I’ve always wanted to make one of these.
Here’s my first expression meme!
Feel free to use this! If you’re using it on tumblr please reblog and do NOT repost it. Feel free to repost it to any other social media platform however, if you’re using it; but give me CREDIT (if you for some reason crop out my Tumblr in the corner).
the box social by james reaney. i remember we all had to silently read it in class, and you would hear the moment everyone reached the Part because some people would audibly go “what”
i can’t believe Roald Dahl’s “The Landlady” wasn’t already mentioned
and also it’s not so much unsettling as more absurdist but “The Leader” by Eugene Ionesco definitely made me go wtf
We read lots of good disturbing shit in hs or in the writing groups I joined in hs but somehow the top of the heap for shit that haunted me’s still indisputably Ethan Canin’s “The Palace Thief”. It’s not horror as such but it freaked me the fuck out.
There was another O. Henry short story we read that was also really alarming but I had to google a major spoiler (which is also a warning) to recall the name – “The Furnished Room”.
“It’s a Good Life” - Jerome Bixby
“The Little Black Bag” - Cyril M. Cornbluth
“The Cold Equations” - Tom Godwin
“The Nine Billion Names of God” - Arthur C. Clarke
“Mars is Heaven!” - Ray Bradbury
“Born of Man and Woman” - Richard Matheson
“That Only A Mother” - Judith Maril
“The Country of the Kind” - Damon Knight
“Mimsy Were The Borogroves” - Lewis Padgett
“Lamb to the Slaughter” - Roald Dahl
“We Can Get Them For You Wholesale” - Neil Gaiman
“BLIT” and “Different Kinds of Darkness” - David Langford (set in the same universe) (there are a couple of other “basilisk” stories and they’re worth checking out)
“The Secret Number” - Igor Teper
i made an expression meme!!! but for pain/angst because i’ve only seen one or two of those! please credit me if you repost, do not trace please! tag all art appropriately if possible.
hey look: it’s one of those “send me two characters & a pose!”-thingies ; ;
they also seem like fun so; take it & do it !
please repost or tag me if you use them ?? love to see your drawings
Sara Jacobsen, 19, grew up eating family dinners beneath a stunning Native American robe.
Sara Jacobsen, 19, grew up eating family dinners beneath a stunning Native American robe.
Not that she gave it much thought. Until, that is, her senior year of high school, when she saw a picture of a strikingly similar robe in an art history class.
The teacher told the class about how the robe was used in spiritual ceremonies, Sara Jacobsen said. “I started to wonder why we have it in our house when we’re not Native American.”
She said she asked her dad a few questions about this robe. Her dad, Bruce Jacobsen, called that an understatement.
“I felt like I was on the wrong side of a protest rally, with terms like ‘cultural appropriation’ and ‘sacred ceremonial robes’ and ‘completely inappropriate,’ and terms like that,” he said.
“I got defensive at first, of course,” he said. “I was like, ‘C’mon, Sara! This is more of the political stuff you all say these days.’”
But Sara didn’t back down. “I feel like in our country there are so many things that white people have taken that are not theirs, and I didn’t want to continue that pattern in our family,” she said.
The robe had been a centerpiece in the Jacobsen home. Bruce Jacobsen bought it from a gallery in Pioneer Square in 1986, when he first moved to Seattle. He had wanted to find a piece of Native art to express his appreciation of the region.
The Chilkat robe that hung over the Jacobsen dining room table for years. Credit Courtesy of the Jacobsens
“I just thought it was so beautiful, and it was like nothing I had seen before,” Jacobsen said.
The robe was a Chilkat robe, or blanket, as it’s also known. They are woven by the Tlingit, Haida and Tsimshian peoples of Alaska and British Columbia and are traditionally made from mountain goat wool. The tribal or clan origin of this particular 6-foot-long piece was unclear, but it dated back to around 1900 and was beautifully preserved down to its long fringe.
“It’s a completely symmetric pattern of geometric shapes, and also shapes that come from the culture,” like birds, Jacobsen said. “And then it’s just perfectly made — you can see no seams in it at all.”
Jacobsen hung the robe on his dining room wall.
After more needling from Sara, Jacobsen decided to investigate her claims. He emailed experts at the Burke Museum, which has a huge collection of Native American art and artifacts.
“I got this eloquent email back that said, ‘We’re not gonna tell you what to go do,’ but then they confirmed what Sara said: It was an important ceremonial piece, that it was usually owned by an entire clan, that it would be passed down generation to generation, and that it had a ton of cultural significance to them.“
Jacobsen says he was a bit disappointed to learn that his daughter was right about his beloved Chilkat robe. But he and his wife Gretchen now no longer thought of the robe as theirs. Bruce Jacobsen asked the curators at the Burke Museum for suggestions of institutions that would do the Chilkat robe justice. They told him about the Sealaska Heritage Institute in Juneau.
When Jacobsen emailed, SHI Executive Director Rosita Worl couldn’t believe the offer. “I was stunned. I was shocked. I was in awe. And I was so grateful to the Jacobsen family.”
Worl said the robe has a huge monetary value. But that’s not why it’s precious to local tribes.
“It’s what we call ‘atoow’: a sacred clan object,” she said. “Our beliefs are that it is imbued with the spirit of not only the craft itself, but also of our ancestors. We use [Chilkat robes] in our ceremonies when we are paying respect to our elders. And also it unites us as a people.”
Since the Jacobsens returned the robe to the institute, Worl said, master weavers have been examining it and marveling at the handiwork. Chilkat robes can take a year to make – and hardly anyone still weaves them.
“Our master artist, Delores Churchill, said it was absolutely a spectacular robe. The circles were absolutely perfect. So it does have that importance to us that it could also be used by our younger weavers to study the art form itself.”
Worl said private collectors hardly ever return anything to her organization. The federal Native American Graves Protection and Repatriation Act requires museums and other institutions that receive federal funding to repatriate significant cultural relics to Native tribes. But no such law exists for private collectors.
Bruce and Gretchen Jacobsen hold the Chilkat robe they donated to the Sealaska Heritage Institute as Joe Zuboff, Deisheetaan, sings and drums and Brian Katzeek (behind robe) dances during the robe’s homecoming ceremony Saturday, August 26, 2017. Credit NOBU KOCH / SEALASKA HERITAGE INSTITUTE
Worl says the institute is lobbying Congress to improve the chances of getting more artifacts repatriated. “We are working on a better tax credit system that would benefit collectors so that they could be compensated,” she said.
Worl hopes stories like this will encourage people to look differently at the Native art and artifacts they possess.
The Sealaska Heritage Institute welcomed home the Chilkat robe in a two-hour ceremony over the weekend. Bruce and Gretchen Jacobsen traveled to Juneau to celebrate the robe’s homecoming.
i made an expression meme!!! but for pain/angst because i’ve only seen one or two of those! please credit me if you repost, do not trace please! tag all art appropriately if possible.
i entered fox’s the gifted fanart contest! i could really use money right now, so it would mean the absolute world to me if anyone who sees this could vote for my art in the gallery here. it’s titled “mutant hangout by piney ojo”! you need to sign up to vote but it’s really easy and doesnt take any time at all.
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