Palestinian artist Imad Abu Ishtayyah painted this piece during Israel's 2014 Genocide on Gaza. It's called 'We Shall Return', with a Palestinian woman wearing a traditional Palestinian dress (thobe) & she is rising from the buildings destroyed by Israel in Gaza, showing hope amidst the destruction.
my general opinion on what people should be "allowed" to portray and what topics they should be "allowed" to explore in fiction is that you can make whatever art with whatever themes you want but i'm also allowed to think the way you handled it was tasteless and should've been done differently. my negative opinion on your handling of sensitive topics is the price of admission for publicly showcasing your work. this is not a pro-censorship stance because i am not The Government
this is getting really popular so i’d like to add the important caveat that your criticism of a work is no more unassailable than the work itself. just as one is entitled to be critical of something someone else is entitled to disagree with that criticism. i add this because some of you pretend to give a fuck about thoughtful analysis and then when someone points out flaws in your argument you declare that all criticisms are valid. this is untrue. the status of a hater is no more sacred than that of a liker. get off your high horse and engage in the thoughtful discussion you pretend to believe in or perish by my blade
The Nine of Arrows means finding a creative solution when at a disadvantage. Coriolanus giving Lucy Gray his mother's compact and her filling it with rat poison to use against other Tributes was a huge risk. As was Coriolanus dropping his handkerchief into the snake tank. Lucy Gray's Victory was claimed through these actions, in which each of them faced the fear of being caught and did whatever they could, risk be damned.
Lucy Gray Baird shows that survival does not have to come at the expense of morality.
Throughout TBOSAS, she is clever, adaptable, and deeply strategic, constantly reading the people around her and adjusting her behavior to stay alive in a world designed to exploit her. She shows that she will do whatever it takes to survive, even if it means killing her fellow tributes, Sejanus, or Mayfair.
Even as she performs, manipulates perceptions, and makes difficult choices, she consistently holds onto a personal moral compass. She values loyalty, resists cruelty for cruelty’s sake, and shows empathy toward others who are vulnerable, refusing to fully surrender her humanity to the Capitol’s rules.
Lucy Gray’s survivalist instinct is not a moral compromise. Her arc proves that one can be both a survivalist and a principled person at the same time.
On the other hand, Coriolanus mistakes survival for power, believing that staying safe means controlling others at all costs and always having the upper hand. Where Lucy Gray adapts in order to live while preserving her values, he equates self-preservation with dominance and views morality as a weakness rather than a choice. He cannot grasp that looking out for oneself does not require abandoning empathy or fairness, and instead assumes that cruelty and manipulation are necessary tools for survival. This misunderstanding leads him to see the world as a constant threat to be conquered, rather than a place where intelligence, morals, and empathy for your fellow man can coexist with survival.
These opposing views on survival are what make Snowbaird such a compelling and complex dynamic to dissect. Lucy Gray’s belief that survival can coexist with morality directly challenges Coriolanus’s conviction that power and control are the only safeguards against chaos, creating a fundamental ideological rift between them.
Their interactions are charged not just with attraction and romance, but with a deeper philosophical conflict about what it means to endure in a cruel world.
What ultimately makes their story a tragedy is not a lack of compatibility, but the way their compatibility is undermined by Coriolanus’s choices—especially his decision to lie about killing Sejanus. Lucy Gray has already shown that she understands morally complicated actions taken in the name of survival, and had Coriolanus been honest, she likely would have grasped the fear and the thought behind his decision.
Their shared intelligence, emotional attunement, and ability to read one another mean that truth could have led to understanding and a deeper bond.
Instead, the lie confirms Lucy Gray’s deepest concern—that Coriolanus prioritizes self-preservation and power over trust—turning what could have been mutual understanding into suspicion, and transforming a potentially enduring relationship a tragedy that effects generations.
Overall, in canon, Lucy Gray exposes the possibility of a different path, one that Peeta and to some extent, Katniss, ultimately takes later on in the trilogy—a path rooted in self preservation but with the belief that people are ultimately good—while Coriolanus both desires and resents that. He spends his whole life trying to disprove that theory and to prove that he made the right decision by shooting at the only girl he ever allowed himself to love.
This tension transforms Snowbaird’s relationship into more than just a dysfunctional romance; the competing philosophical worldviews that the Lucy Gray and Coriolanus represent ripples through the entire series.
Snowbaird is endlessly fascinating to analyze and I do not understand why it has such a bad rep in the fandom. It is so much more than an example of why Snow was always evil, which the way people on the clock app treat it.
whenever people start debating whether katniss is covey or not due to retroactive prequel additions my least favorite part is when people say it would make katniss part of a 'special/chosen group' because from my read of them they aren't a 'special group' by any means. the covey by themselves aren't chosen freedom fighters destined to take down the capitol, that's something fanon has assigned them. first and foremost, they are a nonaligned group who explicitly did not take a side during the war and prioritized self preservation. the capitol still killed them. within tbosas the covey do continue to distance themselves from overt rebellion, their 'otherness' comes from just being a non assimilated group within 12. there's not a lineage of 'special' people within the covey, most of the original group isolated and kept to themselves, lenore dove in sotr isn't a mastermind rebel either, she's just an impulsive, compassionate 16 y/o girl who's against the government. the covey don't have special abilities or advantages that make them more naturally rebellious; their lasting effect is their music (which going strictly by book canon does not actually breach containment outside of the small populace of district twelve.) the one thing that really makes the covey relation to be a 'chosen' or special marker would be the tying to lucy gray, as she is the first/forgotten victor of district 12 who brought entertainment to the games, had an intimate connection to snow, and wrote the songs that passed down culturally to d12 and katniss. when we consider this the 'chosen one' label would be less of an in-world, prophetic magical person and rather a literary circle type thing. the lucy gray/katniss connection wouldn't really affect how katniss interacts with the world in the original text but it's more part of the outside narrative of the history of the games and the ripple effect of snow/lucy gray and her lasting impact on him. i think this was collins' main goal with creating a lineage between them at all, but tldr; the covey themselves are not a special or magical group within the world of panem the covey connection only serves to narratively tie up katniss and lucy gray.
hamlet’s “i did love you once” and ophelia’s “indeed, my lord, you did make me believe so” is such an underrated gut punch. it’s betrayal it’s heartbreak it’s vulnerability it’s so over. truly no one is doing it like shakespeare
revenge scheme so convoluted and messy it's painfully obvious to anyone who knows anything that you never actually wanted revenge and are just crashing out real bad
I have a sinking feeling about Qifrey and where his story is headed.
MASSIVE spoilers and maybe slightly long-winded theorizing below the cut.
I believe quite certainly that Qifrey intends to reveal the complete truth to Olruggio very soon, and that while he seems to be accepting his fate, he is trying to maintain as much control over the terms of his inevitable end as possible.
Following the events of Chapter 88, after he reveals his nature as a Silverwood host to Coco, he asks to postpone his complete confession, wishing to be able to reveal the truth elsewhere, in a peaceful place beneath a wide open sky where his roots would have room to comfortably grow. He has described the land around the atelier in this way many times before.
Later, when the entire group is finally reunited and Olruggio tells Qifrey they’re going home. Qifrey’s expression looks pained for a moment, before he answers, “Alright then. Let's go home. Our atelier awaits."
His verbal recognition of the atelier as his home is a rather glaring signal that he is beginning to accept his imminent end and has chosen the atelier as his ideal final resting place. This is hinted at early on in a sequence during which Beldaruit spoke to Riliphin of the Silverwoods, and implied that he knew of Qifrey’s condition as he privately worried that his beginning to think of the atelier as his home could be dangerous for him.
At a point during their journey home, we return to the group to find the girls all asleep, while Qifrey has distanced himself from the rest, sitting on the bank of a lake to write in his book. Olruggio joins him and points out how far he’s sitting from the fire.
I think this was probably intentional in an effort to be closer to the lake to keep himself anxious, since it is my personal theory that here, Qifrey is actually writing a letter to Olruggio in which he tells him the entire truth, and that the narration through the next arc is comprised of excerpts from that letter. The lake is intended to be a failsafe of sorts, since of course, we know that vocalizing the truth to Olly is Qifrey’s greatest comfort trigger, while water touching his skin is his biggest anxiety trigger. Given this, it makes sense for him to choose this particular spot to begin to release the truth so he has a means of keeping the Silverwood at bay readily available should he need it, which he evidently does later on.
In the segments that follow, Qifrey reminisces on how he and Olruggio crossed paths at the Great Hall and became close.
Through the end of chapter 91, we watch the story unfold neutrally as though it is happening in real time, with no narration, but in chapter 92, something shifts. As soon as Qifrey’s recount reaches the part of the story that would have been lost to Olruggio’s memory, a past-tense narrator voice begins to cut in, and suddenly, it becomes clear this story is being told to someone, not merely recalled, and not just to anyone, but to Olruggio by Qifrey. This is the strongest evidence that what we’re reading is actually the contents of a letter to Olruggio.
All of this indicates to me that Qifrey is not just reminiscing, but is actively preparing for the end. The telling of the story, the physical and emotional distance Qifrey has put between himself and the others, and his now repeated framing of the atelier as both home and the kind of place where he would want to be forever, are all supportive of that.
As far as we know, Qifrey hasn’t been the one to initiate a full confession since they were kids at the Tower of Tomes. Spilling his guts in a letter written under duress is probably a new tactic, and it’s a smart one, as it ensures Qifrey can get the complete truth out on his terms without the usual interruption from the Silvertree.
We also know that Qifrey would rather die than have his transformation hurt the people he loves, so at this point, I wouldn't put it past him to leave the letter at home where the others will find it before going off to trigger his transformation alone, or waiting until the others are gone to trigger it.
This is what has me especially worried for him now, because Olruggio and the girls just left the atelier, leaving Qifrey there by himself. Maybe I'm projecting (probably), but the thought of Qifrey leaving a note and then going off to essentially kill himself makes my stomach hurt. Painfully though, it does feel in character, especially now that he's vocalized his trust in his students, particularly Coco, to carry on his mission. Olruggio, please go home now, your husband is an active danger to himself!!
Fortunately, Hiehart and Jujy pay the atelier a visit, but even upon greeting them, he does already seem on edge and uncharacteristically down.
Hopefully, whatever Hiehart has to say will get Qifrey out of his head and convince him to keep living for a little while longer. I'm guessing he's going to ask Qifrey to take on Jujy as his apprentice. I guess we'll just have to wait and see.
Anyways. To conclude, here is Qifrey’s directed narration/possible excerpts from a letter to Olruggio compiled:
Every day I turned my gaze away from the encroaching dread, and for as long as I was in the dark, I was happy. I greeted each morning with excitement, for with the rise of the sun came another adventure with you. I thought if I could retrieve the past I lost, my joy would be as genuine as yours, and perhaps I would have a real chance to share in your happiness. A child can dream. Like ordinary boys, we would share our visions of tomorrow with each other and we would laugh at how far away it all seemed.
Little did I know that felicity came with forgetting. It was a bliss born of ignorance. If I knew what I was… If I knew that I was never meant to be saved, I would've stayed far away from you, the sky’s kindest, most radiant star.
I once read an old poem that likened stars to boats sailing through the sky. But as far as I know, boats don’t twinkle like stars. The light doesn’t come from the vessel itself, but its guiding torch. Like your pyreball, it burns at the bow. A beacon of light in the dark.
After that fateful day, you would uncover my secret again and again. Each time you would respond with disbelief. Then your face would twist and turn in anguish. And after biting back a few words, you would show me grace, and comfort me and forgive me for lying to you. And then, without fail, the Silverwood’s roots would grow. You would offer me the same path back every time, and I would take it, adding to my mess of sins.
I had often considered leaving your side. I thought that perhaps traveling alone would save me from taking away your memories. But even that minute solace was enough for the Silverwood. I knew then that distance would do nothing but break my promise to you.
So I had another thought: A master never wants for worry with apprentices to look after. The selfishness behind my reason for taking on pupils made me ill, but they’d never have to know that. So I decided to put every fiber of my being toward becoming a good educator. If only I had known then what a joy it truly is to watch your students grow with each passing day.
It’s somewhat rare for a Silverwood to take root in people. Unlike animals, they tend to hold onto too much anxiety. Which is why the tree planted in Custus that gave him his legs raises some questions. My right eye was the only one to sprout during the experiments. It must have some connection to the Silverwood in Custas. For so long, I thought I was the only host, but now I'm not so sure. There could be more victims out there than I ever imagined.
Did I make the right choice?
Would it have been better to throw everything aside and hunt down the brimmed caps?
Doubts like these turn in my head, but the moment I see my atelier, I remember.
This is where my heart is. This is where I want to be.
I wanted to add to the thematic reasoning behind this theory.
spoilers for ch96 ahead
First holy shit, seeing the monologue written out, it really does look like a "deadman's switch" for the case of his death.
ch95 and ch96 start off our winter arc, and both of them offer a foreboding message about the circle of life and the necessity of death in it.
With the arc starting off with death very much in our face, it's very likely that there will be at least one major character death. These specific mentions of the circle of life also call my attention to the only other time it has been mentioned previously in the manga:
I believe by the end of the series, Qifrey will be "cured" in some way; but as of now, he seems to be the most likely person to "feed the Earth's soil".
I don't think, however, that he will seek out to die as of now. Most likely, there will be something that triggers it at the end of the climax of the arc or during the resolution. A tree that will bloom in the spring.
This chapter also includes olruggio sharing with tetia his values.
The people that "pass" are essentially the people that he couldn't save. He has accepted that this guilt for others is a part of him that will not go away. I hope he is prepared for another winter where he will not be able to save everyone with his magic.