[Video Description by idowhatiwantspock: A tiktok from Paal Bjørndal of a white haired lighthouse worker with a glorious white beard speaking into the camera, as wind blows his hair around. No dialogue is audible over the sound of wind. The video caption reads "Here I tell you some really inspiring quotes. I hope this will help you get up in the morning" End Description]
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 really don’t want to open this can of worms because Tumblr hath no fury like people called out on their political performativeness but it is literally driving me up the wall to watch people react to Serkis’ ‘keep Tolkien white’ commentary by insisting twice as hard that Tolkien would descend down to earth and dropkick the entire Republican party to hell or whatever, just because they want to ensure that a piece of media they enjoy isn’t seen as being morally impure. Case in point: I have seen at least five instances of Tolkien’s ‘I hate apartheid’ valedictorian address being used as a ‘counter’ to Serkis being racist, including by actual news outlets.
Except it’s only ever the ‘I hate apartheid’ line that’s shared, and not the actual quote in its full context. Because here it is:
If we consider what Merton College and what the Oxford School of English owes to the Antipodes, to the Southern Hemisphere, especially to scholars born in Australia and New Zealand, it may well be felt that it is only just that one of them should now ascend an Oxford chair of English. Indeed it may be thought that justice has been delayed since 1925. There are of course other lands under the Southern Cross. I was born in one; though I do not claim to be the most learned of those who have come hither from the far end of the Dark Continent. But I have the hatred of apartheid in my bones; and most of all I detest the segregation or separation of Language and Literature. I do not care which of them you think White.
Which is to say. This isn’t exactly the antiracist quote of the century, to say the least. This is a white South Africa born man and a white Australian shaking hands and going ‘omg we relate’ and expressing what is a very, very mild ‘segregation is not great’ opinion in order to convey his thoughts on an academic subject, ie the confluence of language and literature. Using race to make a point about his own subject of interest, in his own interest, which is, amusingly enough, what a lot of ostensibly well meaning progressive seem to be doing.
I also think that some of the general surprise around ‘what do you mean large swathes of the Tolkien fandom are incredibly conservative!?’ in lib/left Tolkien fandom is the result of a tendency in said parts of the fandom to transpose one’s own progressiveness onto Tolkien and turn a blind eye to things like, say, the Shire being a very specifically mid-century British racist construct that is very, very clear in its politics, often going so far as to insist it’s anarchist or an ideal society or whatever the fuck… and then getting really Pikachu-meme ‘but they’re misreading it’ every single time a conservative explains exactly what it is about the legendarium that they really love, and get surprised when someone uses the Shire being a racist construct to do more racism. It is 2026 let us do away with ‘I don’t see colour’ interpretations of media, I beg. Nobody is cancelling you for enjoying a book that is not kind to race. Most of the books I love are not kind to race.
I genuinely don’t have the energy to go deeper into it now because I and others have been beating this drum for ages but like man. Man. I’m not surprised by Serkis’ comment. I don’t really give a shit about what Andy Serkis says and does because if I was the kind of person who gave a fuck about Andy ‘I felt like an ethnic minority on the Black Panther set’ ‘I somehow interpreted Animal Farm in the most ridiculous way possible’ Serkis’ opinions on anything, let alone race, my life would be much sadder. I think the adaptation will be an enshittified money-grab, and I will probably embrace cannibalism when McDonalds inevitably starts giving out little Gollums with every Happy Meal. Again.
What I am surprised and disappointed by is how the liberal-left reaction to this shit is to always and forever just either pretend it doesn’t exist in the text, or is the result of a complete misreading. So seldom is the response ‘fuck me, this book has some real wild thoughts on race, let’s see how we can engage creatively with that in an adaptation’. Which has never happened. In fact, all your thoughts on Amazon and lore faithfulness and other adaption criticism or applause aside, TROP, the only Tolkien interpretation that has directly engaged with race has thus far done so very, very badly, and only on a surface level. Why?
Because the loudest parts of liberal Tolkien fandom is not interested in exploring race as it exists in the text, to explore it progressively, to engage creatively with the structural conservatism present within the very construction of Middle Earth. They’re interested in concessions that change very little: you can have your brown elves, as long as we don’t have to think about the implications of foundational aspects of our beloved world, which we relate to greatly and do not wish to think about why we relate to it beyond our own experience of encountering the text.
No, it’s always either an insistence that the Racists are Wrong because the Text is Pure, or a slight, grudging concession that Tolkien had ‘a few racist elements’ but ‘nothing like the racism of today’. Of course it’s nothing like the racism of today. Tolkien isn’t writing in 2026. It was the racism of yesterday, and it is very clearly written into the text. Tolkien is not your mildly problematic grandpa. Tolkien was an Oxford don with an enormous, wide-ranging cultural impact, and refusing to acknowledge that is the misreading, not the pointing out of or engagement with structural racism within the text.
There's also a version of this where people cite Tolkien's 1938 letter to the German publisher, ie the one where he refuses to confirm he's of "Aryan" descent and basically tells them to fuck off, as the other canonical "proof text" that Tolkien Was Not Racist, and it does the same flattening as the valedictorian quote. It's a great letter, very ‘get thee gone from my gate’ but it is also a letter about refusing a specific, legally coded Nazi racial category, not a statement about the internal racial logic of his own fiction.
Nobody is saying Tolkien was a fascist white supremacist Nazi. Hell, Tolkien’s own thoughts on military atrocity is pretty clear in the depictions of the escalating kinslayings. But people love to conflate "hated actual fascism, said so on the record and is very evident in his fiction" with "therefore the legendarium contains no racialised hierarchy," as though those two things have to rise or fall together, when they don't. You can be sincerely, personally opposed to Nazi race science and apartheid violence and still write a mythology where moral and aesthetic worth consistently map onto a Northern-European somatic ideal. Because the racialisation Tolkien both inherited and passed on wasn't Nazi race science, it was the broader Edwardian/interwar philological raciology he was actually swimming in, hell, drowning in, considering the Oxford environment. And I find it so, so frustrating how fandom keeps failing to make this distinction: structural racialisation and personal bigotry are not the same axis, and refusing to be measured on one doesn't clear you on the other.
The Southrons/Easterlings material is obviously the part most quoted when it comes to Tolkien’s ‘problematic elements’ except it's imo super telling how rarely it actually gets quoted compared to how often it gets vaguely waved at (except Charles E Mills. I love you Charles E Mills). Anyway “Black men like half-trolls," swarthy, slant-eyed, riding out of the south and east to serve Sauron… it’s the same mapping of good-north/evil-south-and-east you get in a dozen other early-twentieth-century adventure texts. And this imo actually undermines the "it's just medievalism, calm down" defense, because medievalism is a selectively retrospective construction of which past you're claiming and which one you're othering, not some sort of static, neutral historical styling.
Tolkien's medievalism is specifically Northern European heroic-elegiac medievalism, the "Northernness" he talks about loving as a kid, and that aesthetic preference is not extractable from the racial hierarchy it produces on the page. You cannot keep the aesthetic and disclaim the politics because as in all art, the aesthetic is the politics, that's what "structural" means as opposed to "incidental”, and I just wish that many extremely clever people who understand this in a contemporary sense would allow themselves to feel uncomfortable and look at it in a beloved text.
Jackson's trilogy didn't invent racialisation in Tolkien, hell I think he even softened some of it because the Scouring is straight up impossible to adapt without it being very clear about its politics, but his adaptation does go quite some way make the existing racism legible… casting, costuming, choreography and cinematography does the same racialised sorting the text does, and does it visually: Uruk-hai as a kind of grunting brutalised, brutalistic mass, Haradrim on oliphaunts as a fairly straightforward Orientalist boogeyman, and the Fellowship itself photographed like a Pre-Raphaelite fantasy lmfao. Serkis isn't introducing a new interpretive layer with his commentary, hell Serkis was in all those Jackson films as well! Serkis is being very clear about what aspects of the legendarium matter to him, and that aspect happens to be the whiteness of it all. And I genuinely cannot understand why the huge ‘scandal’ around his comment is not that someone said the quiet part, but that saying it out loud is what became the scandal, taken as some kind of transgression against Tolkien and all his readers with Good Politics™️, rather than the quarter-century of adaptations, readings, and analysis of the text that wordlessly encoded the racism and got called faithful and dedicated for it.
I didn’t want to go to author is dead territory but. Fandom discourse keeps reaching for authorial intent as the arbiter of textual meaning in exactly the way most of these same people would reject in any other context. Everyone is a massive New Critic the second the author in question is someone they love. But Tolkien doesn’t need to have consciously intended a racial hierarchy or a white nationalist mythology for the text to functionally produce one, for it to be so loved by conservatives and ethnonationalists who come fifty years after his time.
Intent is not even a contested position in literary theory, it's just the very basic understanding that "text has ideology independent of authorial intent". The insistence on relitigating Tolkien's personal feelings as though that settles the structural question is wild to me, and I find it so extremely unproductive how liberal fandom reaches for this constantly, repeatedly chanting Tolkien’s few vaguely liberal statements that read far less liberally in context. But I guess the alternative, ie reading the actual construction of race in the legendarium on its own terms, requires giving up the fantasy that the thing you love is politically inert. And it’s just so sad man. Like I fucking love the legendarium, and I think insisting on its moral purity is the worst thing you can do to it.
I think my entire argument can be summed up in a few questions. Why do conservatives keep saying "I love Tolkien" completely unashamedly, in a way they don’t realy say about most other ‘canonical’ twentieth-century texts, while we on the left have to perform a whole apologetic dance before we say it? What is it that they embrace about the text, that we have to occlude in order to express an unproblematic ‘love’? Why do we have to disavow parts of a text to claim we love it? Who are we performing to? What are we losing in focusing so hard on this performance?
This is why the Serkis-style comment, or the Rings of Power casting discourse, ends up being the deepest engagement we collectively get in fandom terms. Because both "sides" of that fight are actually shallow in the same way, just from opposite ends. The right-wing backlash to diverse casting is, repulsively, responding to something absolutely present in the text: a defensive crouch around a racial aesthetic it identifies as being under threat. The liberal-left response, the "just add brown elves" gesture, claims the problem to be one of representation and casting rather than structure, which is precisely why the racial elements of The Rings of Power satisfies no one and changes nothing.
You can put actors of colour in Númenor and Harfoot villages and yet the underlying moral framework of who is coded as inherently noble and who as inherently monstrous, whose skin colour the textual narrative uses as a standin for corruption, stays completely untouched. Again, see my TROP link above, with the jihadi-coding of the villains. Because that framework isn't located in the casting of an adaptation, it's located in the construction of Arda itself and physiognomy-as-morality at the level of the prose itself, constantly present throughout the text. Casting a Black actor as an elf doesn't do anything to the fact that "evil race coded as racially other" is still sitting right there in the Southrons and the orcs, unadapted, undiscussed, doing exactly the same work it always did, and this work takes on a new look in post-2001 adaptations.
So what you get is two adaptations of the same tiresome insanemaking discourse rather than two different arguments: the right defends the racial aesthetic as the substance of their love, and the liberal mainstream defends the fantasy that representation-level tweaks constitute engagement with race. And so, nobody actually produces the adaptation that takes seriously what nonwhite Tolkien scholars have been saying for decades, which is that you'd have to touch the orc/Southron/Valar/Valinor/blondeness architecture itself to ever productively have this conversation. Not diversify who plays the good guys, but interrogate why "evil" in this legendarium has a face and a hair colour and points compass east.
But if the talk about this goes on as it does, and continues between Tolkien the Pure versus Tolkien the Misread, there will never be anyone willing to make that adaptation, and we’ll go on forever in a sisyphean climb, where both the reactionary embrace and the progressive denial are just two versions of refusing to read the same damn book. Basically, I think we on the left etc need to stop treating "is Tolkien racist" as a yes/no gate you have to clear before you're allowed to enjoy the books, and stop acting like enjoying problematic media makes you a fascist. We need to start treating the racialised architecture within Tolkien’s world as the actual object of study, same way you'd read imperial romance or Forster or Kipling or Haggard, without needing to acquit or convict the author first.
Which means we have to name the conservatism specifically rather than gesturing at "some outdated attitudes," trace where it comes from historically (the philological Northernness Tolkien grew up steeped in, not some special personal failing that reflects badly on you), and then ask what an adaptation would look like which dramatised that rather than smoothing over it or weaponising it. We have to let go of the idea that critical engagement is disloyalty, and let go of the idea that loving something requires defending its honour. We need to get the resilience needed to engage with the idea that a work can be both formative and ideologically compromised at the same time.
We don’t need to resolve that tension into either adoring hagiography or totalising cancellation. If we do, we're going to keep getting “keep the Shire white” Serkis soundbites and “hooray we cast a brown elf in our we-invented-elf-jihadis show!” news cycles standing in for a conversation that hasn't actually started yet, and ngl buddies I have to say I personally will be biting people the next time I see yet another rendition of the same damn response-reaction cycle start again because everyone, both the conservatives and the left, wants the things they love to be a reflection of themselves, and will twist themselves into pretzels to ensure that remains the case.
You can be sincerely, personally opposed to Nazi race science and apartheid violence and still write a mythology where moral and aesthetic worth consistently map onto a Northern-European somatic ideal.
Really wish I could tell you guys about our local amateur theatre companies because they are SO POWERFUL I've been to shows in London that were less slick, less quality, less spectacular honestly I'm kind of a bit scared of our guys how do they keep doing this
quick question why does your cat command you to print something on the printer
he really likes to watch the printer print. It seems like he thinks there’s some kind of creature in there that I have the mysterious power to summon that he can then hunt for sport?
he sticks his entire arm inside the printer and breaks it if I don’t put some kind of physical burrier between him and the printer but like he purrs so loud when it starts printing and will beg harder for people to print things than he will for treats.
he just loves hunting the printer so much. he even tried to climb inside the place the paper comes out of the printer when he was a kitten.
No matter where he is in the apartment if the printer makes a noise he sprints full speed. He also knows which button to press to get the printer to print like the ink levels info and alignment sheet, so you have to make sure it’s off or locked up or he will print nonstop himself and then attack the printer and jam it.
is it inconvenient that my cat is obsessed with the printer? yes, but damn if it’s not also adorable.
I don’t actually have a ton of photos of him sticking his whole arm in there though because stopping him from jamming the printer is usually a task that involves all of my arms and also all of my roommates arms.
Thinking about the post because I had to unplug the printer today because he broke into the closet and printed the info sheet 3 times in a row and did bite me when I tried to stop him
The face of a boy who is sulking because I expelled him from the printer closet.
the good news is that my cat is so happy, the bad news is that my sticker cutting machine that I got recently instils the same curiosity and lust for violence in my cat that my printer does so no matter what I do I will not know a moments peace.
#ok i haven't really seen macbeth in a way that my brain has processed it #so like if there's greater reading of this within the text and whatnot context #but if this is the one line #this line does not indicate transmasculinity it indicates transnull #agender lady macbeth
Normally I'm all for more interpretations than defaulting to the binary, but in this case, Lady Macbeth's yearning/rage is specifically and overwhelmingly tied to ideas around being a man. "Unsex me now" in the context of the play and Lady Macbeth's circumstances and preoccupations is about her choosing a path that's going to strip her of the sex that has determined the course of her life—that is, womanhood; she's calling for the sex she already has (as understood in her world) to be taken away so she can be a true man—the man that Macbeth is not. Lady Macbeth's whole deal is caught up in regarding Macbeth as less of a man than she is, yet reaping the rewards of it despite his failures of masculinity.
There are many ways to read this, but tbh I think it's very important to the play that Lady Macbeth's rage and ultimate insanity are not about being gendered, but about gendered as female despite a strong alignment with masculinity and tbh deep contempt for women.
often you will see things online where you just have to be like "what a strange thing to say" or "i don't think that's true :)" to yourself and try to move on or you will lose your mind
