#the yearling

[yellowlabyrinth]

[arthistoryanimalia]

For #WhoopingCraneDay :

N.C. Wyeth (American, 1882-1945)

The Dance of the Whooping Cranes, 1939

oil on panel, 30 x 22¼ in. (76.2 x 56.5 cm);

printed as a plate in the illustrated edition of The Yearling (1939)

[racecarart]

And it was good, good, good But now it's gone, gone, gone And there's a little boy who's lost out in the woods, Always looking for the fawn.

[hungergameshyperfixation]

This is just because I recently watched “The Yearling,” but this piece reminds me of THG/SOTR.

I could see a young Haymitch (or Sid!) here, or even a young Peeta (or Everlark child) if you take into account the blonde hair lol.

Art: “Jody and the Flutter-Mill” by N.C. Wyeth

[queer-cinephile]

our enhanced and colorized versions of this photo of Gregory Peck circa 1945

[fashionartfilmalien]

[gone2soon-rip]

CLAUDE JARMAN JR (1934-Died January 12th 2025,at 90).American actor, businessman, executive director of the San Francisco International Film Festival, and director of Cultural Affairs for the City of San Francisco. He won an Academy Juvenile Award for his role as a child as Jody Baxter in The Yearling (1946).Claude Jarman Jr. - Wikipedia

[wesleysniperking]

Usopp and the story of his beloved pet lamb is akin to a classic novel

Usopp will always be multifaceted and complex given what he represents and encompasses. I still haven’t figured him out myself. Yet, I always give him grace and want to further my understanding of him because I care. Therefore, I’d like to communicate another connection that’s been on my mind lately.

So, I want to revisit certain facets of Usopp that make me wonder if Oda intended his storytelling to be even more significant than it appears at face value. Many have discussed this and offered excellent interpretations. Yet, what I’m trying to say is that Usopp and storytelling represent the childlike wonder in all of us. What some may see as immaturity in Usopp isn’t necessarily that.

For instance, with the Going Merry, Usopp was like the protagonist in old books like "The Yearling" and "Old Yeller," where they’re forced to shoot their beloved animal because it keeps eating their family’s crops or has been infected with rabies—situations that are devastatingly inevitable. This is a representation of Usopp up to that point pre-time skip. He had to be that protagonist.

Although "The Yearling" and "Old Yeller" deal with themes of facing reality and a loss of innocence, the act of shooting the animals represents handling it on their own terms. Later, as adults, these protagonists can deal with similar situations with the care they needed when they were younger and faced such paralyzing decisions.

I thought that Water 7 and Enies Lobby was Usopp’s "Old Yeller" and "The Yearling" moment. He had to part with his dear pet lamb because he had to face reality. If people treated Usopp’s letting go of the Going Merry in this way, instead of just seeing it as a guy crying over a ship, the humanist approach would be much more prevalent.

I thought that might have been intentional on Oda’s end, but I can’t read his mind. So, yeah, the Going Merry was like "Old Yeller" and "The Yearling," (or Flag), and Usopp was the boy.

usopp community (it is still a wip but you can post anything)