my best tip for anyone trying to get back into reading is to remember that you can read books to avoid other responsibilities in ur life and it can become a vice if you play your cards right
like you used to get summaries with zero extraneous tags just the fandom, name of the couple, rating (if that) and one or two lines of the person’s best elegiac prose on a massive white field of screen. There was a charming sort of minimalist brutalism to it that neither tumblr nor ao3 has been fully able to replicate
When I caught up to the caravan again, I passed the green wagon. It was always the last of the train, I assumed as it was pulled by two huge men and therefore slower. The green’s place at the back meant I’d never approached it before. (Its being ever-locked and the two huge silent men was also off-putting.) At night the bright green paint was grey and the wagon faded into the tones of the dark landscape. It looked like a ghost wagon, and the great men pulling it turned from men into gnarled horses whose muzzles had been struck off with an axe to leave open panting holes, the darkened sockets of their eyes like the open sinuses, their panting mouths the wound with side-teeth and bloody mess between them.
-The Night of Turns, Edita Bikker (from Broodcomb Press)
“The architect never comes out clean. It takes a part with.” She shrugged. “Besides, they’re guilty. They’ve done nothing wrong, but that doesn’t stop them being guilty.”
-The Night of Turns, Edita Bikker (from Broodcomb Press)
I found these piercing truths everywhere I went, and I was always perplexed by other foreigners like me who bemoaned this recognition. For them there was no wonder in discovering there was the same as here. This insight was worthless to them. They wanted the ratchet of wonder to ever tighten. For myself, finding the here in the there was a joy. Wherever I went, I was always coming home.
I did not expect the land over the border to be any different, yet after my time in the garden at night, I began to doubt that what I was experiencing would be revealed as human.
-The Night of Turns, Edita Bikker (from Broodcomb Press)
“We need the danger they represent to keep us true. The poison is necessary. It needs to be tapped regularly, but we can’t do without it. The architect is-and-is-not-welcome. It’s like oxygen. By its nature it corrodes but we can’t do without it.” She paused. “It is the game.”
I let my hand fall to the table top. It made a louder sound than intended. “That’s no answer,” I said.
Jarvey looked directly at me. “The spirit-architects are savage. They were once worshipped. To give elemental beings attention is terror, fear. To worship them, to pay them any mind at all, is not a way for a human to live. But to betray them? We’d lose someone we love. We cannot expose our own. Another must do it for us.”
-The Night of Turns, Edita Bikker (from Broodcomb Press)
A misanthropic convenience store employee, a lonely housewife, the angel watching them, and the end of the world.
HWAAIIII... my submission for toxic yuri vn game jam 2. i had a lot of fun making this! you can download it and read it .
also there is a whole game jam full of other visual novels you can download and read. i will be going through them yippee yuri... i'll post a list once i'm done of all my favorites BUT! i think it's fun if other people also look...? there's so much there it's a real gold mine. so much fun. well let's all have fun. if you read this let me know and i will. love you a lot. ok byeeeee
you've heard of faithful translations now get ready for unfaithful translations where i'm constantly cheating on the text i'm translating with another text that i find more interesting
completed weaving of the penelope skyphos from chiusi:
the header is tablet-woven linen, with the linen weft for the band used as the warp for the rest of the piece on a warp-weighted loom, which you can see in the photos below (there is also a previous post with more process photos here). the reverse is a negative mirror image of the front, since I wove this as double-weave pickup rather than tapestry:
additional details below the cut:
the bottom and side borders of the finished piece are tablet-woven with a mixture of linen and mercerized cotton. the sides are a classic meander motif, while the bottom border includes the "X" square from the skyphos itself. the bottom border was woven directly onto the piece using the remainder of the warp beneath penelope's feet (tablet draft for anyone interested—I designed it to be twist-neutral and everything). the side borders are sewn on because I didn't set up the side borders when I started the project, but ellen harlizius-klück previously executed a stunning version here that has the side borders woven in, as well as a really helpful video on this technique.
I was originally planning to leave part of the black warp threads unwoven to serve as penelope's warp, the way I did a few years ago with the amasis painter vase:
but I couldn't figure out how to execute it well in this version, especially since I was doing double-weave and not tapestry. perhaps next time! overall, this was a complicated and fun project as a first warp-weighted loom piece. I learned a lot of important lessons—chief among them being to actually calculate warp lengths instead of eyeballing them and to increase the loom weights on the warps for better tension. unfortunately, I also learned I want to build a large warp-weighted loom (the one I have now was made by jennifer marcus at fiber paintings studio and it is lovely, but I would like to weave larger pieces.)
the original pot also features telemachus standing over a grieving penelope (I had room only for his spear), perhaps a reference to the scene in book 1 when he reprimands his mother and orders her back upstairs:
Odysseus was not the only one
who did not come back home again from Troy.
Many were lost. Go in and do your work.
Stick to the loom and distaff. Tell your slaves
to do their chores as well. It is for men
to talk, especially me. I am the master.
οὐ γὰρ Ὀδυσσεὺς οἶος ἀπώλεσε νόστιμον ἦμαρ
ἐν Τροίῃ, πολλοὶ δὲ καὶ ἄλλοι φῶτες ὄλοντο.
ἀλλ᾽ εἰς οἶκον ἰοῦσα τὰ σ᾽ αὐτῆς ἔργα κόμιζε,
ἱστόν τ᾽ ἠλακάτην τε, καὶ ἀμφιπόλοισι κέλευε
ἔργον ἐποίχεσθαι: μῦθος δ᾽ ἄνδρεσσι μελήσει
πᾶσι, μάλιστα δ᾽ ἐμοί: τοῦ γὰρ κράτος ἔστ᾽ ἐνὶ οἴκῳ.
Od. 1.354–359. Emily Wilson translation.
my plan is to eventually create a larger version of this piece that includes telemachus and the meta aspect of unwoven warp threads. it would also be interesting to figure out if I can weave a different image on the back of the cloth, since the reverse of the pot itself depicts eurycleia recognizing odysseus as she washes his feet.
I can’t wait for my copy of The Settlements by O. Jamie Walsh (from Broodcomb press) to arrive. I read a digital version for my first book from the press, The Night of Turns, but not all their books have digital versions, this one included. Unfortunately, I really want to read it (the first book the press released) before continuing on with some of the other, more easily accessible entries.
*(Broodcomb press publishes books all set within the same, Weird setting of “the Peninsula.” I, like many reviewers, am pretty sure all its books are really written by one person. Individual books’ “authors” are frequently characters - including the one I read: The Night of Turns’ Edita Bikker is both alleged author and narrator/protagonist.)
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