to get to you! I'm not gonna specifically split this up by header, I'm just gonna ramble and hope I've hit everything! As a note, most of what I say about Lucas here refers to him in the 1940s onwards, as opposed to his college days. Obviously there's a lot of overlap, but this is meant to be him at arguably his most settled. It also makes him easier to compare to Esther, who is a young adult by this point.
Lucas clocks in at a solid 5’9”, and is roughly the tallest (both Eli and Lea like to try disputing this). He's best described as ‘average sized’, but wore lots of ill-fitting clothes as a child and young man that made him look lankier than he is. He gets softer as he gets older, especially after the war, and fills out a little more noticeably.
All the Samsa children have the same roman nose as their mother, and both of their parents’ dark hair and eyes. Lucas wears his hair short and practically cut, slicked back off of his forehead. His teeth are crooked, so he usually smiles with his mouth closed, which can make him seem more reserved than he is. He has several noticeable freckles and moles, most prominently one on his jaw and another by his eye. There's one behind his ear that's harder to spot. There's an almost permanent shadow under his eyes.
Lucas moves with purpose and precision. He's very aware of his surroundings and his place in them. As such, he doesn't like clothes that are too tight or restrictive. The closest he gets to really fidgeting, especially as he gets older, is having his hands on his hips and tapping his foot in a nervous, and usually annoyed, habit. Another common stance for him is arms folded across his chest, an unimpressed look on his face. That being said, his posture can be abysmal. He might be a doctor, but he's not immune to standing like a question mark.
Esther, on the other hand, is 5’0”. She's the shortest, and youngest, and there is definitely a joke in her family that God must have given her eldest siblings too much height and saved none for her. She's proportionally stockier than Lucas, though. Always more athletic than him, there's some muscle to her frame that isn't always immediately noticeable, from a youth spent running around and climbing.
Her hair is long, but similarly practically kept to her brother's, usually in a braid or a scarf or a very easy updo to keep it from her face. When it's loose there's a tight wave to it. There's a gap in her two front teeth, but that's never stopped her from smiling widely, and when she does it has a way of moving the moles on her cheeks and lips. There's the beginnings of smile lines around her mouth and eyes.
She's much more animated than Lucas in her movements, and so naturally a little more clumsy. Her hands are always moving, gesturing in speech or playing with her cuffs or jewelry. When she’s reading she can go totally still, though, and can almost blend into the furniture, which has startled a lot of people in the past. There’s a scar on the back of her hand from playing with a stray cat that got a little too rough.
#im so sorry this took so long#i thought 'yeah those car journeys will be perfect' and completely forgot the purpose of them :)))))))#something something haunted houses you know the drill#people like us#lucas samsa#esther samsa#thank you for asking about them i hope this is useful <3#follow up questions very welcome
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ooohh 4, 21, 18, and 14 of the oc ask game for esther samsa?
Thank you Stella! Another favourite <3
4 - favourite place in the world?
She hasn't really been anywhere other than Brooklyn, even though her and Arthur always talked big game about getting out. There's lots of places she thinks might be her favourite though, once she gets there. Her favourite place she's actually been is her sister Marta's apartment. Marta is an ex-WAC and artist whose place is just the right balance of peace and chaos that Esther finds comforting. Spending time with her sister, even if they're just chilling in the same room for a bit, is one of her favourite things to do.
14 - hobbies?
Esther is a big reader, first of all. She ends up owning and running a bookshop, and lots of her time goes to reading her way through her stock. She's also an avid lepidopetrist, and keeps as much of an insect garden as she can on the roof and balcony of her building.
17 - achievement they are the most proud of?
Her college degree. She isn't the first person in her family to get one, that was her brother Lucas, but she's the first woman, and the work it took to get it makes her extraordinarily (and rightfully) proud.
That's the serious answer. The secret, and much sillier, answer is that time she ate what must have been half her body weight in candy, followed it with home-brewed alcohol and managed to not puke her guts up, unlike some people. It's an achievement she lords over Arthur any time she can.
18 - favourite type of sport?
...ask me again after I've finished A League of Their Own.
21 - eating habits?
Food is important to Esther. Food scarcity was very much a fear for her and her family during the Depression, so in the post-war boom? She makes sure to take full advantage. Three square meals a day. Homecooked whenever possible. She likes treating herself to snacks too, and indulging her sweet tooth.
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