ex astris, scientia @spockothy - Tumblr Blog

It’s in the cards

something fascinating about wuthering heights—and what i think contributes to the disparity between the actual text and common (mis)interpretations of it—is popular depictions in film and art, esp book covers. the sorta sultry, brooding image of lovers on the moors never ! happens ! in the book !! the only time cathy and heathcliff are on the moors together is when they are rambunctious children. by the time each is an adult, heathcliff has been gone for three years and cathy is married and then dies

there is something to say about them as ghosts on the moor, but that’s not really ? something we see often in our popular imagination. generally we get the sense that cathy and heathcliff are torn asunder after making eyes on the moors but that’s totally disparate from the text and actually entirely counterproductive to the novel’s whole point. why would they long for their childhood if they experienced the same freedoms on the moors as adults? it all falls apart p quickly, which is why film/book covers privilege romance instead of the more pertinent socio-political criticisms the book makes, i.e. the whole Point of the book. easier to sell, easier to digest when it’s just about romance instead of uncomfortable condemnations of socio-political structures

marianhalcombes

here is a good, short article about the failure of WH adaptations

Mythologising an author like Emily Brontë may provide a consistent and comfortable way to “consume” famous writers in contemporary culture, but it does a disservice to the potential for a more complex dialogue between past and present – after all, the realities of power, race, gender and class that Brontë wrote about in the 19th century are still issues being tackled today.

mattrnurdock

Barry has entered. Sally, expecting the stiff, wooden idiot she’s been rehearsing with, turns to see: Barry, crying. Real tears of wrenching grief. Frustration. Desperation. Through this squall, with monumental effort, he bravely speaks: BARRY (AS SEYTON) My lord, the queen, is dead. And then he just weeps. All the emotion spills out. The self-loathing, the regret, the guilt, the shame. Barry sobs as he stumbles blindly off the stage. The crowd is stunned and confused. But Sally? She thinks all his emotion was summoned FOR HER. She absorbs it, revels in it - is utterly invigorated by it. His catharsis is fuel to her own sputtered emotional flame. She turns back to the audience with new confidence. BARRY, “CHAPTER SEVEN: LOUD, FAST, AND KEEP GOING.” Written by Liz Sarnoff.

#barry

showerthoughtspost

Pressing the crosswalk button when there are already people standing there is like publicly announcing that you don’t trust any of them

oppositionresearch

I don’t

theweirdwideweb

slaviceddie

bro we are just s

#i can breathe??????

evanbuckleyed

one day hozier is gonna cover hallelujah and by god it’ll kill me but what a way to go

nevver

Burning plain, Francisco Rodriguez

llovinghome

r0kita

what if we kissed on the broom (and we’re both cats)

screen-studies

Dead Poets Society (1989) dir. Peter Weir

camilledecussac

des poules et des hommes

ayanefujioka

woven (and combined technique) sample collection inspired by primary forest in Yakushima, Japan. All yarns except embroidery threads are hand dyed or painted.