Mike Driver
YOU ARE THE REASON
Misplaced Lens Cap
let's talk about Bridgerton tea, my ask is open
tannertan36
Stranger Things
Kaledo Art
Lint Roller? I Barely Know Her
h
almost home
One Nice Bug Per Day
roma★
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dirt enthusiast
Game of Thrones Daily
styofa doing anything
祝日 / Permanent Vacation
ojovivo
Discoholic 🪩
wallacepolsom
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@a-purely-objective-frog
would you guys like to see a real illustration from an actual published scientific paper? of course you would
link to the paper
Hey op kinda buried the lead. This isn't just some illustration. ITS THE ABSTRACT.
my mushoomb,, :D
one musruum..
bitches be sucking farts there
Found the source of the infographic that explains how the results were obtained!
there’s sixteen Colorado counties that their most searched was “wolf furry”, plus thirty-odd counties (not counting either Arapahoe or any of the ones marked here as “Insufficient Data”) which may well have had plenty of searches for “wolf furry”, just fewer than for whatever they’re labeled here
and “skunk furry” searches in Arapahoe County outnumbered “wolf furry” searches in the entire state of Colorado
something tells me Skunks Georg
we did it, we created furry gerrymandering
> turns on my computer
> disables a new AI feature that was turned on by default
> opens my email
> disables a new AI feature that was turned on by default
> launches a software
> disables a new AI fea
This is why Pride is not just a party. It's a joyful celebration, but it's also a pointed and colourful two-finger salute to a world that stood back whilst so many of us died. And we'll never go quietly, never again.
As a trans woman I can confirm that they indeed found an ancient forest inside a 630ft deep sinkhole in China
cis people can reblog this but keep it on subject, please
Happy pride month everyone always remember that the sinkhole has an ecosystem large enough to house not only insects but likely several species of small birds or mammals
have you ever read a tweet and let out a plaintive little "oh fuck" of self recognition
normal country latest
You CANNOT hide these in the tags @injuries-in-dust
Absolutely cackling over the banjo subreddit
The fact I had no fucking clue which euphemisms were about sex and which ones were about playing banjo
It's nice that loud noises don't stick to clothes like smells do. That would be really bad if they did.
Yeah, this is one of the most horrifying "what ifs" I've heard in a long time.
A rack of secondhand baby onesies would be so horrendously screamy :(
Construction worker's clothes would be awful, and the safety vests of the people who wave those paddles around on airport runways would be even worse, and I'd have to have some way of getting the alarm clock out of my nightgowns so I could get to sleep.
goo goo dolls if they were in dune: and i don’t want the worm to see me
There are multiple chapters that are set in hospitals where the characters are attempting to recover from injuries that never fully heal. I must once again stress that my experience in WWI was perfectly normal.
There is a giant horrible mudplain full of unrecoverable and perfectly preserved dead bodies that the characters have to walk through in a land where the air is poisoned gas, and on a compLETELY UNRELATED NOTE: WWI WAS TOTALLY FINE AND NORMAL!!
Uh??? Tolkien did not claim that???
"One has indeed personally to come under the shadow of war to feel fully its oppression; but as the years go by it seems now often forgotten that to be caught in youth by 1914 was no less hideous an experience than to be involved in 1939 and the following years. By 1918, all but one of my close friends were dead."
He talked about how WWI affected his writing all the time, he was not in denial for how it affected??? Am I missing something????
https://www.tolkiensociety.org/blog/2017/09/tolkien-as-war-novelist-another-way-of-dealing-with-trauma-through-writing/
what Tolkien was adamant about, which has been confusing people for several decades now, is that he wasn't writing about World War Two
He was also very clear that he was not writing allegory. Now, some people are not very clear on what allegory means. "Allegory" and "symbols" are not the same thing. Allegory is a type of symbolism, but there are a lot of ways of doing symbolism that aren't allegory ... and a lot of people are kind of fuzzy on that. The way allegory is most commonly used in literary and religious analysis is that there is a direct, almost 1:1 correspondence between the literary figure and what it is standing in for.
So, for example, Pilgrim's Progress is an allegory of Christian salvation. It's sort of a novel? There are characters who do stuff? but also they are very one-dimensional. The main character is a guy named Christian--yes, really!--who is journeying from his hometown ("the city of destruction") to the Celestial City (heaven). There is not much subtlety to it. It is pretty much what it is. There is no slippage, no playing around with the theme, no places where the symbolism is ambiguous. John Bunyan, the author, is hitting you over the head every step of the way with the Meaning That You Are Supposed To Be Getting From The Story.
Not all allegories are that crude or simplistic; the Narnia books are also allegory for Christianity. They have a lot more subtlety to them and a lot more nuance, and there's a lot of stuff in there that isn't allegorical, but on the crucial matters there is still a 1:1 correspondence. Aslan is Jesus. He's not like Jesus, he's not a character that has some similarities to Jesus or takes themes from the stories of Jesus, he is Jesus.
Tolkien is not doing allegory. Tolkien is taking the material of his life--his faith, his experiences in WWI, his linguistic and historical knowledge, his favorite books--and using them as the building blocks of his story. The themes and imagery and symbols draw heavily from all of that, the characters and settings draw heavily from all of that, but they are too complex to be allegorical. There's a lot of symbolism! It's not allegory.
So, for example, let's take the Dead Marshes referenced above. Does the experience of walking through this muddy wasteland with corpses all around that are rotting but still look like people draw from Tolkien's WWI battlefield experience of dead bodies in the trenches? Of course it does! but there are also a lot of differences. These dead are not from the current war, they are from a previous one--they are a reminder of old conflicts, of the ways the systems and powers of the current war have not come out of nowhere, there is history here. There is meaning that is not drawn from the Somme. And they are also drawing from literary references Tolkien was familiar with--primarily William Morris. Modern readers don't get the references because we have generally not read The House of the Wolflings, but that doesn't mean that the references aren't there.
So people read Tolkien's insistence that he didn't write allegory, and take that to mean that he's saying there isn't symbolic and thematic references. And that isn't what he meant! And also, we focus so much on the thematic references to WWI and Christianity, and we miss most of the other references, which makes it seem like Tolkien's only drawing on WWI, when he's actually doing something more complex.
has anyone considered that it was probably her house too. where else was she supposed to put her chintz?
I like this question because I think it really gets at the power dynamics at the center of the poem!
The poem frames "him" as subordinate in several ways, not just to the narrator ("i fuck him on the floor": not that getting fucked is inherently subordinating, but the narrator has all the agency in the phrase, "he" doesn't decide what happens or where) but also to "his wife". She has filled the house with chintz, meaning it wasn't his decision or his actions. "Filled" is also a choice of words that suggests that there is no space for him in the home: the only place left for him, not already filled, is the floor. To me this framing invokes the trope of the henpecked husband, whose wife has taken dominion over the home and who has ceded its control to her because it, as the domestic space, is "supposed" to be hers.
This trope, of course, is misogynist in its normative rendition: it reinforces gender essentialism, it erases the significant material benefits such "henpecked" men derive from the domestic labor of their spouses, and it dismisses women's expressions of suffering and attempts at negotiating terms for their relationships as "nagging." In the narrator's dismissal of the wife's possessions as "chintz" (frivolous, feminine, contrasted with what is "real") we can see this same misogyny at play.
The narrator's misogyny, and the central fact of the poem which is that the husband is getting fucked by someone other than the wife, quite possibly flip the power dynamics of the poem on their heads. The wife is now subordinated: both by her social marginalization based on gender (a marginalization which drives her into the home and confines her there, like OP so cogently points out! As "he" has run out of room in the home and can only get fucked on the floor, so has she run out of room socially; the only place she can control and make decisions like filling it with chintz is the home), and by the narrator who is fucking her husband in her home.
There's an additional dynamic in reading the narrator as male, which most readers seem to have done: it invokes the particular, bitter misogyny that men-loving-men sometimes direct at women expressing femininity. There's an envy to it, of course--straight and straight-passing women get to (are forced to) express desire for men, have sex with men, marry men, love and be loved by men. His wife gets to be his wife: the narrator gets to fuck him, in their home. Straight and straight-passing women also get to (are forced to) perform femininity: they can buy chintz and decorate with it, without being devastatingly punished for it like people presumed to be men are from the time they're babies. The envy mixes with misogyny to produce disdain, disgust, dismissal. We can read the narrator fucking him on the floor of their home as an expression of power and dominance (again, not that the fucking has to mean the narrator is topping, or that topping is inherently dominant, but the phrasing is stark: "i fuck him", the narrator acts upon him as an object/recipient), not just over him but over the wife in absentia as well.
Noting that "to keep it real" is AAVE, we can also introduce race as a potential lens; is the narrator, despite their dominant language, subordinated based on race in this dynamic? Is the narrator not just claiming a dominant role, but perhaps also stereotyped and limited into it as a Black person? Is the disdain of the chintz also an expression of class difference, of a rejection of the display of white wealth on the part of the wife? This is pretty speculative, of course: the use of AAVE could also be appropriative, which would suggest another tactic by the narrator to lay claim to masculinity and toughness, since non-Black people often use AAVE to try to invoke racist stereotypes of strength, violence and resilience.
I think one of the things that makes the poem so compelling for being so short is the struggle at the heart of it, this complicated jostling for power between three people and their actions over time (the wife "has filled" the house, in the past: the narrator fucks him in the present, perhaps in the habitual). Who controls the house? Who controls "him"?
Great poem, great discussion question, love everyone in this bar <3
proud victim of the tumblr accent. it's fading out of public consciousness as the tik tok accent takes precedence; a linguistic evolution that makes the tumblr accent 85% funnier to unsuspecting civilians. it's like releasing a disease on a non-inoculated population. coughing baby versus hydrogen bomb.
autism tests are so funny. I'm extremely literal most of the time, but people don't tell me that generally, so I'm inclined to answer disagree. because I'm taking the statement too literally
^not my post but same sentiment
