This Plant Is Upset

Fan of Bird People

[teaboot]

There’s a realistically nonzero chance that this will be a conceptually novel and thought-provoking reinterpretation of the themes and symbolism of a tragic casualty of vengeance and circumstance within a complex classic but I’m scared

[teaboot]

This Woman Has Not Read Hamlet

[teaboot]

Okay so again I don’t know what I was expecting and I’m not surprised so this feels a little unfair but it seems I’m actually a little mad about this actually

Ophelia as a character is shown to be restricted as women were in her environment to her relationships with men. Her father, her brother, and her romantic interest. She isn’t just The Girl in this story- she can easily be interpreted as any woman of her standing at this time.

And because of this- as women were, and still often are- her personhood was reduced to the context in which she served others: a daughter, a sister, a lover. She is nothing else because all she is allowed to be, all she CAN be, is what she can offer, what she can PROVIDE, the esteem in which she is held by those men.

So we see a person whose personhood is, in effect, a shadow cast by the relationships in which she belongs. “Belongs” in the possessive sense, because she has no agency, no worth or value beyond those relationships, and it doesn’t matter if she is happy or not because she couldn’t live any sort of meaningful life apart from them.

In this circumstance in which Ophelia has been raised, in this society, in this position, the Existence of Ophelia is a shadow cast in the light of three candles. Her father, her brother, her lover, who can shine their lights and cast as many shadows as they wish while she cannot.

Her brother is leaving. He is no steady pillar. If she is not sistered, she is not a sister.

And then her lover, he loses his mind. He goes hot and cold, loving and then cruel and then kind and then completely nonsensical. If she is not loved, she is not a lover.

And then her father is killed. And if she is not daughtered, she is not a daughter.

Physically, emotionally, spiritually, the context she exists within is taken away, and so she is nothing. Just the shape of a girl left adrift in a vacuum.

She is a construction of other’s perceptions, and when she is no longer perceived in a way that is stable, she loses her stability. She’s never been truly alone in herself- never seen herself outside the eyes of those who see her, patronize her, value her, and so her fate is tied to their perceptions. Her value is what they find her value to be; her personhood is what they find her personhood to be.

Ophelia dies covered in flowers, singing in a river. A nonsensical caricature of what a girl should be- beautiful, whimsical, lighthearted, young, left literally and figuratively adrift. Desperately grasping to fulfill the role she was shaped into despite no longer possessing the context in which it has function. Like post-traumatic stress, all that’s left of her is the flinch-and-run response to the bang of a gun you hear on the radio a hundred miles from the battlefield. A reaction to an action that is no longer happening.

She is reduced to Madness as Madness truly is- the rational, logical, straightforward actions of a hero suddenly dropped into the wrong story, giving the right answers to the wrong questions.

I’m not an academic, so my interpretation might be way off, but I love Ophelia because broadly speaking she is an answer to the question of what makes us who we are. If a tree falls in the forest, and nobody is around to hear it, does it make a sound? If a tree is not perceived, is it even a tree? If your only value is to others, what are you when there are no longer others to value you? What happens when their value of you wavers? Fluctuates madly without reason? What are you then?

But yeah, Taylor, girls should stay slay. Hashtag girl power

[teaboot]

Sorry to reblog this again but l've been thinking about it all day and managed to boil it down and figure out WHY it was making me so angry

When you read the text and then the lyrics, what the song is essentially saying is "Ophelia died because in her society, a woman without a man was as good as dead. Fortunately I have a man, so / don't *need* to be a fully actualized person in my own life. Hashtag girlboss". Which so wildly misses the point that it’s sort of amazing that the construction of the song itself betrays absolutely no rational reasonable shred of a clue that it’s anything less that 100% sincere in this interpretation.

Unfortunately, "I don't need to be a self-actualized person to survive because I will never run out of people who need me to fulfill the role I play for them in society" would have been a far more powerful statement, especially given the “showgirl” theme, and if I believed for even half a second that this super secret deeply encoded confessional communiqué was even slightly conscious or deliberate then l'd be far more willing to overlook the fart ass doodoo peepee rhyme scheme

[teaboot]

anyway it’s been six months and do you want to guess what’s on the radio every 90 minutes everywhere I go like fucking clockwork

[onyourstageleft]

So I ended up here because of a Tamora Pierce post and you mentioned your thesis was about Tortall, and I was wondering if you were comfortable talking more about it, because I’d love to hear!!!!

(also I’m going to go through your Tamora Pierce tag later but I’ve already come across the idea of aro Raoul in one post and now I love it and need it)

I let this sit in my ask box for a few days bc I was genuinely so excited to talk about it that I wanted to dedicate some time to it okay YES I would love to tell you about my thesis!! I literally grew up reading and loving Tamora Pierce books and then I went into my English MA program and they started talking about thesis options and I was reading some criticism about colonialism in literature and it just kinda clicked, so my thesis title is "Cultures and Colonization in Tamora Pierce's Young Adult Novels" and it's pretty much what it says on the tin. I talk about indigenous populations (Bazhir and raka) and how they are treated differently both by the characters in the story and the narrative in general. I address Alanna/Jon as white saviors and then how Aly undoes some of that damage through her more respectful/less controlling relationship with the raka. I also talked about how the books work as a framework to interact respectfully with other cultures through Kel & the Yamani, and a discussion of slavery and the respect that Beka shows for enslaved people.

it's honestly been a while since I reread my whole thesis so there's probably more in there that I'm forgetting, BUT on the off chance that you wanna read the whole thing, I published it open access so you can just Google the title and it should take you to a download link for it. please ignore the typo of the repeated phrase at the end of the literal first paragraph of the whole thing it haunts me every day (I swear it wasn't there when I submitted it)

ALSO about the aro Raoul I totally think it's a good take with the exception of one of the most fantastic fanfics I've ever read - if you like fic and the idea of Raoul/Buri, please take a look at The Tourakom-Goldenlake System of Communication by Emnot on AO3. it's the first fic that led me into the AO3 waters (where the Tortall fandom is still going strong btw) and I reread it every few months

I'm publishing this ask mainly so I can find it later and remember what I said BUT if you wanna talk more about Tortall pls feel free to message me I could do this all day

[blanklier]

the idea of her being so fucking stubborn an evil room of fear goes 'child, what' is so so very good.

[unwelcome-ozian]

[derinthescarletpescatarian]

I love visiting people who have some kind of pet reptile because they're always like "would you like to hold the reptile" and I'm like "of course I would" and then the rest of the conversation happens with me just holding a random reptile and the reptile Has No Feelings about the situation. They always just sit there, probably vaguely wishing to return to their heat lamp but clearly exuding an energy of This Might As Well Happen. and then I put it back in its enclosure and go home and the reptile very clearly has no strong feelings about the situation.

[c-is-for-circinate]

There are exactly two takes on 'do your child soldiers kill people or not?' that I really respect, and it's Fullmetal Alchemist and Animorphs.

[c-is-for-circinate]

From the replies:

@nordicninja Aaaand Avatar the last Airbender

And like, okay, true! But also consider: on this particular front, AtLA is good at this because it is a solid 8.5/10 on the FMA side of this scale.

(The 8.5/10 isn't a critique of AtLA, which is an excellent show on all counts, but it doesn't quite measure up to the FMA threshhold here simply because of the limitations of being an American kids' show. It can do the thing, but it can't foreground the thing or spend five seasons of anime/27 volumes of manga meditating on the ravages and implications of violence, because it's busy also being aimed at 10-year-olds and about other stuff too.)

Witness:

You could defeat the enemy, if you killed him. Your allies say you should. It would work.

It wouldn't even make you a bad person -- not here, not now, not in these circumstances. Of course you wouldn't be "as bad as they are," that's bullshit. Putting down a single mad dog does not equal literal genocide. FFS.

You could do it. You should do it. It would work, and isn't that the most important thing? To stop the horror? In the light of all the sheer destruction and evil at play, your own personal lily-white rejection of culpability is purely selfish. Isn't it?

But, god, you don't want to. You don't want to kill. The whole point is that life is important, is sacred, is worth protecting. You haven't been forced to yet. You keep finding ways around it. You've seen enough death. You don't want to do it.

Here and now, if you did -- it would fix the problem. It would fix things! It would save the day! The world would be inarguably better. You know this!

You know this. You know it because the world will not stop telling you this. Everything you've seen, everything you've been taught. Everything the people you love and respect say to you. And it's not a lie, it's not made up, it's true -- killing, here, in this one case, would help.

Why is the world so set on forcing you to kill? Why is this how the world works, that a child (you're not as young as you were when you started, but you're a child, you were a child, the first time somebody assumed you would someday simply have to be a murderer) gets handed a weapon and made to use it?

We are using the rules that the world set. We are using the rules that the genocidal maniac set. They are the same rules, because there's a reason genocidal maniacs are able to come to power in the first place, because the world is built in a way that violence works.

You know this. You're good at it! You're skilled at violence. It's how you've come so far.

But.

((and you know, the only reason you're able to have these thoughts, is because other people have already killed for you. will kill for you again. will wear the blood on their hands to save your life. somebody else is taking it so you don't have to, and you do not get to forget that.))

But maybe, if you're skilled enough. If you're good enough. If you can find a third option. Maybe, maybe, if you are just clever enough, if you're willing to risk losing entirely, you can do more than save the day.

Maybe you can rewrite the rules. Maybe you can rebel, not just against the genocidal horror villain about to doom the world, but against the entire world in the process.

If you're good enough to find the loophole -- to master the magic -- to put everything you've ever learned into practice. If you can find another way. If you can prove that another way exists.

Maybe you get to do more than close the door on one evil.

Maybe you get to open a new door on the possibility of changing the world.

[c-is-for-circinate]

And also:

@thoughtful-collections Could you go into the Animorphs side of the child soldier question? Obviously they do kill and I think one character even kills many of the yerks while they are defenceless and justifies it as a necessary step to win. I suppose that series is saying there is no avoiding murder/killing/getting your hands dirty in war?

Yesssss

Look, there are a lot of child soldiers in the genre, whatever 'genre' that may be. Some kill easily, thoughtlessly, like any action movie star. Some have Important Moral Lessons on how killing makes us no better than the bad guys. Many of them get their very own generous plot device get-out-of-jail free card: either they have some form of captivity that their opponents get sent to at the end of a fight and we never have to think too hard about false imprisonment without trial (Steven Universe; at least one instance of Power Rangers?; Batman and Robin generally; etc), or, their opponents aren't really people, so it doesn't actually count as murder (media as diverse as the Persona series all the way back to good old Buffy the Vampire Slayer). Sometimes, through sheer force of will, grit, and absolute unparalleled protagonist energy, child soldiers get to avoid killing in a world that makes it a genuine option.

Animorphs looked at all of those options, and it said, nah.

You want a war story, little child? Okay, the books say. Here's a war story. This is war.

Here's how it starts: you're goofing around with your friends one night. You take an ill-advised turn. You watch somebody get horrifically murdered.

No, you can't save him. Yes, you can save yourselves. Get used to that. Get used to it so, so fast.

You're on a trolley. Up ahead are two tracks. On one side: a dozen evil aliens. On the other side: your brother. Make a choice.

Good job, you didn't crash the train into a cliff. By the way, did we mention there are a thousand more tracks? More people tied to each and every one?

You get to put your hands on the steering wheel. You get to drive the trolley. This is a gift. Make a choice.

(Refusing to act is still a decision.)

You can jump off the train, if you want. You don't have to be the one to steer. Maybe you'll even survive the fall. Maybe the friends you're leaving behind will be good enough to make sure they don't run you over on your way down.

Your mom is on one of the tracks, by the way. Your dad. Your sisters, your cousins. Your brother, still.

You don't have to steer. You don't have to do this. You can let the train take its course, you can let it plow through all of humanity. You can let it happen. You get to do that, if it's what you want to do.

Nobody is coming to save you.

On one track: the aliens have names, thoughts, dreams, personalities. On the other track: there are six billion humans on this planet today.

Every single option in front of you is a war crime. If you're lucky, you'll get to pick which one.

(Refusing to act is still a decision.)

It's fun sometimes, driving a train. When there's nobody in the way, for just a little while. When you can pretend you're mowing down enemies in a video game. When you can give into the rush of adrenaline and just be glad you have the skill.

Maybe, maybe somebody will come to save you. They'll take over steering. You won't have to choose.

(Refusing to act is still a decision.)

Who will they choose to hit? Will they care? Will they care enough?

You watch TV. You watch Xena, and X-Files, and Buffy. You can pretend to live in a world where your enemies are nameless monsters without souls, if you want. If that makes it easier.

Is it easier, to kill them soft and vulnerable and completely powerless, unable to fight back? Does that feel better than killing the ones hunting you down, weapons in hand?

You are looking for a loophole. You are looking, and looking, and looking for a loophole. You don't get to fight monsters without souls. You don't get to lock them up in tiny bubble jail. They are going to kill you. This is what you get.

It's you. You're the one standing here. This is what's happening.

Refusing to act is still a decision.

(There is a loophole, eventually. A third path. One of you finds it, eventually.)

(It would not have worked, without years of war first. It took you years of war to find it and if you hadn't killed so, so many, it would not have worked.)

You don't get to be good, in war. You don't get to save the day by sacrificing your own life and remaining morally pure. That would be too easy. War means dead bodies. That's what it means.

That doesn't mean you give yourself over to despair. That doesn't mean you shrug and figure the lives being spent don't matter. You don't get to throw your own moral code on the altar of heroic sacrifice and claim to be the real victim here. It never stops mattering. It will never, ever get to stop mattering.

That doesn't mean you never fight. It just means that when you choose to step up and fight for something, you'd better be goddamn sure it's worth the cost, because chances are somebody a lot less powerful than you is going to be the one to pay.

On one track: Your brother. Your cousin. Seventeen thousand unarmed, helpless enemy agents.

On the other track: a new train's barreling straight at you and all six billion members of the human race. All-out slaughterous war. Giving over the steering wheel to the last hands that decided the best answer to their problems was genocide.

(REFUSING TO ACT IS STILL A DECISION)

You make a choice.

[derinthescarletpescatarian]

My mum and stepdad bought a big empty block awhile ago and every time my stepdad builds something new on it Mum goes onto Facebook to praise his "impressive erection"

[derinthescarletpescatarian]

It's her favourite joke

[minuiko]

“I hope your brother does as well as you. If your father cannot tell you apart, at least he can be proud of both his sons." - Duke Gareth of Naxen (Alanna: The First Adventure)

[pangur-and-grim]

it is my experience that people with dermal implants and eyeball tattoos and 34 visible piercings are the sweetest people you'll ever meet and will cry if they see a pigeon with a broken wing. it is also my experience that clean-cut people in polo shirts with perfect smiles will vote against your rights and say the most disgusting things imaginable once they think you're out of earshot.

[nuka-rockit]

[earlgraytay]

So I 100% agree with the sentiment here but... there's a principle behind it that I think is more important than any specific Subculture Signifier. Making it about the Subculture Signifiers can wind up twigging people out when they don't need to be twigged out.

There's nothing wrong with wearing polos. Or keeping your house clean. Or shaving, or 'politeness', or whatever. But.

... A very important test of someone's character is how they deal with things that Society (TM) in general, and their social circle in particular, thinks are Not Okay. If society says it's Not Okay to be gay, are you capable of being decent to gay people? If society says you Have to like drinking, and you can't stand the taste or effects of alcohol, are you gonna let people pressure you into drinking anyway, to get along with others? If your social circle says that it's Not Okay to listen to certain music, are you going to listen to that music anyway? If your social circle says that people with Political View A are all evil bastards, are you able to be decent to someone with Political View A? (Or someone with Political View C or Religion Q that vaguely looks like Political View A, if you squint?) Things like that.

If you see someone who has stripped their life of anything that society disapproves of, that's not a great sign. If you see someone who has stripped their life of anything their social circle disapproves of, even if they're alt and anti-government, that's also a bad sign.

You need to have something in your life that is yours, that is not dictated by someone outside you, that no one is going to take away from you. You need to have some part of your life that you will defend and hold onto, even if everyone else is telling you that it's wrong. Even if everyone you know thinks you're dangerously bad and stupid for it.

Because if you don't have that, if there is nothing that you will face god and walk backwards into hell for, if there is nothing that you know is right and good regardless of what anyone else says... that is when you turn into Polo Guy from the OP. It has nothing to do with whether you like normie bullshit and fold your underwear- there's plenty of punks and goths and metalheads who don't have it, and there's plenty of people who look like your mom who do.

[apoemaday]

Moderation Is Not A Negation of Intensity, But Helps Avoid Monotony

by John Tagliabue

Will you stop for a while, stop trying to pull yourself together for some clear "meaning" -- some momentary summary? no one can have poetry or dances, prayers or climaxes all day; the ordinary blankness of little dramatic consciousness is good for the health sometimes, only Dostoevsky can be Dostoevskian at such long long tumultuous stretches; look what that intensity did to poor great Van Gogh!; linger, lunge, scrounge and be stupid, that doesn't take much centering of one's forces; as wise Whitman said "lounge and invite the soul." Get enough sleep; and not only because (as Cocteau said) "poetry is the literature of sleep"; be a dumb bell for a few minutes at least; we don't want Sunday church bells ringing constantly.

[hotvintagepoll]

oh god dammit

does anybody have a picture of all the different dress forms perfectly sized to the old hollywood actresses that used to be in paramount, or warner brothers, or I don't remember where's costume department? like I have seen this picture a THOUSAND times, I can picture it in my head, I think Bette Davis may be in it staring at the Bette Davis dress form. I need it for a presentation tomorrow and Google has forgotten what dress and form and old hollywood mean

[cardigan-jam]

Is it this one?

[hotvintagepoll]

no but that's real close!

the one I'm thinking of has a few dress forms with visible labels on them showing who they're for—there's a plus-size one for Dame May Whitty, and a couple other ingenue ones. I know it was a Tumblr post because it was in my likes for ages, but now of course I can't find it

[cardigan-jam]

Any of these?

[hotvintagepoll]

not the one I had in mind but that one on the left will do! thank you!

love the oak tag commentary in the mae west one. "kate smith - large," "mae west - perfect," "miriam hopkins - boyish." I think Mae might have been bribing the costume shop perchance

[hotvintagepoll]

for anyone wondering why they did this, having these custom dress forms meant that they could jump right into draping/fitting pieces for stars as soon as they were cast. this level of specificity with measurements and proportions is so key to design and why the custom clothes from these old movies go so hard in ways off-the-rack can only occasionally nail.

just a friendly reminder for everyone that your body is never the problem. it is always gorgeous. you just need clothes that fit you right and meet you where you are.

[arsenicinshell]

Art nouveau desk 1902 by Carlo Bugatti (Italy, 1855–1940)

[lgbt-tiktoks]

Description: [A video of a woman riding a galloping horse bareback while holding a large rainbow flag.]

[nattousan]

i felt like these tags really added to the experience, thanks @cynderxdustypaws for your knowledge

[naamahdarling]

This is one of the most powerful images I have ever seen, and I will reblog it every single time because every single time it brings tears to my eyes.

[tyrantisterror]

I would like to propose a low-ish budget remake of Jurassic Park that's presented as a feature length vlog from a theme park youtuber detailing her extremely disappointing trip to the park.

She begins by detailing the history of Ingen as a fledgling bioengineering company, with a lot of biographical information about John Hammond as the charismatic yet shady founder, complete with the anecdote about his genetically engineered dog-sized elephant ("While it may have wowed investors, Babar the elephant did not live very long, and allegedly suffered from numerous health disorders and a generally poor quality of life. Put a pin in that.")

After detailing the covered-up scandals about workplace "accidents" at the park, the youtuber goes into her own trip, which is notably disappointing, not dramatic. It starts well with her seeing the Brachiosaurs, complete with found-footage style reveal of them that hopefully manages to capture some of the majesty of their reveal in the original film, albeit from a very grounded "real person encountering big exotic animals" vibe.

But then we get to the tour of the park itself. The visitor center is half finished, with a big obvious tarp covering the wall from the reception area that hasn't been made yet. the hokey welcoming video is using scratch track music because they haven't sorted out the rights to the licensed music they want. The automated vehicles are buggy as hell - one of them snaps on the youtuber's thumb when she closes the door, bruising it terribly ("That's what you get when you partner with Tesla I guess. Spared no expense, I guess.")

The dilophosaurus is a no show. The T.rex is a no-show, even when they bring out a goat to lure it. ("Why feed it a live goat? I'm pretty sure most zoos don't feed live prey to the large carnivores both for their safety and ours. And a goat's barely more than a mouthful to a T.rex, isn't it? It's like they're not considering the animal welfare at all - put a pin in that.") The triceratops is sick. ("The veterinarian on hand, Gerry Harding, said this was a recurring problem. Apparently there was a plant in their enclosure that's toxic to them, but because the trikes haven't been spotted eating the plant, the park assumed it was alright to include because it's pretty? Anyway, it turned out that the plant's berries, which are also toxic, were being eaten by the trikes, and that's where their digestive problems came from. Spared no expense!")

Many of the other promised rides aren't in operation, and as she looks into it our youtuber protagonist learns that it's due to inability to manage the animal behavior (despite the staff trying to hide that this is the case). The aviary is closed because the cearadatyluses are wildly aggressive. The mosasaur lagoon is closed because they can't find a way for audiences to view the mosasaur up close that's remotely safe. The river ride is closed because the dilophosaurs SPIT VENOM! at people when they pass by. The velociraptors have been moved to an extremely tiny quarantine pen because of their vicious behavior ("Yeah, keeping predators that are built to run at cheetah speed in a tiny pen is going to do so much good for their behavioral issues. Spared no expense!").

On her last day she finally manages to see the Tyrannosaur in its exhibit ("Why did they put it in a paddock filled with thick foliage? It's a nine-ton carnivore, it needs a much more open space! This can't be comfortable for it - hell, I'm halfway convinced the reason it didn't show up the first two days is that it was struggling to find its way through all those goddamn trees!"). She takes note of its odd, toad-like eyes, and its near inability to capture the goat when it stands still, forcing it to roar loudly to make the goat squirm so it can finally eat. The youtuber then recalls a bit of information from the welcome video - "Remember when I said to put a pin on Frog DNA?" - and realizes that the dinosaurs's hybrid nature has severely compromised their basic biological functions, with T.rex, an animal with some of the best binocular vision in the fossil record, being hamstrung by having the vision problems of a toad. "This is a creature that should have eyes as sharp as a hawk's that's now almost functionally blind! Can you imagine how terrifying that must be for it?"

The video then turns into a takedown of Ingen's shoddy genetic engineering work, uncovering a great deal of infomation on the hybridization process and how it's negatively impacted the animals upon creation, and then focuses on how the park exacerbated this by its neglectful approach to protecting their livelihoods, caused by a mixture of stingy over-reliance on automation and a lack of actual experts on staff. "They hype these animals up as miracles of science, and yet they can't be bothered to put even a modicum of effort into considering their basic biological and behavioral needs! Spared no expense my ass!"

Which, of course, culminates in her detailing the disaster at the park, which occurred a few weeks after her visit - how a tropical storm and employee sabotage caused a mass breakout at the park, the many people who were killed in the process, and how Ingen has done everything it can to downplay the disaster and discredit the few survivors, even dragging the names of two children who visited the park through the mud. There's no footage of this - that wouldn't be tasteful, and our youtuber protagonist is a considerate person - so it would rely solely on the actress's skill to convey the story with appropriate dread. "And the worst part is, no one seems to have learned a lesson! Ingen is building a new Jurassic Park in San Diego - not on an island this time, but in a crowded populace! And competing companies like Biosyn and Manta Corp are announcing plans of their own prehistoric fauna theme parks, and they're even shadier than Ingen - allegedly." She ends with a call to action, noting that while she's not one to usually take stands like this, that we should absolutely call our representatives to vote for the law in congress outlawing the creation of cloned prehistoric fauna on American soil.

[apoemaday]

Porch Swing

by Joanna Klink

And to have come this way for nothing. To see my own skin’s shallow glow against the cool wood of the porch swing, holding out my arms. The breezes I created leaning back into me. I was swinging against the empty day, against the rain’s copper pitch, against summer. Someone banged out piano scales and I swung against them, the lack of silence. I was a guest in that house, feathering shapes in my head out of snow, a quiet above the porch-boards emptying through meadows and rose windows. Sun fell like mist from an opening in the clouds above farmlands, the hills sometimes lifting like waves. I was host to disappointments that were not mine. I watched a few weeds glint in the woods, felt dry lilacs browning, was unseen minister to stray things that could resist blurring. Wet leaves against water. Glass bowls by the high windows. But now these are dreams, they are plain tombs.

Why such painstaking care in sitting on a swing — breathing, as if I could float back into the precision of myself within the white hours of afternoon, hung from clean beams by chains made stiff by rust. Their cold metal links turning warm in my palms. Have I not changed at all, folding my legs beneath me, bracing for the next unspoken need, the blind demand to stand and shoulder what I had no hand in creating. The sound of windchimes beaten gold.

Love is quiet. Something that is not love barrels over it. But I know who I am, I know that I live, I can touch what I’ve lost. The farmhouse is gone, the people who lived there have gone. When I trail a wrist through the air the air feels branched and altered, the soft wrens shatterproof. We could have tried to see one another as separate.

[coolreader18]

discourse.jpg

[fateschains]

pearlescent beadwoven ribcage harness inspired by the iconic harrowhark nonagesimus! fun fact: this thing weighs something like 3 and a half pounds