BucketsOfSalt

where I go insane over things no one cares about @bucketsofsalt

[bucketsofsalt]

saathi hai deewana some (Khushi) might say

[lukosei]

Modern college AU of the Iliad I did for a concept class last semester 🤩🤩🤩

There are briefs for how the info/roles are interpreted but TLDR Greece (Sparta) and Troy are frathouses and they’re fighting over Helen who is represented by a revered and beloved horse mascot. I think everything more or less gets explained here, as for the ending after Patroclus dies (gets detained) Achilles does his whole thing knocks many people unconscious and then is expertly disarmed by Hektor, eventually ends up getting arrested as well for both trespassing and also aggravated assault, then instead of the two of their ashes getting mixed together in death they’re put in the same holding cell lmao.

Very pleased with the chara section then errmmmmm for my locations I originally had other ideas for their ultimate stylistic execution much similar to what you’re seeing here but probably a bit tighter; in reality these are actually my initial roughs that I colour blocked that I do still like because I fucking hate the ‘final versions’ I otherwise came up with after trying to follow some Advice. So now I’m more inclined to share everything now that I swapped it out finally lmfao

[umbilicallove]

something about catherine always being locked in boxes, or locking herself in boxes: her childhood bedroom in which she's locked in and starved as a child. her bed which is like a cabinet. thrushcross grange as a whole. the kitchen in which she locks in herself, heathcliff and edgar. her bedroom in thrushcross grange in which she locks herself in to starve herself to death. her coffin. and something about how heathcliff tries to get her out of those boxes. they run away from wuthering heights as children. he takes her out on walks on the moors again after his return. he breaks into thrushcross grange to hold her in her final moments of consciousness. he RIPS OPEN HER COFFIN. do you hear me!?

[orpheuslament]

heathcliff did nothing wrong actually people just hate to see a girlboss winning

[fangirlinglikeabus]

can’t think about the hareton/heathcliff dynamic without going insane. it’s about heathcliff at his worst being loved as a father it’s about the person who should hate him above all else crying over his corpse it’s about heathcliff saying he sees himself at that age in hareton and trying to hurt hareton anyway

[amourduloup-deactivated20210512]

Do you ever think about how in wuthering heights most of catherine and heathcliff's relationship was when they were children? They met when they were 6/7, then when they were 12/13 and catherine met edgar they were mostly apart till catherine died. Mfs really ruined their whole life over their playground crush.

Well, sandbox love never dies <3

But yes, the fact that their relationship developed in childhood is extremely important (and heartbreaking). Childhood is a time when you can somewhat escape the rules and conventions of society. No wonder Cathy says “I wish I were a girl again, half savage and hardy, and free... I’m sure I should be myself were I once among the heather on those hills.” The moors, where Cathy and Heathcliff played and ran wild together stand for childhood, nature and unrestrained passion, as opposed to the House (especially the Grange), which is a human construction, and as such represents the confinements of society, rules, conventions, marriage and adulthood.

So it’s very important that Cathy and Heathcliff’s relationship developed during childhood, and that they’re both stuck with those memories, unable to fully let go - unable to grow up completely. A lot of readers dislike Cathy and Heathcliff, and they are irrational, selfish and childish, because they have never completely left childhood. Heathcliff is described as a “wolfish man” and compared to a "bird of bad omen” - his wild nature is childhood, whereas Linton’s restrained, conventional posture is adulthood. Cathy marries Linton, but her heart will always belong to Heathcliff - or rather, her soul, her very self. That opposition between childhood and adulthood, nature and society, is at the very heart of the book. Bataille writes:

As Jacques Blondel pointed out, we must always keep in mind that ‘the feelings are formed during Catherine’s and Heathcliff’s childhood’. But even if children have the power to forget the world of adults for a time, they are nevertheless doomed to live in this world. Catastrophe ensues. Heathcliff, the foundling, is obliged to flee from the enchanted kingdom where he raced Catherine on the heath, while Catherine, though she remains as rugged as ever, denies her wild childhood: she allows herself to be seduced by the easy life personified by a young, rich and sensitive gentleman. (...) So, when he returns rich from a long journey, Heathcliff is prepared to believe that Catherine has betrayed the sovereign kingdom of childhood to which, body and soul, she belonged with him.

(Literature and Evil, Georges Bataille, tr. Alastair Hamilton)

It’s also interesting that Cathy and Heathcliff can only reunite in death. Childhood and death are then deeply connected, both representing freedom from social constraints and moral concerns. It’s the “sovereign kingdom” where the union of Cathy and Heathcliff’s souls can finally happen.

[faintingheroine-deactivated2024]

And it is also compelling that they sleep in the same bed as children and they are buried next to each other as dead bodies but they never lie together as living adults.

“To Catherine (Heathcliff) is between brother and lover; he slept with her as a child, and again in death, but not between latency and extinction.” (Frank Kermode, “A Modern Way With The Classic”)

[faintingheroine-deactivated2024]

“Heathcliff trespasses everywhere: he is the double of the dead Earnshaw son for whom he is named, the double of Nelly who is both inside and outside the family, the double of Edgar in his love for Catherine, the double of Hindley as a tyrannical master, the double of Hareton as an excluded savage, the double of Isabella in her volatile rebelliousness, the double of his son, his second, and the double of the father who brings home an unaccountable booty from elsewhere.

And, he is also the double of his most obvious opposite, Lockwood, in a way that finally punctuates the indifference of antagonists, the irrelevance of counting, the generality of antagonism. For just as the condition of possibility of the narrative is the intrusion of the foreigner Lockwood, the condition of possibility of the story is the incorporation of the exotic Heathcliff.”

(The Order of Forms, Anna Kornbluh)

[willievilli-deactivated20260111]

Everytime they release behind the scenes of wuthering heights the movie something in me dies because personally I think it should be criminally offensive to turn a book which challenged societal norms and racism into a whitewashed pinterest gothic aesthetic. Emily Bronte I'm so sorry.

[misskittygrimm]

“But Emerald Fennel’s ‘Wuthering Heights’ is meant to be a depiction of a woman’s fantasy!”

Thanks, I still hate it.

[olreid]

oh i'll go NUTS

[incorrectwutheringheightsquotes]

“As we saw, Heathcliff becomes a grim parody of Edgar’s proprietorial efficacy, restlessly appropriating to himself the powers and resources that earlier divided him from Cathy in an impossible dream of repossessing her, fruitlessly striving, by means of capitalist accumulation, to staunch the wound her loss has opened up in him.”

From “The Wuther of the Other in Wuthering Heights” by Steven Vine

This. This is the most elegant one sentence summary of the whole novel.

[his-own-kingdom-deactivated2026]

Wuthering Heights is a canonical novel with a POC lead but it is not a Racism Book or a Racist Book. It is about racism among many other things and it definitely has elements that can be seen as racist, but this is not its defining feature. It is an “epic tale of love and revenge” first and foremost. That’s why Heathcliff is constantly being whitewashed.

I don’t understand this greed to be honest. Why can’t you allow one (1) Romantic anti-hero from the Western literary canon to be not-white? All the rest are white anyway.

[divorcedwife]

i think there's something wrong with my new landlord

[frociaggina97]

emerald fennell is a terrorist

[wutheringheightsfilm]

actually the worst thing to come out of emerald fennell's butchering of wuthering heights is that we have scores of white people insisting that actually heathcliff isn't a person of color and that he's instead just someone with dark hair and dark eyes or white irish or something as if it's not on page 3 (or page 10 depending on the version you own) that heathcliff is described as "dark skinned [racial slur]" and as if he wasn't found in liverpool, THE largest slave trading port at the time wuthering heights takes place. oh right wait i forgot these people don't read

[arealtrashact]

Whatever our souls are made of, his and mine are the same.

[his-own-kingdom-deactivated2026]

Also, tbh, racists wouldn’t care to whitewash Heathcliff if he were such an unflattering character. The right-wing types on Twitter throw a fit when people say Heathcliff is not white, I don’t see them throwing a fit about, I don’t know, Ram Dass from A Little Princess.

Racists want Heathcliff to be white because he is actually a flattering character in a twisted way. He is the smartest, the most charismatic and the most powerful character in the narrative he is in and he plays everyone like a fiddle.

Also read this brilliant post by @stheresya