#i feel like it could perform better as a web weave with all the quotes cut up | Explore Tumblr Posts and Blogs

scuderlia · 4 months

Note

haircut!anon back to yap! (not directly abt haircuts this time but i like the pseudonym.) topic on the board today is-- animal symbolism! reading the most recent snippet my eyes caught on the visual of charles crawling like a dog, which is really in sharp contrast to his typical fanon personification through dominantly herbivores/prey animals (mouse and deer/stag come to mind). (i feel kind of insane typing this out.) feel free to take this idea anywhere you please but like - herbivore-carnivore transition, or was he blood hungry from the start? do you have other strong animal-relational symbolism u associate with girlestappen? is this just a weird fucking question? lol

in reference to this snippet

eee! haircut!anon, i think you may actually live in my brain.

this is all delicious and i have lots to say about it, so bear with me!

i am not immune to the typical charles characterization of prey animal (see: the very elaborate web weave i made about him and deer theory...) but i think that when it's contrasted against his hunger, it really gets interesting.

(section a: CL field-notes)

the biggest thing with charles and what makes his character so compelling is the juxtaposition. he's passionate (and borderline obsessive) about his own performance, and also someone who is quite reserved and considerate of himself and others.

to contextualize this through racing: there is a clear distinguishment between charles on-track and charles off-track—a morbid desire to succeed that is housed within someone who is incredibly caring and attentive, especially towards those he cares about. the fact that charles has kept pretty much all of his friends from childhood (many of whom he karted with, or competed against) speaks volumes to this.

one of my absolute favorite charles characterization/personality quotes comes from his former Team Principal at Prema:

"The first thing that comes to mind when we talk about him is once again his determination, and his almost sickly desire to improve. Whether it was after the first test with us or after the end of the season, he always asked us where he could improve and how he had to do it. It is at the extreme of perfection." — René Rosin (Prema Racing, 2017) via 'Charles as seen by his former team managers' (Charles Leclerc Fans)

i think that above all else, charles' determination is funneled through the consideration of how he can push himself to be perfect. and ultimately, that is the driving force behind his pursuit of desire.

charles is self-described as being non-sentimental, and not particularly religious either. i think a large part of that comes down to how he never falls back on the idea of 'divine fate' or things being out of his hands. yes, there are little rituals he keeps up through racing... memories of his childhood, family, etc. that he carries, but none of them are ever pinned as a reason for either success or failure. ultimately, what happens on track and in competition are direct results of charles, his decisions, and efforts.

the best way i crystalize this for the sake of the narrative is that, to be very one-dimensional about it, charles views his car as a sort of 'phantom limb.' while it is this greater object that is separate from Charles the Person, any mishaps or incidents can ultimately be tied directly back to his direction and control.

charles has this morbid need to reach the pinnacle of what he believes himself to be capable of, and anything that falls short of that is viewed (by him) as a failure. this is primarily evident to me through how, even in the anger of moments where he's crashed or DNF'd, the blame is always directed inwards. he curses himself out, blames his own lack of performance, and even in media interviews afterwards tends to only reference the things that he should have done differently to gauge better results.

to tie this back to ideas of him being ruthless vs. meek, it's not necessarily that charles becomes a different person when he races, but instead that his hunger for perfection comes to the forefront, eclipsing everything else.

(section b: translation to girl!charles)

for girl!charles, i took this greater concept of having hunger eclipse nerves and reservations, and stuffed it into a little guilt-shaped pouch. in order to initially cope with killing and eating people, charles separates her person from her desire, or more-so allows it to be swallowed when necessary.

it is a very transformative thing, being around max. without giving away the entire plot, charles does devolve a bit, or more so gives into her hunger and desire instead of restricting herself. it's mentioned briefly in the snippet i posted, but charles' arc of being a cannibal follows in succession to max's—essentially, max was one first, and charles becomes more ruthless and willing to devour as their relationship progresses.

as killing and eating, especially with max, draw closer and closer to becoming a sacred act, she starts to chase this image of perfection within her own craft. it's something that she wants to be good at, and to do so, she sensationalizes some aspects of it (or maybe romanticizes is a better descriptor... i'm not sure)

the comparison in the drabble was mostly to allude to the animalistic nature of what they're doing, and how charles still makes efforts to try and separate herself from her actions when she eats. Charles the Cannibal and Charles the Girl are two different identities that she carries with her. over time, she starts to realize that the degrees of separation between the two were not as great as she thought, and thus begins her divulsion.

(section c: hunger as an animal)

i'm pretty sure that anything/everything i write will always include animal symbolism, so yes, there's definitely some present within girlestappen. their loyalty and devotion to one another is incredibly dog-like, and evident within the greater narrative of cannibalism and the act of devouring together. lesbians go crazy when a gentle creature bites to protect them.

aside from that, there's also allusions within the individual kills to animals/ideas of predator-and-prey that i haven't yet posted about, and likely won't until i finish the whole fic and publish it (we're 17k in... making moves...)

the one that i will point out now is charles likening the wire that max holds in this snippet to a snake. at this point, charles is still grappling with her attraction to max, and the comparison is intended to a) act as foreshadowing for how the guy she's with is about to die, and b) how his death, and max's actions, are ultimately going to push her to act on that temptation (think serpent in the Garden of Eden)

also... on the herbivore-carnivore topic... i've actually written charles as a vegetarian early on in the story (a decision she initially makes as a means to curb her desire and hunger)... so you nailed it.

this may be incoherent but tldr; charles contains multitudes.

#psychoanalysis on the blog #asks #fic asks #girlestappen #haircut!anon

6 notes · View notes

arctic-comet · 3 years

Text

Osblaineweek2021, Day 2: Prose

I love book quotes. Looking at quotes is one of my favorite ways to to inspire myself to write more fic.

Here’s a small collection of book quotes (and recs!) of where I’ve “found” June and Nick.

This post contains spoilers for the following books/series:

- Lover Mine by JR Ward

- The Wrath and The Dawn duology by Renée Ahdieh

- A Court of Thorns and Roses series by Sarah J. Maas

Lover Mine by J.R. Ward

Summary:

John Matthew has come a long way since he was found living among humans, his vampire nature unknown to himself and to those around him. After he was taken in by the Brotherhood, no one could guess what his true history was- or his true identity. Indeed, the fallen Brother Darius has returned, but with a different face and a very different destiny. As a vicious personal vendetta takes John into the heart of the war, he will need to call up on both who he is now and who he once was in order to face off against evil incarnate. Xhex, a symphath assassin, has long steeled herself against the attraction between her and John Matthew. Having already lost one lover to madness, she will not allow the male of worth to fall prey to the darkness of her twisted life. When fate intervenes, however, the two discover that love, like destiny, is inevitable between soul mates.

It's basically a paranormal love story between two warriors. He's really young (although he's actually a reincarnation of a very old vampire warrior, but he doesn't know that), and she's like 300 years older than him. In this book, she's been raped and abused by a guy who also used to bully him. She escapes, but he saves her life. She's hungry for revenge and wants to die after achieving that goal, but of course eventually changes her mind. In the end he actually serves her rapist to her on a silver platter so that she can kill him (sound like anyone we know?). He literally holds the guy down while she kills him.

They're my ultimate favorite ship in this series, and IMO their relationship eventually develops into one of the strongest ones. This series is a bit of a hit-or-miss for most people, because the language and the writing style are pretty ridiculous in all seriousness. If you decide to read this, I recommend starting the series from the beginning because John and Xhex meet for the first time several books before this one, LOL.

Here are some of the quotes that make me think of Nick and June:

“Besides, the story of the two of them was written in the language of collision; they were ever crashing into each other and ricocheting away—only to find themselves pulled back into another impact.” ― J.R. Ward, Lover Mine

“As his ears rang and his heart broke for her, he stayed strong against the gale force she let loose. After all, there was a reason why here and hear were seperated by so little and sounded one like the other. Bearing witness to her, he heard her and was there for her because that was all you could do during a fall apart. But God, it pained him to see how she suffered.” ― J.R. Ward, Lover Mine

“...the only thing that had tethered her to the earth had been him and it was strange, but she felt welded to him on some core level now. He had seen her at her absolute worst, at her weakest and most insane, and he hadn't looked away. He hadn't judged and he hadn't been burned. It was as if in the heat of her meltdown they had melted together. This was more than emotion. It was a matter of soul.” ― J.R. Ward, Lover Mine

The Wrath and the Dawn duology by Renée Ahdieh

Summary:

One Life to One Dawn. In a land ruled by a murderous boy-king, each dawn brings heartache to a new family. Khalid, the eighteen-year-old Caliph of Khorasan, is a monster. Each night he takes a new bride only to have a silk cord wrapped around her throat come morning. When sixteen-year-old Shahrzad's dearest friend falls victim to Khalid, Shahrzad vows vengeance and volunteers to be his next bride. Shahrzad is determined not only to stay alive, but to end the caliph's reign of terror once and for all. Night after night, Shahrzad beguiles Khalid, weaving stories that enchant, ensuring her survival, though she knows each dawn could be her last. But something she never expected begins to happen: Khalid is nothing like what she'd imagined him to be. This monster is a boy with a tormented heart. Incredibly, Shahrzad finds herself falling in love. How is this possible? It's an unforgivable betrayal. Still, Shahrzad has come to understand all is not as it seems in this palace of marble and stone. She resolves to uncover whatever secrets lurk and, despite her love, be ready to take Khalid's life as retribution for the many lives he's stolen. Can their love survive this world of stories and secrets?

This is a young adult fantasy romance, and basically, Khalid is a lot like Nick. He’s made mistakes that he needs to own, but at the same time he’s forced to commit atrocities he doesn’t want to do. He hates himself and doesn’t believe himself to be worthy of love, and yet he falls in love with Shazi. He's viewed as the villain of the story by everyone aside from Shazi and a few other characters until almost the end of the 2nd book.

“I love you, a thousand times over. And I will never apologize for it.”

―Renee Ahdieh, The Wrath and the Dawn

“It’s a fitting punishment for a monster. to want something so much—to hold it in your arms — and know beyond a doubt you will never deserve it.”

― Renee Ahdieh, The Wrath and the Dawn

“When I was a boy, my mother would tell me that one of the best things in life is the knowledge that our story isn't over yet. Our story may have come to a close, but your story is still yet to be told.

Make it a story worthy of you”

― Renee Ahdieh, The Wrath and the Dawn

“In that moment of perfect balance, she understood. This peace? These worries silenced without effort? It was because they were two parts of a whole. He did not belong to her. And she did not belong to him. It was never about belonging to someone. It was about belonging together.”

― Renee Ahdieh, The Rose & the Dagger

“A boy who'd thrived in the shadows.

Now he had to live in the light.

To live . . . fiercely.

To fight for every breath.”

― Renee Ahdieh, The Rose & the Dagger

A Court of Thorns and Roses by Sarah J. Maas

Summaries:

Book 1

Feyre's survival rests upon her ability to hunt and kill – the forest where she lives is a cold, bleak place in the long winter months. So when she spots a deer in the forest being pursued by a wolf, she cannot resist fighting it for the flesh. But to do so, she must kill the predator and killing something so precious comes at a price ... Dragged to a magical kingdom for the murder of a faerie, Feyre discovers that her captor, his face obscured by a jewelled mask, is hiding far more than his piercing green eyes would suggest. Feyre's presence at the court is closely guarded, and as she begins to learn why, her feelings for him turn from hostility to passion and the faerie lands become an even more dangerous place. Feyre must fight to break an ancient curse, or she will lose him forever.

Book 2

Feyre survived Amarantha's clutches to return to the Spring Court—but at a steep cost. Though she now has the powers of the High Fae, her heart remains human, and it can't forget the terrible deeds she performed to save Tamlin's people. Nor has Feyre forgotten her bargain with Rhysand, High Lord of the feared Night Court. As Feyre navigates its dark web of politics, passion, and dazzling power, a greater evil looms—and she might be key to stopping it. But only if she can harness her harrowing gifts, heal her fractured soul, and decide how she wishes to shape her future—and the future of a world cleaved in two. With more than a million copies sold of her beloved Throne of Glass series, Sarah J. Maas's masterful storytelling brings this second book in her seductive and action-packed series to new heights.

Fantasy romance with explicit sex scenes, and book 2 is a lot better than book 1. Our main character Feyre falls for a really boring fae guy, but also meets the hottest guy she’s ever known. The first guy of course isn't the real love interest (this is a twist this author loves to do). They all end up as prisoners, and the 2nd guy saves her life when the 1st one is totally useless. He also makes her hate him as he does it because he has to. After getting out, she tries to make her old relationship work, but it doesn’t, and guess who swoops in?

I do see some Nick in Rhysand (in addition to his role in the love triangle). They’re both traumatized and prefer to keep a lot of their feelings to themselves. I also see some of the same selflessness in both of them. Rhysand wants Feyre to choose him because she loves him, but he’s willing to accept that she may not, and doesn’t tell her that they’re pretty much destined to be together (it’s a supernatural thing, and he will suffer a lot if she decides she doesn’t want him).

“Everything I love has always had a tendency to be taken from me.”

―Sarah J. Maas, A Court of Thorns and Roses

“It took me a long while to realize that Rhysand, whether he knew it or not, had effectively kept me from shattering completely.”

― Sarah J. Maas, A Court of Thorns and Roses

“Regardless of his motives or his methods, Rhysand was keeping me alive. And had done so even before I set foot Under the Mountain.”

― Sarah J. Maas, A Court of Thorns and Roses

“Because," he went on, his eyes locked with mine, "I didn't want you to fight alone. Or die alone."

― Sarah J. Maas, A Court of Thorns and Roses

“He thinks he'll be remembered as the villain in the story. But I forgot to tell him that the villain is usually the person who locks up the maiden and throws away the key. He was the one who let me out.”

― Sarah J. Maas, A Court of Mist and Fury

“And I wondered if love was too weak a word for what he felt, what he’d done for me. For what I felt for him.”

― Sarah J. Maas, A Court of Mist and Fury

“I was his and he was mine, and we were the beginning and middle and end. We were a song that had been sung from the very first ember of light in the world.”

― Sarah J. Maas, A Court of Mist and Fury

#osblaineweek2021 #osblaine #the handmaid’s tale #nick x june

25 notes · View notes

autoirishlitdiscourses · 3 years

Text

Discourse of Saturday, 03 July 2021

Have a good recitation.

Jolly old woman. One option that you turn in a particular text, and quite engaging and lucid, and does so in section on 27 November recitation, too, OK? You may find that speaking with me on the web? You should do, in fact, you have a Disabled Services Program accommodation for? One way but not unimportant juxtapositions that the episode—are we to make this offer to do so, because it makes life more stressful for you to make a habit of it myself.

I think that one of the situation, but I think that what your argument to go is also an impressive move you might notice Bloom's interest in is the only representation of its most precious illusions. I expected, and you receive no credit for the positions that you should by all means pay close attention to how other people would probably help you grow as a whole. Don't forget to look at what constitutes evidence, and you related it well to the question of what texts you see, specifically? The group was already warmed up for points of your texts, a good Thanksgiving break. You effectively acknowledged the work. You could theoretically have been possible to accomplish this before in case they ask you if he asks you specific questions that you have any questions as you point out of all of these come down to recite and discuss can be a way that makes a strong reason for doing a good student and I enjoyed having you in section tonight, along with the rest of the texts, and it shows in places, and/or need to be making, since we've just set this up, I've also gone ahead and decide which texts you want to get this to everyone who was genuinely responsive to early questions didn't get your ideas in here, although this was a mispronunciation of surmise that broke the poem's ideas needed a vocal pause in order to move up, if you'd like. I'm not faulting you for doing such an incredibly minimalist effort on the other side of your discussion notes by the victims and requires a Dirty Harry, a productive choice, so I do not re-inscribe Gertie into the A-and I appreciate that you're capable of punching through to a copy of the theorists involved and the group to agree with the assumption that you can do at least twelve lines of poetry into music and want to take a radically relativist position and suggest that everything else goes smoothly with you, I can think in line 22. Looks good to me. You really do have good, clear readings of all but the attentive amongst you will have to get very very sensitive and nuanced interpretation—I've tried to point your students at it, and the to a strong preference on going second or third, although the multiple starts ate up time that could have been in all ways to read from Butcher Boy here. Alternately, you did fumble a bit here. Nothing that I'm still a few things that, going into the novel within one of the class about stereotypes of Irish Women's Poetry, 1967-2000 ISBN 978-0-916390-88-4 around, it's a bit of wiggle room. In any case, you're welcome to share these with your own ideas. For the recitation, got people talking. Think about what your overall payoff will be. I get there naturally. I don't mean to take so long to get it in a lot of information with a GPA of 3. That section of the quarter, you might profitably compare/contrast formula and show that you're dealing with. Again, very solid work here. /Annotations to James Joyce's Ulysses: she's married and has been very close less than thrilled about with this question, but are intended to culminate in a comparative manner over time, I think that you're talking about home in general might mean by passionate, insightful, moving delivery and/or larger concerns. More administrative issues?

Both of these are impressive moves. 54 2. Hi! It never compares, at least forty-eight hours of your mind, keep reciting it, in part because, when it's entirely up to him. In all of which parts of The Butcher Boy the following details about exactly what you're going to depend on where you found it on a different segment later in the judgments that sort people into the A-paper receives is based on whether or not effectively support the writer's argument. Hi! /Or minor problems. Forcing yourself to ground your analysis more: I think, always a productive exercise I myself use LibreOffice.

I hit the Send button in my camera died, I'm sorry to say, I have a good weekend! You really have done some very, very good outcomes of your writing is also impressive. You have a few other things, and the ideas you had a good job of covering a large number of important things to say this not just of choosing not to say that a B paper one day: although you should then discuss the readings in a more elaborate description if you have any other questions! I'm planning on doing a strong job!

Great! The Dubliners' version of GOLD than you were very sensitive and nuanced things to talk to me. So, in a chapter of Theodor Adorno and Max Horkheimer's Dialectic of Enlightenment that is in your delivery was good, but made up for it. —As it needs to be over. Thanks again for doing a genuinely excellent job well done. However, I think that bringing one of the room, but I'm hesitant to quote in, say, surrealist painting and other works, we should be engaging in a packet of poems tonight. I did better. All in all, you can make my 6 o'clock section, so I hope you had a good holiday, and it's a reflective piece, for that section within the realm of possibility for you. Or you could be made about grammar and phrasing but these are required, and I quite like your performance, that's incredibly comprehensive. Currently, what do you mean when you argue that one thing is nothing more than you were so excited by your own writing and/or the penalty. I didn't anticipate at the structural schema given to friends: Carlo Linati; Stuart Gilbert J. B 415 435 B 400 415 B-77% 80% C 73% 77% C 70% 73% C-means that a contemporary English poet might be productive. Come by my office hours. That is to say. You covered some important things in your analysis in a third document might involve how media images get stuck in Francie's head and the rusted poison did corrode his blood the way: It's often easier to get back to you with comments tomorrow. There are a couple of extra minutes to make sure it's a wonderful and restful holiday break! Picking a selection of what you see as the source of a topic that I can. You'll get that in as soon as you can bring your participation score a small boost to your next email it to the course's large-scale course concerns and themes, looking at evidence that you can do with the Easter Rising, and not Silence of the stack anyway. First: make sure that it's one of the due date that you want to ruin it for a student with a well-structured manner; and mop up on posting links to songs and other emotions related to each other, broader problem is that I assign your final exam yes, that you want to help each and every lecture. If you wanted to meet this status, there are some of Yeats's poem, its mythical background, contemporary politics, and number the episodes on the syllabus. Excellent! That's fine just let me do so. Again, thank you for putting so much that that is important in connecting outrage to analysis. One of these various types and weave them into a more specific: I am of course grade. I think. 'S, 5 C-range paper/—even by one line—/is/always/bring the week's readings with you that placing the non-traumatized at least 98% on the most important would be a useful fallback plan. I will be. If you have any other number of genuinely meaningful contributions that you demonstrate a very productive. Strange feeling it would help you to trace a clear line between some line that intersects several of these come down to it? Hell, bandwidth's really cheap these days. So, where do you see as the major possibilities, and we can meet on campus never quarter. However, I think that you're painfully aware of their work relates to WB's work. However, you did eight IDs instead of or in posting your notes are absolutely unchangeable, because you clearly had a low-ish A-scale umbrella of what might be a motivated one, and don't remember it in economic terms or terms that differ are generally fair and often very nuanced readings by using hedging phrases like I said before, and good choice to me, and you've proven that you are absent or late, missing more than the course as a whole and contextualizing the paper, and that it's less successful than it would have had to take so long to get back to you.

So, it may be that our sympathy is based on the midterm would result in a lot of things well here: you had planned to cover, refreshing everyone's memory on the final. I completely appreciate that you're already doing a good student this quarter, and I hope you have a good idea, you did quite a good chunk of the problem with the middle of how percentages or point totals above are necessary ways to approach the question from another angle: What is the ideal resource, but you did quite an impressive move, which involves speculations about the relative value of the play pp. Think about what your paper. On Raglan Road, which has Calc, a professor in our department, Candace Waid, just over the break. That is, I also consider lack of Irish literature. /Corrections, but will post before I pass it out, it will eventually force someone to speak without forcing them. So, my suggestion is not that you really have done some very good recitation and what kind of reader-response criticism which is to have a sense of what texts you choose a good sense of the beautiful little gem that is appropriate and helpful.

It is in the novel. I'm gonna pretend I didn't anticipate at the last day for most of that motivation is will pay off to have thought of it as coming in on the day you are, after all, you've got a good holiday break! I left item 5 off of the first line of your recitation. There is a series of archaic softhearted misplaced sympathies for criminals. Another potentially profitable, but needs to be finding a way to find that thesis, because they're from a rope on line 14; changed I told him that I think that the professor's announcement that he has now missed three sections a very good job in a thesis statement throughout your time and attention to the pound, which pulled the grades up. Unfortunately, the average i.

#Irish literature #automatically generated text #Patrick Mooney #Python #Markov chains

0 notes