Damar’s Boob Sweat @havves-other-cat - Tumblr Blog

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Listen. Sisko was an amazing dad and no one can argue that. However, when he was completely opposed to Jake dating Marta (who was 20 and dating a 16 year old but that’s a whole other discussion) until he realized he could get private information about Jake’s life that he wasn’t ready to share, and then being all for the relationship, was

Not it

#I love Sisko don’t get me wrong #this just really grinds my gears #he hates that an older woman is taking advantage of his son #until he can take advantage of her to learn HARMLESS details of Jake’s life that he didn’t need to know until Jake was ready #not fucking it #poor Jake

cheaphalloweencostume

funniest sound in the world is a cat smacking shit hard as fuck with their little stupid paw

haonqq

Note to self do not leave pens in the car in arizona i gUESS????

haonqq

ALL OF THEM

ahsadler

rosenkranz-does-things

awoo

garaktime

Who has the pic of waltpaper

garaktime

achillesvevo-deactivated2020090

yamitamiko

me, holding a pizza box and shouting: SUE!

customer walks up

me: sue?

customer opens the box, frowns, and sticks her finger in the pizza: i didn’t order pepperoni

me, with a voice devoid of any emotion: ……. sue?

customer: oh! no i’m (name)!

the actual sue, materializing at my elbow: is that a pizza for sue?

me: would you like some free breadsticks to eat while we remake you pizza? another customer touched it

‘another customer’ sheepishly mumbles sorry

sue, who has clearly worked with the public: you take as long as you need to, honey

tinyhipsterboy

me, shouting at the top of my lungs: ICED VENTI VANILLA LATTE FOR JENNIFER

male customer standing right in front of me turns to look

me: jennifer? iced vanilla latte?

customer says nothing, takes the drink, shoves straw in, takes a long sip

customer: i wanted this hot. i ordered a small hot decaf skinny vanilla latte.

me: are you jennifer?

customer: no, i’m daniel

pg-chan

Some people wonder why people fight wars, but I have no trouble imagining reasons for people to just haul off on each other.

maswartz

People like this should have to pay full price for the order they ruined.

the-haiku-bot

People like this should

have to pay full price for the

order they ruined.

Beep boop! I look for accidental haiku posts. Sometimes I mess up.

noodles-07

everything I hate about ai and love about wikipedia on one image

catboybiologist

sorry i told u to kill yourself the other day, i was like crazy horny and not thinking straight

Understandable girlboss let's channel that energy into getting laid next time

catboybiologist

Only valid character tag here post everyone else pack it up

deepspacescully

i truly believe in order to make peak star trek again you simply have to get a cast of actors who have only done theatre and nothing else. you can have one token TV Guy if you wish. but so help me god i need those aliens doing shakespeare up there

nitewrighter

haildiscordia

zombieofdrake

Here’s dril’s candles on a graph for reference.

ivy-michaels

It’s easy to look at these and assume “well, high crime cities need more police,” but i think that’s putting the cart before the horse.

Police make crime worse.

ivy-michaels

Police take fiscal oxygen out of the room, away from actual social support programs. The money spent on policing could go to housing, nutritional services, healthcare, civil rights, building inspections, labor rights enforcement, street maintenance, public transportation. But it goes to paying guys to sit around idling Ford Explorers all day and hitting poor people with sticks.

pansyfemme

what’s this genre of post called

casivarn

who the fuck even uses "pretty boy" as an insult any more I thought we all came to the agreement that all it does is make you sound like you want to stick your tongue down the other guy's throat

crunchbuttsteak

emptymanuscript

Transcription, because it is worth reading:

There’s a phenomenon I actually see extremely commonly when literature is used to teach history to middle school and high school students. Let’s call it “pajamafication.”

So a school district nixed Maus from their curriculum, to be replaced by something more “age-appropriate.” IIRC they didn’t cite a specific replacement title, but it will probably be something like John Boyne’s “The Boy in the Striped Pajamas.”

The Boy in the Striped Pajamas is tailor-made for classroom use. It’s taught at countless schools and it’s squeaky-clean of any of the parent-objectionable material you might find in Maus, Night, or any of the other first-person accounts of the Holocaust.

It’s also a terrible way to teach the Holocaust.

I’m not going to exhaustively enumerate the book’s flaws—others have done so—but I’ll summarize the points that are common to this phenomenon in various contexts.

First, obviously, the context shift. Maus, Night, et al are narrated by actual Jews who were in concentration camps. The Boy in the Striped Pajamas is narrated by a German boy. The Jewish perspective is completely eliminated.

Second, the emphasis on historical innocence. Bruno isn’t antisemitic. He has no idea that anything bad is happening. He happily befriends a Jewish boy with absolutely no prejudice.

Thus we’re reassured that you too, gentle reader, are innocent. You too would have have a childlike lack of prejudice and you too would be such a sweet summer child that you would have no idea the place next door is a death camp.

In Maus, by contrast, the children are not innocent. They are perpetrators of injustice just like adults.

[ID: Picture of part of a page of Maus where children run away yelling “Help! Mommy! A Jew!! - the next panel says “The mothers always told so: ‘Be careful! A Jew will catch you to a bag and eat you!’ …So the taught to their children.”]

Maus also smashes the claim that people just didn’t know what was going on in the camps.

[ID: Picture of part of a page of Maus where a Nazi truck is arriving at Auschwitz guarded by men with sticks and a pointing, growling dog, the boxes say “And we came here to the concentration camp Auschwitz. And we knew that from here we will not come out anymore…” “We knew the stories that they will gas us and throw in the oves. This was 1944… we knew everything. And here we were.”]

Third, nonspecificity. The Boy in the Striped Pajamas turns a specific historical atrocity into a parable about all forms of bigotry and injustice. I’m sure Boyne thinks he’s being very profound. But the actual effect is to blunt and erase the atrocity.

There’s the too-cute-by-half way it avoids terminology: “Off-With,” “the Fury.” Harsh language becomes “He said a nasty word.”

Notice how “it’s a fable” ties in with the goal of eliminating anything parents might object to.

And that’s our fourth point. Bad things can happen, but only abstractly. Someone’s dad disappears. He’s just…gone. How? Who knows. People stand around looking hungry and unhappy and saying “It’s not very nice in here.”

The ending is sad, but it’s sad like a Lifetime movie. It’s sanitized, it’s quick, there are no details, it’s meant to poke that bit of your heart that loves crying.

Maus’s description of the gas chambers, meanwhile…

[ID: Picture of part of a page of Maus where the process of gassing and then taking out the bodies are described in detail as inmates are working. That it took 3 to 30 minutes to gas people. That the largest pile of bodies was by the door. The worker telling the story mentions “We pulled the bodies apart with hooks. Big piles, with the strongest on top, older ones and babies crushed below… often the skulls were smashed…” “Their fingers were broken from trying to climb up the walls… and sometimes their arms were wera as long as their bodies, pulled from the sockets.” Until the narrator says, “Enough!” “I didn’t want to more to hear, but anyway he told me.”]

A historical atrocity can never be a metaphor for all bigotry because the specifics are what makes it an atrocity. The Nazis didn’t just do “bad things, generally,” they did THESE things. And leaving out the details is simply historical erasure.

Finally, fifth: Fiction.

However much poor little Bruno and Schmuel might rend your heartstrings, you can ultimately retreat into the knowledge that they aren’t real and they didn’t really die.

Now, I write historical fiction, and obviously I believe it has a place, in the classroom and out. But no Holocaust education can be complete without nonfiction that teaches about real people who genuinely did experience it.

One of the striking things about Maus is how big the cast is and how few of them survived.

[ID: Picture of part of a page of Maus where one character describes to another many other people who didn’t make it. Eventually covered over in lower panels by pictures of the dead.]

Because it’s a true story, Maus can also explore neglected aspects like the intergenerational trauma, which simply vanish in a pat fictional story that is just finished when you get to the end.

[ID: Picture of part of a page of Maus where the illustrator sits at the drawing desk above the pile of bodies. The artist says: “At least fifteen foreing editions are coming out. I’ve got 4 serious offers to turn my book into a TV special or movie. (I don’t wanna.) In May 1968 my mother killd herself. (She left no note.) Late’y I’ve been feeling depressed.” Someone calls from out of panel, “Alright Mr. Spiegelman… We’re ready to shoot!…”]

Thus, books like The Boy in the Striped Pajamas are not an age-appropriate equivalent way to teach the Holocaust, but a false construction of history.

This ends the first part of the thread. But there’s more…

The Maus incident is not an isolated case. It’s part of a broad trend of replacing the literature used to teach history with more kid-friendly, “appropriate” alternatives.

And outside of the Holocaust, it usually doesn’t meet with much controversy.

It might mean replacing Narrative of the Life of Frederick Douglass, an American Slave or Solomon Northup’s Twelve Years a Slave with modern historical fiction, for example.

Wars, the Civil Rights movement, Apartheid: any “icky” part of history can be a target.

But it plays out along the same general lines: Primary sources replaced with modern fiction, victim perspectives replaced with perpetrators, specificity replaced with Star-Bellied Sneetch-style “Why can’t we all just get along?” metaphors.