kind of interesting how the land and the weather outside Gormenghast are the complete opposite of it in that they're brightly colored and changing and unpredictable, forest to desert to plains to rocks, baking heat to torrents of rain. And Gormenghast stands still and grey and unmoving, unchanging, bound in tradition more predictable than the seasons. Titus runs away to the forest again and again. The Thing lives in it and embodies it, even as she dies. Flay is banished to the forest but learns to love it and comes back gentler. Every time the rain comes in the books, it changes something important in Gormenghast. Fuchsia runs away to the forest when she's younger, but as she gets older and less free she does this less and less, and when she finally falls she hits her head on the grey stone of Gormenghast. Strange how she was looking at the water when she died, hoping it would release her even then.
I wonder if the still grey Gormenghast contrasted with the wild colorful country around it is anything like the English settlement in China where Mervyn Peake grew up. The traditions of the British Empire fading slowly in a fortress surrounded by an alien landscape with wild weather.
My small town feels a little like Gormenghast at times. I wonder if the world outside is bright and wild and dangerous, and if I could survive it.
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I’m leaving both creatures’ intentions ambiguous since I see the entire internet in disarray over this question. It’s up to the interpreter to decide which would be safer for them. Personally, I’d pick the bear
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If you're not in it to win it, get out of My Morning 🌞 Good Morning
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Tom Sawyer's Picket fence ;) Coordinating colors
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For in [de Sade’s] vision of the world, nature is criminal. Thus he writes to us: "those murders which the laws punish so rigorously, those murders which we assume to be the greatest outrage which one can do to Nature, not only . . . do her no wrong; they become useful to her." And elsewhere in de Sade, we read: "Nature lives and breathes by crime," or "hungers at her pores for bloodshed"; we hear that "Nature is weary of life."
We do not rise up with love for the world from de Sade's vision. He tells us nature's eyes are "sick of seeing, her ears heavy with hearing," and we sicken as she sickens, grow heavy as she does. Nature is not, in de Sade, bent on joy, but rather she "yearns for cruelty." And spelling out for us the pornographic ideology which would turn eros into death, he writes: "she kindles death out of life, and feeds with fresh blood the innumerable and insatiable mouths suckled at her milkless breasts."
Here is an ideology which appears an exact mirror image of the miraculous initiation which seers experienced from the goddess Persephone at Eleusis. For at the apex of this transforming ritual, when a sheaf of grain was held up to the open eyes of the initiate, the initiate was supposed to have understood that there is no death, that life and death are one, the soul is immortal, and thus to have taken into herself (or himself) the secret of rebirth. But where this mystic vision sees life, de Sade sees death; where this vision sees rebirth, de Sade sees an interminable cycle of meaningless cruelty. And where the Eleusian mystery embodies a vision of both woman and nature, in the figure of a goddess, as sacred, in de Sade's mind woman and nature are embodied by a figure of cruelty who mocks every idea of the sacred in the human imagination with her avid and terrifying hunger for death.
-Susan Griffin, Pornography and Silence: Culture’s Revenge Against Nature
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We admired their home
Small, grey, meticulously constructed
They encroached on our property
But hey
Live and let live
Their people may have been here first
We are new
Not from around here
They merely followed their native customs
We left them alone
So far
So good
But then
For no reason we could understand
(Perhaps we stepped over a line, offended their customs, appeared wrong, immoral)
They rushed out
Clad in black and yellow war paint
Rushing us
Stabbing
Singing a terrifying war song
In unison
Throwing small bodies
Ferociously
In unison
We retreated
Studied strategy
Gave them wide berth
As wide as we could
Then attacked at night
Sentinels drowsy
The whole fierce group
Asleep inside
We captured
Incarcerated
Executed
Desecrated
Felt bad
But
We hold no quarter
For wasps' nests.
.
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The truth is that I am not a progressive at all. I am the traditionalist of traditionalists. It is not the image of a bright future that guides me, but rather the singing of bones from the ancient past, buried in the ground. Anthropology, archaeology, and mythology form my values.
If evidence were found of trans people being respected in Minoan civilization, that would be all the argument I need. If there were a mention of abortion being administered in the Old Testament, that would be all the reason I require.
The Earth is old, very old. It has seen it all. Polyamorous families of hunter-gatherers and pagan Bacchanalia, Greek lovers betrothed by the rage of the battlefield, and huntresses piercing the mammoth's heart in the final strike. The chorus of believers calling to the goddesses of fear and wisdom, and the blinding fires of the inquisition.
There is a habit of seeing ancient cultures as underdeveloped and ignorant. To those who believe this, spend a week in a forest. Sit by the sea in a storm. Learn the voices of herbs and the habits of birds. Build a system of knowledge and memory necessary to survive. And the net of faith and relationships to keep your sanity intact when the sky falls down on you. The older cultures that had to understand the multiplicity and unpredictability of existence, to adapt to it, and even manage to have fun - this is where our power comes from. This is tradition.
Crying about how things were not as they were 100-50-20 years ago is a banal weakness of imagination.
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I'd watch this
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Fall
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Ῥοδίοις ἐκέλευον ἀνέμοις
καὶ μέρεσι τοῖς πελαγίοις
ὅτε πλέειν ἤθελον ἐγώ,
ὅτε μένειν ἤθελον ἐκεῖ,
ἔλεγον μέρε(σιν) πελαγίο(ις)·
μὴ τύπηι τὰ πελάγη·
ἅλ᾿ ὑποτάξατε ναυσιβά[τ]αις.
ὅλος ἄρ᾿ ἄνεμος ἐπείγεται.
ἀπόκλειε τὰ πνεύματα καί, Ν[ύ]ξ,
δὸς τὰ [. .]ατ᾿ εὔβατα.
- Anonymous, To The Rhodian Winds
I used to give orders to the Rhodian winds
And the neighborhoods of the sea
When I wanted to sail
When I wanted to stay there
I used to sing to the corners of the sea:
Don’t let the waters strike me!
Put the waves at the command of the sailors!
The whole wind is pressing on us!
Night, Lock up your winds and
make safe our way.
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He Sang Little Joe The Wrangler
I've loved this poem all my life, but I'm only now understanding why I loved it o much as a child. It's exquisitely written, the descriptions are incredible and vivid, and it's also whump.
Man vs Nature - the story of a cowboy who gets caught in a wildfire with his horse. It's terrifying and brilliantly done. There's such incredible descriptions of panic, some life-saving cleverness, and some absolutely stunning caretaking as he calms his horse and keeps him safe through the chaos.
tw for possible death, burning, broken bones, and and animal (horse) gets injured.
I'd let you just read it, but I've never been table to find this poem in writing, and it's also vastly more effective if you can hear his voice. The delivery is key. I'm so incredibly sorry it's not more accessible.
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still working when they found it on the shore
but the time was all wrong
so it was a bit of a mixed-bag of a discovery, yeah?
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the lockdown was nice while it lasted
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