Devotional art for Lady Artemis
Today's Document

Game Changer & Make Some Noise

Kiana Khansmith

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Xuebing Du

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Jar Jar Binks Fan Club
YOU ARE THE REASON
Game of Thrones Daily
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Devotional art for Lady Artemis
Frost, Embers, and Irish Whiskey
This story is dedicated to Lugh, deity of skill and arts, with love and joy. There's this man at a table in a bar. Not some fancy upscale bar, but not quite a dive. But one of those places people go to be alone with other people. I don't just mean sitting and drinking alone, because the pressure of so many thoughts inevitably leads to some of them leaking into audible language, though there are some people doing their closest approximations of a bivalve here. I mean the kind of being alone together where it doesn't matter if you talk. Nothing gets said. No one bridges the gap. And if it happens to pass that you find yourself getting close with someone in the physical sense, it's empty and distant and desperate.
It's a bar without a heart and, right now, there's a man sitting at a table near the bar. And it's clear he doesn't belong here. It isn't the clothes or the hair, though both stand out. He's just⊠a little brighter than his surroundings. It's not a physical thing, not in the way that can be measured by the usual senses, anyway.
I'm struck by little things about him. He spent his first five minutes just studying the table carvings and graffiti, tracing each lonely letter and shape with a strange reverence one wouldn't think deserved by property damage. And now, he stands and heads to the bar proper. If there were a heart in this bar, it should by all rights be the barstaff. But even they feel the distance, gaping wounds from which the vital organ has been plucked by too many people who devoured bits of it to sate themselves enough to steel themselves against another day in a world that feels so brutally malicious.
So he steps up to the barstaff and speaks. His voice is like nothing this bar has heard in ages; he's not singing, but his voice is music and war and lust and something that might be hope if I can remember what hope is. Been too long since I've heard it.
The weird thing is, he's not trying. He's not putting on some show or trying to act like hot stuff. He's just talking.
"Writer's Tears, please. No ice. And do you have a pen and paper to hand, perhaps?" There's a hint of lilt to his speech, and his accent is from everywhere and nowhere, but perhaps a hint more of someplace in particular, someplace where spring water tastes of apple cider and ambition and the night romances poets.
The bartender he speaks to blinks twice, a blush crossing his cheeks, the first warmth this bar's seen in ages. The first signs of the thaw to come.
"Yes, sir. Right away."
The man watches as his drink is poured, smiling in admiration as if he's watching someone mix a fancy martini with too many ingredients and steps while doing a gymnastics routine on the bartop, not pouring a glass of whiskey with no ice. He thanks the bartender, pays and tips up front, and accepts the pen and paper with a warm "Thank you. That was wonderful to see."
"Uh, what was?" The tender now looks a bit confused, if not also flustered.
"The care you take. So often people overlook the simplest steps. It's just nice to see someone who respects their entire skillset."
The bartender stiffens like he's been caught committing high treason. But then, the smallest smile tugs at his lips and the first bit of frost starts to warm.
"Thanks. Hey, what's your name, anyway? Not seen you around here."
The man sits at the bar, sipping from his glass and sighing happily before starting to jot something down on the pad of paper.
"I haven't been here before. At least, not that I can recall. It might just be that I haven't been here before yet. Though I suppose that is always true." He shrugged once. "As for my name? Whatever epithet you feel fit to confer upon a stranger, I will wear it this night."
"Isn't that sorta risky?" The voice comes from another person at the bar, an enby college student I've seen here before. "Letting some rando you just met give you a nickname for everyone to use? What if it's something god awful?"
The man chuckles. "I don't think our kind bartender here is the sort to level me with such a nom de nuit. But it's less of a risk than you would think. Those who treat random strangers cruelly don't wait for a chance to deploy such words, and most people treat strangers better than they do themselves. Which is, in its way, sad. Treating one's own heart with hospitality is just as important as treating a stranger with it."
"You sound like a greeting card, man."
"Ember." That was the bartender's voice. "I think your, what was it? Nom de nuit? Tonight, it's 'Ember'. Does that suit you?"
The man tilts his head. "Interesting that you give me an out from the words I wrapped around my own wrists. But also, very well phrased. And yes, Ember suits me just fine. Thank you for the lovely gift of such a name." He taps the pen upon the page for a moment, then goes back to whatever he's writing or drawing.
The college student frowns, leaning over to see what Ember's doing on that pad.
"Wait, you drew all that so fast?" There's anger in that voice, but I think I hear something else. Sorrow? Envy? Ember seems to hear it, too.
"Lots of practice. Do you draw?"
"Not like that."
"Of course not. I draw like I draw, just as you draw like you do."
"I mean, that's a masterpiece on a beer stained memo pad. I don't do much better than stick figures."
"Do they convey a story? A feeling? A joke? A state of being?"
"I. I mean, I guess, but-"
"Then they are just as valuable as my drawing."
"Oh please." They're sounding sulky now, but like they're fighting to stay chill against Ember's weird soothing aura. "No one's going to buy my art."
"I will."
"You haven't even seen it yet."
Ember laughs softly. "I don't need to."
"Then how do you know if you'll like it?"
"Because you're curious and you feel. And those things are exactly what you need to make masterpieces. Training your skill is just so you can build the framework for the really important bits."
"Which are?"
Ember lifts the pen and points to the college student's head, chest, and belly with it, matching a statement to each indication. "Your thoughts. Your feelings. Your passion. If you put those into everything you make, no matter how novice or practiced, no matter how pastoral or angry or beautiful or silly, then you're more than halfway to a masterpiece."
They stare at Ember for a moment, seem to fight inside their own head before speaking again. "You can call me Labs. Short for Labradorite. Can you teach me how you figured out the lighting for the towers?"
This goes on for the rest of the evening. Ember's warmth and simple ease, not to mention his seemingly bottomless bucket of skills (he wins every game of pool and darts he puts his hand to, but also does so in a gently demonstrative way that leaves everyone feeling better about their own game) draws people in, at first one by one, but soon, groups are forming. And not just around him.
He moves from place to place like some long haired moth, pulling groups of people into conversation before happily excusing himself to follow on another thread of conversation or action that some other person or group has directed his way. And the conversations keep going. People talking about their interests, their talents, their passion for hobbies and skills. It just keeps going. I've never seen anything like this before. Not here.
The thaw is going strong now, rivulets of conversation pooling together to nourish a cthonic ritual space so long buried under layers of ice that it had become trapped in stasis. Slowly, but quicker every minute, people talk. They talk now of their feelings, their troubles, their hopes ( I'm beginning to remember what that sounds like. I was right, that was what was in his voice). They move through stages of grief and revelations of joy and that night, I witness a wake and a birth in cosmic alignment move like a wave through this space.
Ember's departure is noticed only when someone goes to get him to clarify something about an anecdote he told. Sometime in the last half hour, he's slipped out of the bar. I missed it. I've been having a very interesting conversation with a gentleman named Cale who does anatomical illustrations for a living and likes to draw fanart of science fiction novel characters in his free time,. Labs joined us in conversation at some point. I now know Labs is taking art classes, but their ADHD meds are backordered so they've been struggling to get assignments turned in on time. I learn that Cale spent two semesters working in his university's business office and is more than willing to walk Labs through how to handle the situation. And I learn that I care about these people, these new friends.
The chill, but for the softest refreshing breeze, is gone. There is warmth and camaraderie. Someone is being given an impromptu interview by the owner at one table. She's a regular and it turns out she has everything necessary to run karaoke for the bar on Fridays. The bartenders are in good spirits, tired at the end of the night, but all smiles.
I notice something sitting on one corner of the bar and go over to it: the little notepad and pen that Ember was working with. The drawing of the castle is intricate, detailed, beautiful. There's a line of poetry beneath the castle drawing.
"I awoke to spring's thaw
And the sweet sound of a friend's voice."
I smile, then blink and peer closely at the castle ramparts. There, smiling and posed as if waving, is a little stick figure, framed by a beer stain, and certain that his future is brilliant indeed.
Divination: Effective Questions
Moving forward
What is holding me back?
What can I learn from the past?
What am I ignoring?
What is my biggest block at the moment?
How can I overcome x?
What do I need to know/see/understand right now?
What do I need to focus on?
What do I need more of in my life?
What do I need less of in my life?
What is the next step I should take to make my desire a reality?
Personal
What is trying to come forth in my life?
How can I be more powerful and effective in my life?
What is my greatest source of strength?
How can I improve my ability to x?
What talent do I have that I need to use more?
What characteristics do I need to fully embrace?
What skills and talents will best serve me?
What spiritual lesson am I trying to master right now?
How does my current path align with my spiritual purpose?
What message do my patron deity/spirit guide/angel have for me?
Love
What is blocking my self-love flow?
What should I let go to increase my self-love?
Whatâs my major self-love challenge?
How can I increase my ability to give love?
How can I increase my ability to receive love?
How can I improve my relationship with x?
What do I need to know about my relationship with x?
Are our paths compatible?
What should I do to attract my partner?
Is there anything in the past thatâs stopping me from meeting my partner?
NOTE: Nothing is set in stone! Divination is for advice.
A Prayer to Lugh from a Spoonie
Lugh the Many Skilled
Poet, warrior, smith, craftsman
I ask something different today.
Not that my skills stay sharp
(though I do wish them to last long and well)
Not that I earn great amounts
(though I do need to eat and have shelter)
Not that I be the most skilled or hardest worker
(Though I do like to shine)
Instead, help me see my worth.
In a world that prizes product
Remind me my existence is value.
And if my innate tools fail
Remind me of the kind words I speak.
Should my capacity for speech tire
Remind me of the warmth of my thoughts
Should my skills at craftmanship
Need to be laid aside for my health
Remind me of the value of a human heart
That has so much room for love.
Remind me that love is an act, a skill, and a devotion.
Remind me that my value is not in production
But in existence.
And help me through the sorrow as I mourn.
And give me strength on the good days
And insight to rest on the bad.
And patience as I learn, again and again, my worth is not dependent on the money I may or may not earn.
Remind me that life is worthy.
That I am worthy.
That I am worth love.
Lugh the Many Skilled
The lover, the joyful, the patient, the gentle
I ask this of you today.
by Luyao Wu
Apollo for one of my classes. Largely informed by his hymn + shelmerdine footnotes đ
What Is Lughnasadh (LĂșnasa)?
LĂșnasa (pronounced LOO-nuh-suh) is the Irish harvest festival that is now celebrated on August 1, and was considered the first day of autumn in the ancient Irish year.1 It opens the grain harvest, the point where the hungry weeks of late summer give way to the first food from the new crop.1 The name comes from the god Lugh; the older spelling is Lughnasadh. It's one of the four festivals of the Irish year, with Samhain, Imbolc, and Bealtaine.2 You'll also see it in the folk record as Garland Sunday, Reek Sunday and Crom Dubh's Sunday.
This article is meant to give an overview of the festival. Each part below has a fuller article behind it: the festival's pre-Christian origins, the dark harvest figure Crom Dubh, and the folk customs that lasted into living memory.
Lammas vs Lughnasadh
You will sometimes see Lughnasadh and Lammas used interchangeably, however they are two different traditions. Lammas comes from the Old English hlÄfmĂŠsse, "loaf-mass": it is an Anglo-Saxon Christian rite in which a loaf baked from the first ripe grain was carried to church and blessed.3
Lammas was a church observance built around that blessed loaf; Lughnasadh was a public assembly with horse-racing and trade.45 What they share is the first-fruits moment, the same turn in the harvest year, which is why English speakers in Ireland sometimes used "Lammas" as a label for the native festival and the two ran together.
Modern Wicca adds a third sense, treating "Lammas" and "Lughnasadh" as interchangeable names for a single August 1 sabbat in a Wheel of the Year assembled in the 1950s.6
This guide follows the older Irish festival.
What Lughnasadh meant
LĂșnasa was the threshold of plenty. The weeks before it were often the hungriest time of the year, when last year's stores ran low and there was little paid work until the cutting began.1 The festival opened the harvest; cutting corn or digging potatoes before it was considered improper, a mark of bad husbandry.1 The first food from the new harvest went into a festive meal, and people climbed the hills to pick the first ripe bilberries.1 The day marked the turn from scarcity to plenty.
The god Lugh and the assembly at Tailtiu
The festival is named for Lugh, one of the major Irish gods, who was also known across the Continental and British Celtic world as Lugus.27 The medieval tradition makes LĂșnasa the funeral games that Lugh founded for his foster-mother Tailtiu, who died clearing a forest into farmland,8 and it places the great assembly at Tailtiu (Teltown, Co. Meath).5
How much of that reaches back to real pagan practice is uncertain. It's unclear how old the origin story is, and by the time we can see the festival clearly it was a Christian-era institution, with a church on the assembly ground.5 The roots are pagan; most of the visible history is Christian. The origins article spends some time going over the major theories and evidence.
Crom Dubh's Sunday
Across much of Irish-speaking Ireland the day carries a different name: Crom Dubh's. The name pairs crom, "bent or crooked," with dubh, "dark" or "black."9 In the folk legends, Crom Dubh is a pagan chieftain whose fierce bull submits tamely to St. Patrick before the chieftain himself converts.10 Recent scholarship traces this figure back through the written record to a medieval idol, Cenn Cruaich, rather than an ancient god of the harvest.9 The full story is in the Crom Dubh article.
How Lughnasadh was celebrated
The folk customs are the most durable part of the festival, recorded across Ireland into the twentieth century.1 People dug the first potatoes and ate them in a first-fruits meal, climbed hills to pick bilberries on "Garland Sunday," did rounds at holy wells, and swam their cattle and horses for protection.1 The biggest surviving tradition is the Croagh Patrick pilgrimage on Reek Sunday, the last Sunday of July.1 The folk traditions of LĂșnasa covers the customs and how to mark the day now.
The Year in Ireland by Kevin Danaher â©ïž â©ïž â©ïž â©ïž â©ïž â©ïž â©ïž â©ïž
The Sacred Isle: Belief and Religion in Pre-Christian Ireland by DĂĄithĂ Ă hĂgĂĄin, â©ïž â©ïž
Lammas â©ïž
Lammas â©ïž
Ireland's Immortals: A History of the Gods of Irish Myth by Mark Williams â©ïž â©ïž â©ïž
Wheel of the Year â©ïž
Early Irish Myths and Sagas by Jeffrey Gantz â©ïž
Celtic Gods and Heroes by Marie-Louise Sjoestedt â©ïž
"On the Origins and Development of Crom Dubh" by Claire Collins â©ïž â©ïž
"Trespass and Building in the Lughnasa Legends" by MĂĄire MacNeill â©ïž
Browsing the fat liberation section of tumblr makes me a lil emotional because every time it makes me remember that Dionysos wants me to be fat because it means i'm enjoying life, and idk its just beautiful
This tweet means a lot to me.
Itâs probably a really cool and good sign that this post I made in 2014 is going around again, right?
Ăine, Rowan Kal, 2026, digital painting
áááááá á
Use your PTO
The Irish Mythology Tarot ~ King of Swords, ManannĂĄn Mac Lir
Iâve finally finished drawing the suit of Swords for the revamped Irish Mythology Tarot! Owners of my original deck will notice that this is a revamped version of the artwork for the Emperor because Iâm shuffling around a few of the characters now that Iâm working with a wider range of cards.
The original drawing of ManannĂĄn is one of my favourite things Iâve ever made, so I really enjoyed updating it to suit my current style.
If youâd like to join the mailing list for the eventual physical deck, you can do so here.
Iâll be posting more cards next week! So excited for everyone to see them!
masculine energy this feminine energy that. well iâm out of energy
need me some of this "renewable energy" I keep hearing about
if I very gently explain to you that science and a basic scientific understanding at the population level is valuable and necessary for global society to function AND that the desire to eradicate spirituality in service of science is a very political, often imperial and colonial undertaking, and you go ânuh uh itâs not that deep also youâre stupidâ like I dunno. maybe you deserve to get punched a little bit
As someone who is kinda new here, I too want to jump on the Laeg bandwagon (bandlaegon?)! Do you have a handy summary post that explains Who Even Is This Guy and Why Should I Care?
I probably do, but I can't find it, and I'll take any excuse to talk about LĂĄeg, so let's just start again.
Who even is this guy, and why should I care?
LĂĄeg mac RĂangabra, also sometimes spelled LĂłeg, Laogh, Laoi, and pretty much any variation thereupon, is CĂș Chulainn's charioteer, companion, and closest friend. In some texts, he appears to be his foster brother. In later texts, the relationship looks more like a sworn brotherhood situation. (I wrote an article about that.)
The name LĂłeg or LĂĄeg literally means "calf" and figuratively means "favourite, darling" ("Mo lao thĂș" is used in Caoineadh Airt UĂ Laoghaire, for example). "mac RĂangabra" is ostensibly a patronymic, and in two texts we see his parents, SrĂan or RĂan and Gabar. However, since it appears to mean reins-of-a-horse or path-of-a-horse, I believe this 'patronymic' was originally just a descriptive epithet meaning charioteer, which at some point was reinterpreted as a personal name and parents created to match. This would explain why we get so many charioteers called mac RĂangabra, only some of whom are ever explicitly given a familial link to LĂĄeg.
(Note. Under the entry for LĂłeg, eDIL suggests an uncertain meaning "calf of the sea-horse" for his name. I've absolutely no idea where they get that, but I think it's wrong, so ignore that; it's probably based on a weird reading somewhere and doesn't take into account all the texts.)
Why is he called calf? Or perhaps we should ask: why is he called Beloved? What does this tell us about the role the earliest authors thought he played in these texts? I don't know. I'm normal about it though.
He is the most well-developed charioteer in medieval Irish literature, in part because he he gets more screentime than all the rest put together. He is CĂș Chulainn's only companion throughout the majority of TĂĄin BĂł CĂșailnge, as well as large parts of other stories (TĂłruigheacht Gruaidhe Griansholus, Oidheadh Con Culainn, etc), meaning that their relationship plays a significant role in these texts. Analysing LĂĄeg can, for example, tell you a lot about the different recensions of the TĂĄin. (I wrote an article about that.)
And being a charioteer encompasses more than just driving CĂș Chulainn around: depending on the text it involves driving, navigation, and geographical knowledge, yes, but also legal advice, treating CĂș Chulainn's wounds, fighting on his behalf or alongside him, making camp, taking messages and serving as go-between, inciting CĂș Chulainn, restraining CĂș Chulainn, dressing him in his armour, and probably more.
It's a lifelong relationship, though its nature shifts according to the text. In one version of Compert Con Culainn, he and CĂș Chulainn are raised together from infancy, while in TĂłruigheacht Gruaidhe Griansholus, he swears eternal friendship to CĂș Chulainn after being defeated by him in single combat. In the early medieval story of CĂș Chulainn's death, he dies just before CĂș Chulainn himself does, hit by a spear meant for CĂș Chulainn; in the early modern tale, he survives, and is the one to bring the news back to Ulster. (I wrote an article about that.)
In one group of manuscripts of Oidheadh Con Culainn written in Cork, LĂĄeg holds CĂș Chulainn's hand as he dies. (I have a forthcoming book chapter about that.) CĂș Chulainn's wife Emer describes the three of them as living together in one dwelling place.
And his friendship with CĂș Chulainn goes beyond the living, human world. In Serglige Con Culainn, he travels to the Otherworld on CĂș Chulainn's behalf. In SĂaburcharpat Con Culaind, St Patrick summons CĂș Chulainn's ghost from Hell and LĂĄeg is with him, demonstrating that they're together in the afterlife. In TĂłruigheacht Gruaidhe Griansholus, he expresses a desire to be buried with CĂș Chulainn.
(Sometimes people come up to me at conferences and say, a little nervously: "So, how do you interpret this relationship? I mean, is this queer?" This usually gets them a longer answer than they expected. I am extremely open to homoerotic readings. I also don't believe erotic elements are necessary for queer readings. At the moment, my approach to writing about friendship is both very aromantic and very informed by queer theory: I believe in dismantling gendered and heteronormative assumptions about how relationships are structured, and I also believe that friendship can be profound, intimate, physical, etc, and that it is vitally important not to replace heteronormative paradigms with amatonormative ones. I wrote a blog post about this. Ultimately, I believe that CĂș Chulainn and LĂĄeg are Weird About Each Other. I don't believe their relationship maps neatly onto any modern labels or divisions, encompassing as it does a very particular blend of service and intimacy, hierarchy and equality, friendship and violence, which is specific to a medieval warrior-charioteer sworn brotherhood setup; I think it would be reductive to suggest that it did. But I do have a picture of them kissing on the wall of my study, which a Tumblr mutual gave to me. I contain multitudes.)
He is in almost every text that CĂș Chulainn is in, from the very early tales to the very late ones. His absences are notable, and often 'corrected' in later reworkings: he is not present in Aided Ăenfhir AĂfe, the early tale of how CĂș Chulainn kills his own son, but he is present in the early modern story, Oidheadh Chonlaoich, because clearly his absence struck them as unlikely.
You would think, then, that this character who shows up in such a large number of texts and plays such an important role in them would have received some scholarly attention, and you ... would be wrong. In autumn 2018, I set out to answer a question I thought was simple: "What province is LĂĄeg from, and if it's Ulster, why isn't he affected by the debility during TĂĄin BĂł CĂșailnge?" I discovered that nobody had written anything about this, or, really, anything else about him. Even detailed character studies like Doris Edel's Inside The TĂĄin scarcely mention LĂĄeg (I think he warrants three or maybe four mentions in the entire book).
So, two years later, I started an MA looking specifically at LĂĄeg, because if nobody was going to give me the answer, I decided to find it myself. Everything I've done since has really cascaded from that.
This doesn't mean there has been absolutely no attention paid to LĂĄeg -- for example, I found out that he survived in Oidheadh Con Culainn because it was discussed in passing in Joseph Falaky Nagy's book Conversing with Angels and Ancients, and Alf Hiltebeitel published an article about the role of the charioteers in Comrac Fir Diad back in 1982, 'Brothers, Friends and Charioteers: Parallel Episodes in the Irish and Indian Epics'. (Did you know: if you google that article trying to get the original pub date, the AI summary will link you to my article about LĂĄeg instead? Because I cited it and mine's Open Access, I guess. Hate that this suggests the AI has ingested my research, but such are the perils of OA publishing.) But there is shockingly little considering how significant a role he plays, and he is often overlooked in contexts where he should have been mentioned, such as in Julia KĂŒhns' summary of the plot differences between the two death tales, where she doesn't appear to notice LĂĄeg's survival.
So, the three articles I've published about LĂĄeg so far, as well as my forthcoming chapter and various conference papers, have significantly raised his academic profile and I think I have single-handedly doubled the amount that's been written about him. It's amazingly easy to become the world expert on a medieval Irish character; you just have to pick somebody that nobody else cares about.
Why has LĂĄeg barely been discussed? Well, aside from the lack of literary and character-led analysis in our field in general, it is probably substantially a class thing (why would we write about a servant when we could write about a warrior) and, relatedly, treating him as an extension of CĂș Chulainn -- just another weapon in his arsenal. And, sure, they're deeply intertwined and LĂĄeg-without-CĂș Chulainn is something of a shadow... but he is still a separate person, as evidenced by his appearance in a bardic poem set after CĂș Chulainn's death. It's also partly that his role develops significantly in late tales, but scholarship has hitherto focused more on early material. But that doesn't excuse the TĂĄin BĂł CĂșailnge scholarship, where there were plenty of chances to talk about him!
I still don't know, for the record, what province he's from. It's very ambiguous. He may have a link to Connacht, via a connection with CĂ©t mac Magach, but that might just as easily be a Charioteer Connection via complicated textual garbling. He may have a link to the Otherworld: his parents might live on an Otherworldly island, or hang out at SĂd Truimm. He is, however, quite probably a similar age to CĂș Chulainn, which might be why he doesn't suffer under the debility during TBC. (Or this might also be a class thing. "Men of Ulster" is not men in the broad sense, it is far more specific than that.)
But I haven't exactly answered the question of why we should we care about LĂĄeg. I suppose the answer is: because without him CĂș Chulainn would be nothing. He would never have made it to the fight in the first place; he would not have his weapons; he would made poor choices and lost his legal status; he would be unable to win certain combats; he would have died on his grand European tour when he was fifteen; he would be wounded with nobody to bandage him up; he would be alone, he would be lost, he would be considerably less interesting. And instead we have This Guy. And at first glance you think that he is the ordinary one, there only to reflect CĂș Chulainn's light. But once you start looking at him, you start to realise... he's an absolute freak.
He goes to the Otherworld, and then comes back. He fights a hundred warriors using CĂș Chulainn's own weapons because CĂș Chulainn is asleep at the time. He plays board games with CĂș Chulainn in a moving chariot, holding the reins while sitting with his back to the horses and not looking where they're going. He can turn them invisible. He can see people from the Otherworld when CĂș Chulainn can't. He is so weird and I love him so much.
Anyway. I could talk about LĂĄeg until the cows come home. I already wrote a 27k MA thesis about him, and he's a big part of my PhD. But hopefully the above provides a brief introduction to why this is my conference t-shirt:
I have received many compliments on it. I'm thinking of making a follow-up that has the dates and titles of my articles on the back, like a band's tour t-shirt, but I think I need a few more articles before I can make that work.
Hellenic Pagans when they're trying to do actual research on their deities but they just keep getting stuff for Lore Olympus, Hades game, Epic the Musical, etc:
Theistic Satanists, Luciferians and other people who work with demons when they're trying to do actual research on their guides but keep getting stuff for Helluva Boss:
Norse Pagans and Heathens when they have to sift through 5 different layers of Nazi bullshit just to find a single credible source that isn't bigoted:
Celtic Pagans who are trying to research their deities but keep just finding repackaged Wiccan traditions that aren't historical at fucking all:
Kemetic Pagans trying to find actual quality historically accurate information about Ancient Egyptian Religion but just keep running into stuff that Victorian "scholars" just made the fuck up:
Roman Pagans watching people treat their religion like it's basically just Hellenic Polytheism but slightly to the left when it's so much more complex than that:
Slavic Pagans trying to find a single fucking credible source on their religion and find another person who also practices it:
I'm sure there's way more things like this but I can't think of them rn. We should all kiss about this btw