The Mermaid’s Gift ~ 1912 ~ written by Julia Brown (no bio found) and illustrated by Maginel Wright Enright (American illustrator and graphic artist, 1881-1916)
𓃗

Kaledo Art
almost home
Three Goblin Art
h
Aqua Utopia|海の底で記憶を紡ぐ
YOU ARE THE REASON

shark vs the universe

#extradirty

⁂
Fai_Ryy
PUT YOUR BEARD IN MY MOUTH
"I'm Dorothy Gale from Kansas"
Cosimo Galluzzi

Love Begins
Misplaced Lens Cap

❣ Chile in a Photography ❣
No title available
wallacepolsom

oozey mess

seen from United States
seen from United States

seen from United States

seen from Canada
seen from Mauritius

seen from United States
seen from Canada

seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States

seen from United States
seen from United States

seen from United Kingdom

seen from Japan

seen from Argentina
@elfingoblin
The Mermaid’s Gift ~ 1912 ~ written by Julia Brown (no bio found) and illustrated by Maginel Wright Enright (American illustrator and graphic artist, 1881-1916)
Stanisław Hiszpański (1904-1975), 'Sirens', 1963
FIRE ISLAND (2022) dir. Andrew Ahn
hello, i always read your metas on Tolkien and the Silmarillion with pleasure because you make a lot of very interesting arguments! I remember you talking about a recuperative reading of Tolkien from a feminist/queer viewpoint, so i am here to ask: do you think that's possible to do a recuperative reading of the Orcs' role in the legendarium? I know that there are aplenty of essays on the question of orcs, thats why i asked. I know that Rings of Power tried to give the orcs some sympathy but the show constantly wastes its potential ...
Well. The answer to this is a very qualified yes I think it's possible, first of all, and second of all, Charles W Mills did it far more eloquently and thoughtfully than I could ever manage it in The Wretched Of Middle Earth: An Orkish Manifesto - an essay that is really well worth the time for understanding the many racial ideologies at play in Tolkien's work, ranging from 19th century racial hygiene concerns, colonial imaginaries to the racial (and religious) imaginaries that propelled the crusades, and how they all add up in his construction of the Orcs & "evil" men (i.e. the Haradrim, Rhun etc). There is really nothing I can add to his analysis, except wish that he'd read the Silmarillion, because the Silmarillion makes explicit the racial hierarchy on which the Valinor Elves are placed, which is only inferred in LOTR & The Hobbit.
HOWEVER. I will say, if you do that recuperative reading, a) the central premises of The Silmarillion, Lord of The Rings & The Hobbit will begin to fall apart and b) you are no longer in "recuperative" territory, but straight up deconstructing and interrogating/reading against the text, because the text allows you no or very little room in which to problematise the figure of the Orc. I feel like I am swinging a bat at a hornet's nest here, but Charles W Mill's makes this point so eloquently, its worth reproducing :
My point is rather that Hitler’s racial fantasies were not idiosyncratic, but grew out of a central tradition within European thought, and that Tolkien’s book is itself fully within that tradition. And, appropriately, ends with its own final solution. For the genocide of the orcs is, of course, part of the climactic victory over Sauron and Mordor. Yet if it were to be suggested to the average reader of the book that it ends with a great crime, the claim would probably meet with complete bewilderment. The killing of the orcs generates no moral concern (either for the Allies or the vast majority of readers and critics) because, of course, the orcs have been successfully depersonized by Tolkien, rendered as ontological zeros. The pen here prepares the way for the sword. Indeed, a case could be made that LTR should be required reading for courses in the literature of genocide, for precisely because of the celebrated “reality” of Middle-Earth, it becomes possible to watch, in synoptic overview, the construction of an epistemology that makes mass murder possible.
And this is the exact problem that Rings of Power runs into in its narrative. If there is to be a story, the Orcs must be subsumed back into pure evil. They cannot be complicated and we cannot interrogate their origins and we certainly cannot interrogate their servitude under Sauron - we must assume they bear equal responsibility as aggressors in the war as Sauron. We cannot deconstruct the relationship between Elves and Orcs, or we would have to infer that the Elves' rejection of the possibility of coexistence - or at least the refusal to negotiate a possible coexistence and peace - betrays a genocidal impulse baked into that society. We cannot read them as the result of the torture and Marring of Elves or Men, because then that would raise all kinds of deeply thorny questions about the impossibility of healing and suggest that there is a point at which redemption becomes impossible for the enslaved, because they have been rendered ontologically evil and that ontological evil has been deemed hereditary (and one would have to compare it against both Morgoth & Sauron, who are offered chances to repent and squander them, while the Orcs are offered none). We therefore must render them evil, so we can have that final awful shot of the Elves declaring avengers style just and eternal war to obliterate "evil", without unpacking what exactly that evil is - where did it come from, how was it made, is evil its only state of existence or can it be healed?
If we were to deconstruct the question of the Orcs in the text, we would have to completely flip the Legendarium on its head and interrogate why exactly we believe the Elves are good - especially if the text itself has the Orcs grumbling about their enslavement to Sauron or Saruman. There is no just war. There is no estel and there is certainly no goodness in the Tolkienic sense - only endless self-preservatory justifications of terrible evil.
It could be an interesting story to tell. I think maybe the one that straddles the difficult line between holding the premises of Tolkien's storyworld true (the war of the ring is an unjust war waged against the Elves, Men & Dwarves; the Orcs are enslaved by Sauron; Sauron and Morgoth have consistently chosen evil over good even while offered other choices; the Elves perceive Orcs as ontologically evil; the Valar are essentially good), while deconstructing the figure of the Orc (i.e. the orc is not ontologically evil + Orc origin from tortured elves) is elves, once by Scedasticity. Its probably the closest you could get to poking at the figure of the Orc and asking if there aren't alternate means of dealing with them, while being a recuperative reading of the text (i.e. everyone is a victim of Morgoth and Sauron's consistently evil choices & the Marring that results produces this racialised class of non-people in the Orc). There are also some other interesting fanworks in the Orcs are People collection on SWG.
But like, I guess for me the question is, can you do a recuperative reading of Tolkien's racialised hierarchies? The reason why recuperative feminist and queer readings of the text works is that there's enough gap in the text that people can insert themselves in there and suggest feminist readings of the fate of characters like Eowyn or Galadriel or Luthien; or do queer readings of the peredhel. The problem of an antiracist reading of Tolkien's text is that the whole of his world is constructed around some very ugly racial hierarchies and assumptions, that even if you are able to do the kindest possible reading of the canon in relation to the Orcs, you would have to assume that the Elves think that unlimited genocide on Orcs is a reasonable response to the belief that someone is ontologically evil, even when you know that someone has been enslaved by Morgoth and Sauron. Which is wild! It just is wild!
And fwiw... I do think its worth deconstructing/interrogating the racial hierarchies of Middle Earth and in some sense I think The Silmarillion and HoME are useful for that, because the narratives do also interrogate the absolute nature of racial hierarchy presented in LOTR. In these texts, the Noldor are flat out wrong in their Noldor First elf!ethnonationlist political project... but on the other hand, the Vanyar, the highest of Elves, are described as fair, beautiful, wise, perfect, holy because of their proximity to the Valar - and in racial terms are essentially ur-Aryans. If you interrogate this, you would have to interrogate the construction of the Vanyar as perfect; you would have to interrogate whether or not the Elves should have left Middle Earth under the aegis of the Valar - something that Tolkien himself describes as having been a mistake in some places, because of how it disrupts the natural evolution of the relationship between Elves & Men as peers, and indeed the Valar as stewards of the world, not just kings/queens. Is this racial hierarchy that exists the result of everyone having done a little bit wrong at the beginning of the world? Is it "natural"? Is it "eternal"? Can it be changed, or is the only possibility an endless state of entropy & decay till the end of the world?
Anyway, IDK if any of this makes sense and I've rambled on for long enough but TL;DR: doing an antiracist reading of Tolkien requires a straight up deconstruction and interrogation of some of the fundamental premises of the text (the Valar do not make mistakes; the Elves are "good" and have never had a "fall"; Orcs are immutably and ontologically evil), not merely a recuperative one, and the Orcs are one of the most troubling groups around which to do this reading, because once you do, the reason for basically every war in the canon starts to fall apart rapidly.
The Three Princesses of Whiteland - The Queen Did Not Know Him, 1914 (Kay Nielsen)
English has different words for mouse and rat but in Chinese they're both the same creature (laoshu) so I asked my mom well how do you differentiate between mice and rats. She, clearly having never felt the need to do so, was like uhh big laoshu and little laoshu I guess. Then I went online to see how the difference between (the English words) "mouse" and "rat" was being explained to CN->EN learners and there are numerous articles delving deep into the analysis. Bigger vs smaller, indoors vs outdoors, cute and favorable connotations vs evil and ugly, tail length, fear factor, emphasis on the fact that you cannot call it a "computer rat." Much thought is being expended on this little mystery of the English language
Last time I was looking for an apartment, the guy showing me a room that opened directly to the alley was like 你怕老鼠嗎?and I, hoping to distinguish mouse vs rat, asked 大的還是小的? To which he replied, with great satisfaction: 都有!😃
Translation: "Are you afraid of rodents?" "Big ones or small ones?" "We've got both."
@probably-ace-ok This is beautiful.
The Y-Axis isn't that bad. Plus they have precise figures for every 2 years on the graph itself. This isn't a misleading graph.
The improvement is actually greater than this graph shows, since while house fires more than halved, the US population increased by 51% from 220 million to 332 million.
The number of house fires per 1000 people per year went from 3.289 to 1.023, a 69% reduction.
nice.
nice
Peer review, this was also my experience
boyfriend was just getting all gushy because I did something nice for him and he said "I love you so much, you are the most wonderful creature," and then in an abruptly solemn tone added "but make no mistake. you are a creature"
it does still make me insane specifically how many queer people lovingly embrace astrology. I went to a poetry workshop yesterday that was genuinely quite good but also included an option to disclose astrology designations during introductions and so many people broke out some variation of "I'm a [x] sum but I have a [y] placement and it SHOWS" girl no it doesn't. that's meaningless correlation you completely invented the causation
I'd say that rejecting biological determinism in favor of space gas determinism isn't the slay the astrology queers think it is but if I'm being completely honest I fear that many members of our community haven't even really rejected biological determinism so much as sprinkled a layer of glitter on it
yes that's how confirmation bias works
People get their panties up in a twist about astrology because they think it’s people shoving themselves into boxes that are not pre-existing.
Most people who like astrology like it because it reflects things about themselves that they relate to that they have difficulty vocalizing themselves. And things like doing a chart reading can allow you to gaze deeply into yourself
yes that's how confirmation bias works
Btw when people say "if you want to be a writer you need to read a lot of books" that means bad books too. This applies to all creative mediums and also even if you don't want to make it you should immerse yourself in some mediocre slop here and there and even abysmal dogshit on occasion. As a fan of the medium. If all you eat is perfect A5 wagyu prepared by a Michelen star chef youre gonna end up thinking a well cooked and seasoned grocery store ribeye is basically dog food and this is the path to spiritual rot
I try and avoid engagementbait when I can but look at his EYES
I think about Azula shooters often and their common refrain of "if Azula hadn't had a mental breakdown, she would've won" and I'm here to tell you that no, she wouldn't have.
There is no universe in which Azula was winning that fight with Zuko (or Katara, for that matter).
Azula spent so much of Book 2 being built up as this deadly terrifying force against whom the heroes are badly outmatched that it can be difficult to catch exactly how quickly Zuko is advancing.
Back up a bit to Book One. For the fearsome exiled crown prince of the Fire Nation, Zuko's not that impressive a firebender. He's not bad by any stretch, and he's able to lay the untrained Sokka and Katara flat pretty easily. Then he gets in the ring with Aang, who is an airbending master, and the difference between a regular bender and a master becomes apparent when Aang literally puts his ass to bed:
People have attributed this to the fact that no one's fought an airbender in 100 years, but I think it's also worth noting that Aang (a 12 year old from a pacifist nation) has probably never fought anyone before. Like, ever. And yet the second Aang thinks "okay, I'll attack back", the fight's over.
Zuko's got the same genetic predisposition for firebending talent that Azula does, yet it never seems to manifest because of his mental blocks. At the beginning of the series, he's already so beat down that all he really has is conviction, pride, and anger, so even with training from Iroh (the firebending master, thank you very much), he struggles. Yet throughout Book 2, when he has no time to train because he's on the run, he actually seems to advance faster. The fact that his bending is literally tied to his character arc (as his morals become tangled and he has to fight off aforementioned mental blocks) is pretty brilliant. Like, by the time of the Crossroads of Destiny, Zuko getting his ass handed to him by Aang is a pretty consistent feature of the show--he just can't match wits with him.
Hell, at the beginning of the series, he and Iroh (again: the actual firebending master) launch a combined power surface-to-air attack...which Aang casually swats away into a nearby ice wall. Come the Crossroads of Destiny, however, and Zuko by himself launches this bigass fireball that blows through Aang's defenses.
Zuko advances so quickly that it's scary. That prodigious talent is in him even if it doesn't come through as cleanly as with Azula. Who, by the way, was busy about to get flattened by Katara some few dozen feet away, until Zuko took over and then effectively stalemated her himself.
All of this in retrospect makes it abundantly clear why Zuko's firebending seemed to skyrocket so much when he learned true firebending from the Sun Warriors: it was really the only thing left. He's hard a hard road learning how to fight waterbenders, earthbenders, and airbenders, and even if unconsciously, he's applying the philosophy Iroh taught him about augmenting his bending style with aspects of other styles (see also, the waterbending-like fire whips he uses in the above gif). Once he actually understands fire and how it works, he's got it mastered. Hence why any gap between him and Azula effectively disappears as soon as their next fight--before her friends have betrayed her and her stability goes out the window. There's no real sense of urgency to their fight at the Boiling Rock prison. True, Sokka's presence with the sword helps, but Zuko doesn't look remotely worried and he counters Azula's every attack perfectly.
All her life, Azula only ever learned fire. She was taught by the best people the fire nation can employ, so she knows all the cool tricks, but she's still poisoned by the corrupted firebending practiced in the modern ATLA timeline. Unlike Zuko, who managed to get the basics if nothing else from Iroh (fire comes from the breath, and can be used to survive as much as to kill), Azula has always used fire as a weapon and a means to hurt others. She has no true knowledge of the craft, meaning she's got the same weaknesses as Zhao, she's just better disciplined to the point she can make up for it.
Zuko's victory was a given considering Azula's complete loss of control by the time of Sozin's comet, but even had she been in a perfect mental state, she'd have lost, because in many ways Zuko is simply the better firebender.
And that's the truth of it.
“It was just as if all the stars of heaven were falling down upon her.”
The Little Mermaid - Fairy Tales by Hans Christian Andersen ~ 1926 ~ illustrated by Honor C. Appleton (British, 1879-1951)
gallery note: This illustration shows the mermaid near the beginning of the story, enthralled by the firework celebrations on the prince’s boat. It beautifully prefigures the ending, when rays of sunshine fall on the water, and she is taken up into the air to earn her immortal soul. ~ Victorian Web
Glass Staircase at the Go'o Shrine in Naoshima, Japan
I have been here!!!! And that is true, you can't walk up the stairs, it is roped off:
HOWEVER. What is not shown in this photo is that there is a second part of this installation, which is underneath it. You go around the side and down the hill, and there in a concrete tunnel; when you go in, you see that the glass stairs start from under the ground, going up to the shrine.
...and then, on your way out, the man giving instructions at the exhibit said that because of how small the opening is, when it's a beautiful day, the horizon disappears, and the sky and sea seem like they're the same.
That's the view when you get out. It was one of the most magical experiences I've ever had.
this reply in the comments tho
This did not go where I expected from the first tweet and now I am laughing so hard I am crying.
There are so many times in life where I want to respond to someone by just saying "oh, so you're STUPID stupid," but I can't because that's never a productive response
I could probably avoid this by spending less time on this website but I'm not going to do that.
ANASTASIA (1997) dir. Don Bluth and Gary Goldman.