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eggtrolls · 17 days

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haiku misinformation: a fact check

there's an post going around about haiku that has a lot of incorrect information about haiku, its terminology, history, etc. I will try to debunk some of the biggest inaccuracies here. everything in quotes is a direct statement from the original post. this is also really, really long.

"Haiku are made of 14 on, which are essentially the equivalent to Japanese syllabic structures, except the nature of how Japanese as a language is constructed versus English means that any given proper haiku could be translated in extremely and intensely different ways, each giving a subtle but distinctly different meaning."

Starting off strong - haiku are (usually) made of 17 on. It's the classic 5-7-5 pattern! 5+7+5=17! [possibly this is a mix-up with wakiku (脇(わき)句(く)) which is another type of Japanese poetry that does use 14 on but who knows.]

Definitions: an on is a phonetic unit, the equivalent to a mora (pl. morae) in English. this concept a) exists in English and b) like on, is related to syllables but distinctly different from them (i.e. ba is one mora but baa with a long vowel is two morae). On can be counted using the number of hiragana (phonetic syllabic characters) when the text is transliterated, so a word like Osaka that has the long O sound (made up of 4 kana) would be 4 morae or 4 on (o-o-sa-ka; おおさか). it's not really a syllabic structure at all, and more importantly has nothing to do with translation. idk where that last part comes from because that's really...not the point here. Yes, any given "proper" haiku could be translated in different ways with a subtle but distinctly different meaning but that's true of just...translation, period. check out Deborah Smith's translation of The Vegetarian by Han Kang for more on that.

Furthermore, haiku were/are not rigidly locked into the 5-7-5 on pattern. That's just not true, which is why I said usually above. Easy example: a 1676 haiku by Matsuo Basho that uses 18-on:

冨士の風や　扇にのせて江戸土産; ふじのかぜやおうぎにのせてえどみやげ; the wind of Fuji /I've brought on my fan/a gift from Edo <- that first line is 6-on!

2. "The best way I can explain what I mean is that in English a good poem can be defined as a shallow river, whereas a good haiku is a deeply-dug well."

Not dignifying this with a response. Deeply incorrect and untrue. @bill-blake-fans-anonymous can handle this assertion.

3. "The presence of the kigu. There is a specific series of characters/words which are used to imply a season, and specifically a specific aspect of a season which the haiku revolves around. The creation of a haiku is often done as a meditative practice revolving around the kigu--you're essentially contemplating on this particular natural feature (nearly always the temporal aspect emphasizes either ephemerality or the opposite as well bc Buddhist ideas of enlightenment and beauty begin coming into play) and building an evocative and purposeful point that revolves around it like a hinge. It functions as both ground and anchor."

First (and largest) problem: the word. is. kigo. kigo. It's ki (季; season)-go (語; word) = 季語. Both the English and Japanese language Wikipedia, or a 3-second google search, will tell you this immediately. I have no idea where the term kigu comes from.

Second problem: plenty of haiku, both traditional and contemporary, do not use kigo. these are described as muki (無季; seasonless). Matsuo Basho, the haiku-writing poet non-Japanese people are most likely to know, wrote at least ten seasonless haiku that exist today. Masaoka Shiki, the Meiji-era haiku poet and reformist, wrote hundreds of kigo-free haiku and as an agnostic, tried to separate haiku from Buddhism and focus more on the shasei, the sketches from daily life. you can actually, today, buy what are called saijiki, which are lists of words and terms that refer to specific seasons (in the traditional Japanese calendar, so there are actually a lot of "micro" seasons as well). some saijiki include a whole section of "seasonles" words - here's an article about non-season kigo in a saijiki.

so the claim that English-language haiku are invalid or not "real" haiku because they lack a kigo doesn't hold up, unless you invalidate a whole bunch of Japanese haiku as well. the op also claimed they would categorize a lot of English "haiku" as senryū which is...an opinion. Yes, haiku tend to be focused around nature (more on that below) and senryū tend to be more comedic or about human foibles but...that's it! it's a tendency! it's not a hard and fast rule!

Third problem: the claim that a haiku is as meditative practice revolving around the kigu kigo...yeah, no. the earlier form of haiku, the hokku, were the introductory poems of the longer poetic form, the renga and the hokku gradually became a standalone poetic form known as haiku. the hokku had a lot of purposes and we have a historical record of them going back ~1000 years to Emperor Juntoku where they were declamatory poems tied to events (births, deaths, etc.) or social events (moon-viewing parties) - not really meditative. haiku, if a genre can focus on a single idea, focus on an experience and that can be real or imaginary, direct and personal or neither.

Here's another Basho poem for your consideration:

夏草や兵どもが夢の跡 (natsukusa ya tsuwamonodomo ga yume no ato; summer grasses--/traces of dreams/of ancient warriors)

both the dreams and the grasses are those of Basho (contemporary) and of the warriors (ancient); it's about travel, it's about connecting the present to the ancient past, it's not really so much about the summer.

(Fourth, minor problem that I'm not really going to get into: you'd have to take this 'Buddhist ideas of enlightenment and beauty' up with haiku scholar Haruo Shirane but he explicitly says in the Routledge Global Haiku Reader (2024) that "pioneers of English-language haiku [such as D.T. Suzuki, Alan Watts, and the Beats] mistakenly emphasized Zen Buddhism in Japanese haiku".....so.)

4. "The presence of the kireji...it's a concept borderline absent from English because it's an intersection of linguistics and philosophy that doesn't really exist outside of the context of Japanese."

Let's begin with clarification. What is kireji (lit. a 'cutting word')? It's a class of terms in Japanese poetry that can do a few things, depending on the specific kireji and its place in the poem. In the middle of the poem, it can mark a thematic break, a cut in the stream of thought highlighting the parallel(s) between the preceding and following phrases. At the end of the poem, it provides a sense of ending and closure - it helps mark rhythmic division, to say the least, and it is seen as the 'pivot' word.

Two problems with claims above:

a. there are haiku that do not use kireji. For the hat trick, here's a Matsuo Basho haiku from 1689 AD that is kireji-free: 初しぐれ猿も小蓑をほしげ也 (hatsu shigure saru mo komino wo hoshige nari; the first cold shower/even the monkey seems to want/a little coat of straw) <- NB: I love this haiku so much

b. the idea of a kireji, as in a pivot word that provides an inflection point with rhythmic division and structure, exist not just in English poetry but in multiple different types of poetry across time and space! The caesura in Latin and Ancient Greek! The volta in sonnets! Whatever is happening in the third line of the Korean sijo!

final thoughts:

the op included language, which I won't quote here because it was messy and tied into other rbs, about Orientalism and appropriation in English-language haiku, which is definitely a real thing. but this blanket statement ignores that the relationship between haiku and "the West", much like Japan and "the West", was and is not a one-way street. Western writers were influenced by haiku and, in turn, those writers influenced Japanese writers who wrote haiku inspired by these influences - this process has been going on for well over a century. Furthermore, English and Japanese are not the only languages in which haiku are written! Nobel Prize winner Rabindranath Tagore was writing haiku in Bengali; other Indian poets were and are writing them in Gujrati and Malayalam, particularly by the poet Ashitha. the Pakistani poet Omer Tarin has written haiku about Hiroshima! The Spanish poet Lorca published haiku in, get this, Spanish, in 1921 and the Mexican poet José Juan Tablada published more in 1922! Italian translations of Yosano Akiko were published in 1919! any discussion of the idea that English/non-Japanese-language haiku aren't really haiku because they don't hold to the "rules" (which Japanese authors have been revising, adapting, critiquing, and/or straight up flouting for centuries) or because English/non-Japanese poetry is "a shallow river whereas a good haiku is a deeply-dug well" just shows a lack of knowledge around traditions and depths of...well, poetry itself.

my god this is so long.

in summary: this is a complex topic. If anyone would like some actual information about haiku, its history, common themes and forms, or a collection of good poets, the Routledge Global Haiku Reader (2024) and Haiku Before Haiku : From the Renga Masters to Basho (2011) are great references and really accessible in their language! hmu if you're interested and I can send you some pdfs.

#'99% of all haiku written in English might at best be called a senryu' is QUITE a take #the idea that kireji is a uniquely mysteriously super special Japanese term that has no equivalent and could never be understood. hm.#where have I heard that line of thinking before.....#haiku #Japan #long post

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lovelyyandereaddictionpoint · 11 months

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Big Sis | Yandere Junko and Mukuro

A Concept To Maybe Continue...

You knew something was different about your older sisters. According to others, sisters their age fought all the same…just not with high-grade weapons. Your sisters were Junko Enoshima and Mukuro Ikusaba–The ever hated Despair Twins.

It was terrifying or it would be if you weren’t desensitized to the overwhelmingly radical personalities. Oddly enough you're usually not on the receiving end of their despairful escapades. Instead forced to be smothered by your sisters' obsessive and possessive tendencies. That made you an unwilling bystander to their crimes.

Mukuro was the better one, more inclined to be a nurturing older sister. Scratch that, she essentially instated herself as your motherly figure. Using the skills she was naturally inclined to as the ultimate super soldier to take over most of your needs. From infancy to junior high she’s intent on carrying you around and spoon-feeding you the meals that she cooked. You’d like to say she didn’t do the weird blushing thing that she did with Junko’s violent affection but that’d make her too normal. She had her moments but more often than not she was infamous for getting overly excited about all the small things.

First school uniform?

“Baby, you look perfect!”

“Muki-chan you’re nose is running.”

“Oh is it?”

Eating your favorite food?

“You’re such a messy eater, (Y/n)! Here I’ll get that for you.”

“Are you-? You’re not throwing that in the trash are you?”

“Oh (Y/n) what are you doing talking? Eat your food.”

Simply existing within her vicinity?

“Hah~Look at them sleep so soundly! My (Y/n)~!”

You really didn’t like waking up to her drool on your face, or at least that’s what you hope it is.

But if you compared that to Junko’s behavior it was more of a minor inconvenience to know your sister’s watching stalking you diligently. Junko had the most prevalent despair-filled behavior but not in the way many would think.

“Oi oi don’t go runnin’ from your big sis! It be pretty despairing if those friends you’re running to all died horribly in front of you?”

Always keeping you within arms reach, in her lap, or her actively making you aware of whatever despair she was deciding to inflict. Unlike her treatment of Mukuro which was truly ever to encourage her obsession with despair she seemed to satisfy in simply you. Having you, living with you, keeping you, killing for you, causing despair in your name It was an anomalous relationship with an abnormal girl; a love for you that was measured by her burning love(?) for you. But her affection wasn’t shown in any typical fashion as any would guess. Locking your friends in a room and enticing them to plan murders. Or that one time when she dressed you up as a baby to ‘relive the grand ol’ days’. Playful pushes, pinching at your cheeks, writing her name somewhere on your body, and including you in her violent rampages. The sight of Mukuro’s blushing face was a familiar one for you.

“Upupupu did you think you could runoff with that scumbag without sharing the fun times!?”

“Little (Y/n)! Did they hurt you? What am I saying, of course they did! I’ll brutalize them soon!”

Leading up to the biggest, most Awful, most Tragic event in human history your sisters were occupied with. Putting their plan in action they let you slip away with nothing but a tracker on. A tracker you were able to locate and stick to some unsuspecting pigeon.

With your newfound freedom you enjoyed yourself to the fullest completely unaware of the impending doom that would have been birthed from the walls of Hope’s Peak. By the time the world had truly began to be consumed by despair you were far from the school and fending off the Monokuma–masked assailants. For whatever reason the broadcasts didn’t affect you like it did others and that alone made you a person of interest to the graduated Ultimates. After hours of interrogation and questioning you were deemed not a threat but an asset in bringing down the host of the killing game.

“Upupupu you plebs out there still rooting for hope are cheering aren’t yuh!? Well for the glorious agents of despair I’ve got a job for ya–”

Now revealed: Junko Enoshima appeared in a prerecorded message beckoning the 77th class to snap and snicker at her voice.

“If you’re looking for the next instigator of despair it’ll be the living one! Baby (Y/n)!!!” Tongue out with those despair-filled eyes, as the video cuts to a picture of all three of you–zooming in on your unsuspecting chubby face. All though it was an old photo it resembled you enough and that was all it took to start the latest wave of despair.

Under Munukata’s leadership you just barely escaped his sword. By his divination you were still an ultimate, an ultimate targeted by the wicked Ultimate Despair. So naturally you should stay by his side even as the 77th class began to converge on your location, eager to plummet the world into deeper despair. Forget the way he so willingly strikes down any who attempt to befriend you or the way he demands you listen to his odd rules ‘to keep you safe.’ Forget all about how even after their reformation they still seem keen on meeting you and bringing you with them. And be sure to ignore how even more nameless victims of despair attempt to weasel their way to you.

Even in her death they seemed to birth an obsession around you.

“Awww didn’t think a silly thing would stop me baby bird! I’ve always wanted to give you the despairful birth you deserve. Corrupting all hope to fall into disgustingly delicious despair! Love can be cruel can’t it!?”

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splatmoura · 10 months

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Been doodling some of my kiddos to get a hand of their designs and personalities. Still not sure about their weapons and how they know each other/are related but I’ll be thinking bout that for the next couple days

In order:

- nameless yellow inkling: still not sure about her, but she likes salmon run the most. She’ll eventually take an egg home and keep it

- Muki: chaotic gremlin :B roller main

- Maeve: reads vampire novels and writes fanfiction. She’s reserved and likes to do her own thing but often dreams of her romantic debut. One day. E-liter 4K main.

- Bob: I love his design and his silver tentacles but I have no idea what to do with him

- Guppy: sunshine. Baby. His job is cute

#splatoon #inkling #octoling #digital art #mourart #nintendo #artists on tumblr #splatoon oc

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chatgroove · 2 months

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It’s an Itami and Muki day so have some eyes. The pain in these characters ;; I can’t wait to write this chapter but its gonna hurt.

#artists on tumblr #shun draws #my ocs #Muki #Itami #for fox sake #kitsune #yokai

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noloveforned · 4 months

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welcome to 2024! no love for ned is still here and still on wlur every friday night from 8pm until midnight! i was hoping to have a new theme set to go this week but we're going to stick with our fall 'food songs' for another week.

our last show of the year was the annual look back twenty years ago for our best of 2003 show (now streaming on mixcloud). if you enjoyed the show, you can also check out the previous nine retrospective shows spotlighting 2002, 2001, 2000, 1999, 1998, 1997, 1996, 1995 and 1993 (1994 will be produced later this year as a special a 30th anniversary show).

no love for ned on wlur – december 29th, 2023 from 8pm-midnight

artist // track // album // label the aislers set // languor in the balcony // how i learned to write backwards // slumberland shout out louds // the comeback // howl howl gaff gaff // bud fox matt suggs // calm down // amigo row // merge belle and sebastian // i'm a cuckoo // dear catastrophe waitress // rough trade the rosebuds // kicks in the schoolyard // make out // merge the lucksmiths // midweek midmorning // naturaliste // drive-in sprites // do it yourself // starling, spiders, tiger and sprites // march camera obscura // suspended from class // underachievers please try harder // elefant st. thomas // a long long time // hey harmony // racing junior bishop allen // little black ache // charm school // champagne school herman düne // why would that hurt? (if you never loved me) // mash concrete metal mushroom // shrimper bearsuit // itsuko got married // itsuko got married 7" // bearslut dressy bessy // baby six string // dressy bessy // kindercore the new pornographers // testament to youth in verse // electric version // matador all girl summer fun band // dear mr. and mrs. troublemaker // 2 // k david and the citizens // graycoated morning // until the sadness is gone // adrian saturday looks good to me // alcohol // all your summer songs // polyvinyl the essex green // the late great cassiopia // the long goodbye // merge beulah // landslide baby // yoko // velocette reclinerland // give up your film career (lenny's theme) // the ideal home music library // hush blanket music // hyper-ballad // read: interpreting bjork tribute // hush tobin sprout // doctor #8 // lost planets and phantom voices // mr. whiggs plastic mastery // i fell in love on the way to a funeral // sverige ep // 555 the thermals // no culture icons // more parts per million // sub pop rainer maria // mystery and misery // long knives drawn // polyvinyl joel plaskett emergency // extraordinary // truthfully truthfully // maple music sloan // false alarm // action pact // vik guided by voices // useless inventions // earthquake glue // matador deerhoof // dummy discards a heart // apple o' // kill rock stars lil' hospital // there could be girlfriend // i wanna be well // best friends the national splits // she's my baby and she's alright // fontana // mr. whiggs murder beach // eight great ways // first string teenage high- songs of tullycraft played by people who aren't tribute // bumblebear casiotone for the painfully alone // jeane, if you're ever in portland // twinkle echo // tomlab bobby birdman // i will come again // heart caves ep // states rights

erykah badu // back in the day // worldwide underground // motown the books // take time // the lemon of pink // tomlab nanang tatang // bunny hop hop // muki // tiger style so // a // so // thrill jockey piana // hide and seek // snow bird // happy broken social scene // anthems for a seventeen-year-old girl // you forgot it in people // arts and crafts califone // michigan girls // quicksand/cradlesnakes // thrill jockey the strugglers // the new room // the new room // tract magnolia electric co. // just be simple // the magnolia electric co. // secretly canadian crooked fingers // big darkness // red devil dawn // merge the trouble with sweeney // the break up // i know you destroy // burnt toast vinyl barzin // past all concerns // barzin // where are my azure ray // hold on love // hold on love // saddle creek seekonk // move // for barbara lee // kimchee sun kill moon // carry me ohio // ghosts of the great highway // jetset the american analog set // come home baby julie, come home // promise of love // tiger style the twilight singers // teenage wristband // blackberry belle // birdman spiritualized // she kissed me (it felt like a hit) // amazing grace // sanctuary the postal service // the district sleeps alone tonight // give up // sub pop her space holiday // my girlfriend's boyfriend // the young machines // mush styrofoam // a heart without a mind // i'm what's there to show that something's missing // morr music howard hello // my friend / the parasite // don't drink his blood // temporary residence pernice brothers // one foot in the grave // yours, mine and ours // ashmont the salteens // damn you // let go of your bad days // drive-in the unicorns // i was born (a unicorn) // who will cut our hair when we're gone? // alien8 the hidden cameras // ban marriage // the smell of our own // rough trade yo la tengo // today is the day // today is the day ep // matador

#wlur #radio shows

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thundervewor · 2 years

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Kina kai mukis kitchen

#Kina kai mukis kitchen full#

The new show combines the original’s separate Part One and Part Two in one mind-blowing three-hours-plus production. If anything, the production is more polished and more spectacular than during its aborted run late in December 2019. Wednesdays through Saturdays at 7:30 PM, Saturdays and Sundays at 2 PM through Summer, 2022Ī two-year hiatus hasn’t diminished “Harry Potter and the Cursed Child,” which reopened at San Francisco’s Curran Theater February 24, after a two-week delay due to COVID-after a two-year delay due to COVID. Who wants to read anyway, when there is so much going on around you? It’s a circus after all!ĪSR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. There is no printed program, so you must bring a smart phone to scan the QR code. The kids seem to love the action there, almost as much as the adults. Some seats are located onstage, behind and close to the performers. The acoustics are difficult, but non-essential for the surrounding action of this show.

#Kina kai mukis kitchen full#

Guests are seated at comfortable backed swivel chairs of varying heights to allow for full viewing. “Dear San Francisco” offers a limited selection of beer, wine, and nibbles. It’s 90 nonstop minutes of over-the-top energy. Together they have assembled a fine troupe of jugglers, aerialists, cyclists, and musicians to astound the audience. At age 4, Gypsy’s parents founded the Pickle Family Circus, which Shana joined as a trapeze artist for 20 years. They show off, and clearly love what they do.Ĭo-creators Shana Carroll and Gypsy Snider are true circus brats. They’ll run into the audience to play catch over your head or unicycle on the counter in front of your drinks. The performers don’t have glittery costumes, but they shine at their astounding feats. It’s a circus sans elephants or lions, with plenty of high hoop jumping and flying aerials to make you hold your breath. “Dear San Francisco” pays homage to the city’s history through video clips and acrobatics both onstage and in the audience. ‘“Dear San Francisco” pays homage to the city’s history through video clips and acrobatics both onstage and in the audience.” “The Queen’s Box” is available for private parties and has its own elevator, anteroom and WC, otherwise known as a bathroom. Although she never attended, her son Prince Charles and Camilla did in her stead. When the Queen of England requested a BBB viewing, a special box was built for her on the second floor rear of the theatre. Then came the irrepressible Beach Blanket Babylon, the longest running show in history with 45 years of outrageous songs, satire, and headdresses. Built in 1914, it has hosted an historic parade of entertainment, from jazz legends like Thelonious Monk, beat poets of the 50’s like Jack Kerouac and Allen Ginsberg, and even the Grateful Dead. The history of Club Fugazi, as introduced by Executive Director David Dower, is astonishing. They moved to San Francisco and now thrill audiences at the historic Club Fugazi on Green Street, a block of which was renamed Beach Blanket Babylon Boulevard in honor of the beloved show that ran for a record 45 years until 2019. Seven performers and friends left the Montreal Cirque Du Soleil productions to form a troupe of high-flying acrobats calling themselves “The Seven Fingers”. Fans of Cirque du Soleil will be delighted to learn that “the circus has come to town.”

#Kina kai mukis kitchen

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chanoyu-to-wa · 2 days

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The Chanoyu Hyaku-shu [茶湯百首], Part I: Poem 23.

〽 E-kakemono hidari migi muki mukō-muki, tsukau mo toko no / katte ni zo yoru

[繪掛物左右向き向こう向き、使うも床の勝手にぞよる].

“[Depending on whether] a hanging picture-scroll is left- or right-facing, of if it faces [directly] forward, this [orientation] determines the katte-[side] of the toko.”

The katte-side of the toko is the side toward the outer-wall (in which the bokuseki-mado [墨跡窓] is usually opened), the side opposite that were the toko-bashira is found. A left-facing scroll has the name and seals of the artist along the left side of the panel; a right-facing painting has these on the right side of the hon-shi [本紙]¹; and a forward-facing scroll has the name and seals on the bottom, in the center of the composition.

Because most of the townsmen involved with chanoyu were busy with their businesses during the daytime, tea gatherings were traditionally scheduled either for the morning between 8:00 and 9:00 AM (the hour of the morning meal, after which the people would depart for their offices), or after 7:00 or 8:00 PM (the time when people would return home from their business, after closing up the shop and rectifying the books). Since it is possible that artificial illumination might be needed on either occasion, depending on the season and the location of the host’s residence vis-à-vis the local topography, it was necessary for the toko-bashira (into which a hook for a kake-tōdai [掛燈臺], a hanging oil-lamp, could be nailed for the occasion) to be on the side of the scroll where the signature and name-seals were found on the host’s meibutsu kakemono.

Scrolls that had the signature and seals on the left side, or in the center at the bottom of the painting, were supposed to be hung in a toko that had the toko-bashira on the left side; scrolls that had the signature along the right side were supposed to be hung in a toko that had the toko-bashira on the right. And since the toko-bashira was supposed to be one of the pillars that supported the ridgepole of the roof, the location of the toko-bashira determined the orientation of the room.

As all of the collections that we are considering include the same version of this poem as the Kyūshū manuscript, there is nothing that needs to be discussed here.

_________________________

¹Hon-shi [本紙] refers to the paper (or paper-backed silk) on which the picture was painted.

²At the time when this poem was written, a toko was only attached to the room that would be used for chanoyu if the host owned a meibutsu scroll*.

The tokonoma is a sort of miniature jō-dan [上段] -- the raised platform on which a nobleman would take his seat -- so this amounts to treating the scroll as if it were such a noble personage. This is why we traditionally bow to the scroll before and after inspecting it (we are bowing to the spirit of the esteemed monk who created the painting or writing). And, because of our reverence, it is important that his signature should be clearly visible (because a written signature was considered to be the shadow of the person -- and all that remained of them after they had passed away). ___________ *A meibutsu scroll was one that originally had been part of the Higashiyama collection that was owned and treasured by Ashikaga Yoshimasa. This is why these scrolls were held in such high regard.

As all of these works were assembled for Yoshimasa during the fifteenth century (being selected, by the shōgun’s dōbō, from the large collection of tributary objects owned by the Ashikaga shōgunate), even the artists who created the relatively newest works would have been long dead by the time the collection was starting to be broken up at the beginning of the sixteenth century.

==============================================

◎ If these translations are valuable to you, please consider donating to support this work. Donations from the readers are the only source of income for the translator. Please use the following link:

https://PayPal.Me/chanoyutowa

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darthtimon · 5 months

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Writing Prompts: Muki

Today, this meerkat is exploring the mountains of Ecuador, in search of a Muki. A Muki is a dwarf-like entity, said to be no more than two feet tall, with long, bright blond hair, a head upon a body with no neck, and a reddish face with a white beard. Because Muki dwell in the mountains of the Andes, they wear safety helmets, for they do a lot of mining! They are said to walk like ducks, due to…

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aparticularbandit · 2 months

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This is a little late so it's totally okay if you're not taking these anymore! But for the unique writing asks: 5, 8, 10, 18, 24, 26, and 30?

Hope you're doing well 💖

Unique Writing Asks

DEFINITELY STILL TAKING ASKS. JUST SORRY IT TOOK ME SO LONG TO GET TO THEM.

ALSO YES. I'm doing well! I hope you are, too!!

5) Would you rather write a happy ending that soothes the soul or a tragic ending that hurts the heart?

I would rather a bittersweet ending that does both but this is an either/or question so. A happy ending that soothes the soul. Which you would probably not expect from what I write. But it is still true. Even for villains. I want a happy ending.

It just might take a lot of tragedy to get there.

8) Favorite dialogue in your wip? (If asked more than once, respond with a new piece each time)

Uh. Let me go look through Of A Fatal Captivity for stuff.

...nope, not that, that's spoilers, can't do that one. ...I also will not cheat and give you remembered dialogue from Of An Endless Infinity that is in OAFC but. HM.

Okay, I have a non-spoilers segment (well, mostly non-spoilers) that I will share, but like. I'll put it at the end beneath the cut because it's long. But it's harder to find favorite dialogue in OAFC compared to OAEI because OAEI has. so much Junko being Junko, and so many of her lines are gold. And so much of her stuff with Kyoko is gold.

And then there's OAFC.

10) What scene was the most fun to write for you and why?

In my current WIP? There are so many fun scenes, but like. I honestly think the memory scenes are my favorite to right. They hurt. A LOT. because like. We as the readers know where things are now, we know the extra stuff that the people in the memories don't know (yet), and the memories are just. so. ugh. In OAEI, it's Kyoko gaining a gf and then trying to keep her through the end of the world (mostly). And in OAFC, so far it is baby Ryoko being a kid and just. kid stuff, which you know I love writing. But I love those scenes the most, I think.

(Also in general, not just in the duology, I love writing scenes with kids. Whether it's visiting the MCs as kids or having them interact with kids. Just like. I love writing kid scenes.)

18) What writers have inspired you with their use of language? What are some of your favorite quotes?

I know I have had you read the first Fairyland book, so when I mention Catherynne M. Valente, you know why. Like. Every time - every time - we get the narrator. Especially in the last book. And the section in the third book about fate and the little book. (I know you have not read these, this is unfair of me.) And like. So much of Deathless.

I'm gonna try and quote off the top of my head, so they aren't going to be word perfect but like (okay, I lied, I'm looking them up because reasons) - You will always fall in love, and it will always be like having your throat cut, just that fast. and In the dark, I have pored over the loss of you like pale gold. and I will not speak because I love her, and when you love someone, you do not make them tell war stories. and just. SO MUCH OF DEATHLESS. there is a reason that's the book that got brought up in The Nature of Soulmates.

(Because this is about inspiring and not just generally Bandit, quote your favorite books, I won't go off on The Little Prince but also The Little Prince is a huge influence in terms of how it is written like a children's book but it is not a children's book. You can read it to a child but you get different stuff out of it the older you get? Like. Ugh. The Little Prince.)

Also just - This Is How You Lose The Time War. I'm not sure if I'd either author individually, which sounds bad, but like. The way that book is written and the layers of it and just how it meshes together and just the poetry of it. I love it. You know this.

...and then because I'm gonna pull classic literature in here - John Steinbeck, specifically East of Eden and how he writes Cathy, how his narrator writes about Cathy. It is easy to say she was bad, but it means nothing unless we know why. and I believe there are monsters in the world born to human parents. and Maybe her life was her language...indecipherable. If she was running to something or running from something.... and the bit about how we might always wonder what it's like to fly but that's not the same thing as a bird that loses a wing. How monster is only an unaccepted deviation from the norm? UGH. IT'S SO GOOD.

...and I'm gonna stop now because I will just ramble on writers. XD

24) Do you let your story evolve as you write or do you meticulously plan everything prior to writing the first draft?

Oh, it evolves as I write.

Even when I try to meticulously plan everything (which mostly happens with longer series or complicated crossovers - so the OUAT/PMMM crossover that I never finished but had to figure out how the different magic systems played with each other, I meticulously planned a good chunk of that, the Roisa HP AU I still have...oh goodness, the timeline alone is 36 pages and nearly 19k words - and that's just a couple of examples), things still. evolve as I write. (Speaking of the Roisa HP AU, the second book? decided that mandrakes were going to be actually a big deal which was NOT in the plan, I will have you know but it doesn't matter because I didn't finish that! :D

But yeah, part of the joy of writing the thing is figuring things out as it goes. If I know everything ahead of time, I...tend to not finish it? Because then I already know the whole of the story. I like learning as I go!

26) What do you feel like you need to work on as a growing writer? How can you improve?

I suck. at plots. I suck at plots a lot. I would rather just take a couple of characters and let them vibe off of each other.

And literally a couple of characters, because I'm also bad at trying to have multiple characters in one place at one time. That's hard.

Also making sure that characters sound distinctly themselves and don't all sound the same.

Also interacting with the environment and description stuff. I used to be purple prose and now I'm the opposite end of things and I need to find a good middle ground.

Also also getting better at introducing readers to a new world.

...there's a lot of things. ><;;;;;;

30) What is some of the best writing advice you’ve read or received? Why does it work for you?

See, this is hard for me, because I read a lot of reading advice on here and like it and carry it on (usually in this tag), but like. I don't always. keep it in mind?

Don't edit the thing until you get finished is one I like a lot. Because you can get stuck in the trap of editing the same thing over and over or starting it over and over instead of continuing going. (-sighs about latf scrub-)

Everything you write is beneficial, even if you don't finish it. Which has been nice in terms of - sometimes a thing I'm writing does what I needed it to do, even if I didn't finish it. For Fake, for instance, I will probably not go back and finish because it did what I needed it to do and now I'm done with it. And that's okay! I don't need to beat myself up about stuff I didn't finish. Which has been really nice.

I used to really like Write as far as you can go and then write for another twenty minutes. because that's like. sometimes you will find that your brain will supply the stuff you don't know or fill things in or the characters already know, even if you don't. I don't really time myself anymore, though. XD

And now for the snippet of dialogue that I mentioned above (the one that is mostly not spoilers). Below the cut!

A Long Time Ago.

(Her Whole Life Is A Tragedy.)

“Ryoko?” Mukie asks as they sit on the steps just outside Ryoko’s house. She leans back on the palms of her hands and looks up at the sky as the sun slowly sets, painting it in varied rose pinks and lavender purples as everything grows steadily darker. “Do you like your name?”

Ryoko shrugs. She takes another dandelion from the pile between them and blows the seeds from it without making a wish. (If she does not do this, then there will be no dandelions next year. She knows something of seeds and being planted, of the wind taking them and whisking them away where she cannot see.) “It doesn’t fit right,” she says. “It’s all itchy and scratchy, and it tastes bad.”

“I don’t think it tastes bad.” Mukie glances to her and then quickly away. “Your name’s like bubblegum or sour candy, the kind that’s all sweet in the middle.”

“Bubblegum fades if you chew on it too much, and you always spit it out when you get too bored.”

“Sour candy, then. With the sweet once you get past the sour.”

Ryoko giggles, reaches over and shoves Mukie lightly. “That’s you! I’m like…like cotton candy! All sweet and sugar and—” She cuts herself off, frowns. “I don’t want to melt when I’m wet, though.”

“I know!” Mukie’s eyes light up as she turns to her, a big smile on her face. “You’re like my favorite, like blue raspberries! You only ever find them in candy, and they’re sweet and tangy and the most bestest shade of blue! And!” She leans forward like it’s a secret. “They’re so special that they’re only candy!” She leans back on her hands again, stares up at the sky, and kicks her feet a few times. “I’ve never seen a real blue raspberry. I don’t know what I’d do if I did. If I’d eat it or if I’d try to save it up somewhere nice.”

Blue raspberries aren’t real, Ryoko knows, but that would just hurt Mukie, so she doesn’t say it. “If you try to save it,” she says instead, “it’ll just get all moldy and nasty and then it won’t even be blue anymore! Just all covered in fuzz!”

“Blue fuzz!” Mukie says, and she giggles like a rocket, like an explosion, like something burning.

After Mukie leaves, too afraid that Ikusaba-sensei will catch them if she makes him go out looking for her (but that’s not it, is it? Ryoko knows that’s not it), Ryoko hides in the house, slipping her shoes off, and looks up at her mama with the most pained expression. “Someday, I’m gonna make a blue raspberry.”

“That’s impossible, honey.” Ryoko’s brow furrows, and she clenches her hands, and she stomps her feet in the way that only children can. “Then!” Then she looks up at her mama again, red eyes the color of blood. “Then I’m gonna do the impossible.”

#butimnotasexyrussian #musings #bandit answers questions #bandit #bandit writes fic #dr1 end rewrite fic #i'm not gonna tag all the ones i mentioned whoops #XD #THANK YOU FOR GIVING ME AN EXCUSE TO RAMBLE ABOUT THE THINGS #of note ryoko and mukie are sisters #fraternal twins #mukie doesn't know that yet #but ryoko's figured it out and thinks it's great but #also understands that mukie will /not/ like learning that so hasn't said anything #but they're cute #writing kids is cute #writing memories is cute #I HURT MYSELF WITH IT BUT IT'S CUTE #ANYWAY

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cactuupng · 8 months

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side note but it's Muki, not Mookie, MukiTanuki

ahh thank you! I struggle with writing words that I hear so I appreciate it :-D /gen

#cactuu talks

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acdtjessicaowen · 1 year

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WC- 13th March

Today was all about organising how we were going to complete the book over the next two weeks. The first step was to go and get our paper, it was all dried out exactly how we wanted it to, the last step was to flatten all of our paper in the print. We left this the whole day to ensure it was perfect to use. Shown below...

For the rest of today, we worked as a group to complete all the content which was going to go into our book. I started to complete digital drawings using procreate using past nature photography I really enjoyed this as it was something I had never tried before however due to time I did not complete this to go in the book but I would like to do more of this in the future.

Today we also had to consider how we were going to print the book, therefore, we went down to the print room and asked about potential screen printing however due to the cost of calligraphy paper and the short about of time due to uncertainty we did not feel up to doing it. Due to this, we had to look at alternate ways of printing so we went to the Curzon printing room to ask about painting in A2 and we also decided to test print some pages on some card A3 size to see what the outcome would be. Due to the paper still flattening we had to leave this till Friday to compare the size to the front cover.

Wednesday 14th March

Today I completed my poems for the book, this was the hardest part for me as I've never really been good at writing however surprisingly I enjoyed this process as I used the poem generator which allowed me to complete multiple poems.

Friday 17th March

Today consisted of continuing to put together the content of our book, today all of our papers were flattened and ready to use. So we were now able to complete a front cover for our book, I took on the task of decorating the front cover which is something I enjoyed this process did take longer than I thought it would due to me trying to stitch the flower into the page shown below. This was very difficult due to the thickness of the paper making it very hard to stitch into I had to use string and bamboo skewers however, in the end, it worked out alright however if I was to do this again I would've spent more time on it.

While I completed the front cover the rest of the group had different things to do to bring the book together. Layla and Leila were completing the stitching of the paper together for the back this was also quite time-consuming due to the thickness of the paper.

Before stitching, we had to consider the colour of the stitch this was inspired by the natural dye workshop we had a few weeks ago. In the end, we decided on the most natural one.

While doing this Muki was printing each page of the book, we decided to go A3 card as A2 would've been to big for the front cover and the printer would not print too big. Doing it A3 also means we used less paper as we just cut up the paper which was already within the studio making the pieces more sustainable.

Today we also started to use a pen plotter this worked successfully for one member if the group's poem in Urdu script this looked really nice and it was a really interesting way to incorporate technology into the book.

We wanted this to also have a meaning which linked to our performance them of comfort and home therefore we each made our moms complete the alphabet in handwriting Meg then made us each a font from it for the pen plotter however when we started to use this the pen plotter stopped writing the poems effectively as it would just overlap as it was writing this was due to motor breaking as we where using it meaning we where unable to use this machine with our piece. This meant that the following week we had to handwrite each of our poems.

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nanalikessurveys · 2 years

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PICK A LANGUAGE THAT YOU CAN SPEAK BESIDES ENGLISH. TYPE EACH WORD THAT YOU SEE IN THIS SURVEY IN THAT LANGUAGE.

Which language will you be filling this survey out in? In Finnish aka my native language.

ANIMALS

Dog: Koira.

Cat: Kissa.

Monkey: Apina.

Duck: Ankka or sorsa depending on the species of the duck.

Bear: Karhu.

BODY PARTS

Eyes: Silmät.

Mouth: Suu.

Nose: Nenä:

Head: Pää.

Stomach: Vatsa, or you can say maha but it isn’t the official or formal version of the word.

CLOTHING

Shirt: Paita.

Pants: Housut.

Skirt: Hame.

Hat: Hattu.

Shoes: Kengät.

COLORS

Blue: Sininen.

Red: Punainen.

Pink Pinkki or vaaleanpunainen which literally translates to light red.

Black: Musta.

Green: Vihreä.

DAYS

Monday: Maanantai.

Wednesday: Keskiviikko.

Friday: Perjantai.

Saturday: Lauantai.

Sunday: Sunnuntai.

DIRECTIONS

Left: Vasen.

Right: Oikea.

Up: Ylös.

Down: Alas.

Forward: Eteen (or eteenpäin).

DRINKS

Water: Vesi.

Milk: Maito.

Juice: Mehu.

Tea: Tee.

Coffee: Kahvi.

FAMILY MEMBERS

Mother: Äiti.

Son: Poika which also just means a ‘boy’.

Sister: Sisko.

Cousin: Serkku.

Uncle: Setä.

FOODS

Breakfast: Aamupala.

Lunch: Lounas.

Sweets: Karkki/makeinen/herkku.

Cheese: Juusto.

FURNITURE

Bed: Sänky.

Table: Pöytä.

Desk: Uhh, työpöytä I think?

Bookshelf: Kirjahylly.

Chair: Tuoli.

GREETINGS

Hello: Hei/moi/terve are the main ones that I can think of.

How are you?: Mitä kuuluu?

What’s your name?: If we’re going with the formal way of saying it then it’s Mikä sinun nimesi on?

Good Morning!: Hyvää huomenta or just huomenta.

Good Night!: Hyvää yötä or just öitä.

KITCHENWARE

Fork: Haarukka.

Spoon: Lusikka.

Knife: Veitsi. Puukko would be a sharper knife.

Plate: Lautanen.

Cup: Kuppi/muki.

MONTHS

January: Tammikuu.

April: Huhtikuu.

July: Heinäkuu.

October: Lokakuu.

December: Joulukuu. Btw ‘kuu’ means ‘the moon’.

NUMBERS

Two: Kaksi.

Seven: Seitsemän.

Eighteen: Kahdeksantoista.

Twenty-two: Kaksikymmentäkaksi.

Four hundred: Neljäsataa.

OUTDOORS

Sun: Aurinko.

Moon: Kuu.

Stars: Tähdet.

Trees: Puut.

Sea: Meri.

PEOPLE

Friend: Ystävä/kaveri. Usually people use ystävä for a very close friend while kaveri would maybe not be as close of a friend.

Girlfriend: Tyttöystävä.

Husband: Aviomies or just mies which translates to ‘a man’.

Woman: Nainen.

Little boy: Pikkupoika

PLACES

School: Koulu.

Movie theatre: Elokuvateatteri

Airport: Lentokenttä.

Home: Koti.

Mall: Ostoskeskus.

ROOMS

Bedroom: Makuuhuones.

Bathroom: Kylpyhuone.

Living room: Olohuone.

Kitchen: Keittiö.

Dining room: Ruokasali/ruokailuhuone.

VERBS

To eat: Syödä.

To walk: Kävellä.

To sing: Laulaa.

To dance: Tanssia.

To sleep: Nukkua.

WEATHER

Rain: Sade.

Snow: Lumi.

Cold: Kylmä.

Hot: Kuuma.

Sunny: Aurinkoinen.

Now just say the following in your langauge:

My name is _____. Minun nimeni on Nana./Mun nimi on Nana.

My family has four people in it. Minun perheeseeni kuuluu neljä henkilöä./Mun perheeseen kuuluu neljä henkee.

She is twenty-two years old. Hän on kaksikymmentäkaksivuotias./Se(/hän) on kakskytkaksvuotias.

There are seven days in a week. Viikossa on seitsemän päivää.

It is 4:30 in the afternoon. Kello on puoli viisi iltapäivällä.

I want to buy some bread, please. Haluaisin ostaa leipää.

He’s sitting on the couch, playing videogames. Hän istuu sohvalla, pelaten videopelejä.

In twenty minutes, I leave for work. Minä lähden töihin kahdenkymmenen minuutin päästä./Mä lähen töihin kahenkymmenen minuutin päästä.

I am writing a song. Minä kirjoitan laulua./Mä kirjotan laulua(/biisiä)

Let’s go outside. Mennään ulos.

BYE! Hei hei!/Moikka!/Moi moi!/Näkemiin!

#hehe #finnish #survey #surveys

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witchigo31 · 2 months

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Part 2 of the muki guide, they are an original alien species and open species in the show I'm writing, for more info check the original post, if you make one use the tag #aylanthumacademy and I will reblog it <3

#art #artist #digitalartist #digitalart #oc #originalcharacter #ocart #cartoon #commissions #commissionsopen #artcommissionsopen #open species #original species #alien species

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caprichans · 4 years

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[8:43pm] the pitter patters of the rain drizzle down in the neighborhood, splattering on windows and drenching the bermuda grass. a man sits on his bed amidst the stormy weather, staring out of the window with his empty gaze and his tear-stained cheeks. soft music plays on the speaker resting by his bedside, yet the music can barely be heard due to the rising downpour. the man doesn’t mind. the man doesn’t even know that his music is faint, for the aching pain of his heartbreak is louder than any sound combined.

“chan.” sighed his friend, changbin, hand on the doorknob and sympathetic gaze settled on his best friend. “it’s been two days. what have you been doing all this time?”

a silence follows after, but it isn’t too long until the rasp of chan’s voice echoes through the silent room. he clutches the sweater of his lover, and hugs it close to him, allowing the tears to cascade down his cheeks at the reoccurring thought of what his lover had done to him, what his lover did to make him break up with them. he wishes to forget about them, but every fleeting memory flashes through his mind like a film, and he is once again dwelling on what could’ve been. “i was only falling in love.”

#stray kids imagines #stray kids scenarios #stray kids angst #stray kids #skz #bang chan #bang chan angst #muki writes #im back??? kinda????#this is short rip but im so :(#insp. from only by ry x #that song brings some feels

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mochiiwrites · 4 years

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Drip Drop

(In which, Muku and Yuki read Kimi no Na wa)

It was quiet. No other sounds were heard other than the scratching of pencils and occasional sighs. It was quiet, maybe even too quiet. Until suddenly, the bell rang. The bell rang and that meant Yuki Rurikawa was free. Good, today was terrible. The boy got up, gathered his things and made his way to the door. In the hallway, he saw pink hair poking out from the crowd of other students. Yuki started to approach the mass of pink hair and…fwap.

Muku Sakisaka had his face buried into a book until he crashed into someone, “A-ah! I’m so sorry! I’m so sorry! I’m so-”

“I get it Muku, you’re sorry.” Yuki deadpanned.

Muku looked up to see his troupe mate, “Ah, Yuki-kun, I’m sorry! Ah, I said it again didn’t I? Eee, you shouldn’t have to listen to a little shrimp like me stutter like a broken record and-”

“Muku, it’s fine. You shouldn’t read while walking, you know. You could’ve gotten hurt.”

Muku awkwardly laughed, “Ehehe, you’re right. I’ll be more careful Yuki-kun!” Muku picked up his manga of the day and made a sad noise. “The cover’s bent…” For some strange reason, this made Yuki’s heart sink, even though it didn’t really concern him. “Maybe we can fix it once we’re back, let’s go.”

-☔️💖☔️-

The pair started to walk home. Taking the usual turns until Muku stopped. “Um...Yuki-kun? C-can we go this way this time?” Yuki’s eyes followed where Muku was pointing.

“The longer way?”

“Yes...um but we don’t have to if you don’t want to! You don’t even have to walk with me! I can go alone just like a-”

“Muku, shut up!” Whoops, Yuki didn’t mean to yell… “I mean, just stop. Stop doubting yourself. If I didn’t want to walk with you I wouldn’t be here, right? We can go the long way, it’s fine.”

After an uncomfortably silent start of their walk, Yuki spoke up.

“Sorry, for yelling back there.”

“It’s okay, Yuki-kun. You’ve had a rough day, I understand.” Muku kindly smiled, like he always did.

“Yeah, um…” Yuki somehow hadn’t been very used to Muku’s understanding. He could feel his face heating up. Yuki quickly changed the topic, “So... what’s that manga about?” At the opportunity to talk about his manga, Muku’s eyes lit up. “Oh! It’s a romance! It’s about a girl named Mitsuha and a boy named Taki! One day they woke up in each other’s bodies, which was a little weird but...” Yuki didn’t mean to stop listening. He just...couldn’t focus. He couldn’t help looking at how Muku’s eyes sparkled, how widely he was smiling, the way his hands moved when explaining plot points. No doubt about it, Muku Sakisaka was adorable.

“Yuki-kun? Would you like to read it with me?” Yuki snapped out of his trance and stuttered out a “Yeah, sure.”

-☔️💖☔️-

The two had been having small conversations until, out of nowhere, it started to rain. “Oh no! I don’t have an umbrella!” Muku panicked, instinctively grabbed Yuki’s hand and ran as fast as his legs could take him. Yuki almost tripped because of Muku’s sudden action. “Wh- hey! Slow down, Wonder Boy!” Muku couldn’t hear him over the rain and the thumping of both their feet.

-☔️💖☔️-

After a surprisingly short run and Yuki’s complaints of having sore legs. Yuki and Muku headed into Room 202. Muku plopped down on the floor. Yuki sat down next to him. Muku pulled the manga he was talking about out of his bag. “Yuki-kun, do you wanna start reading now?”

“Do you have any homework?”

“No, I finished it during school. What about you?

“Same here. I guess we could read it now.”

-☔️💖☔️-

Yuki found himself captivated by the story. The characters agreed to write each other’s names on their hands so they wouldn’t forget. Instead, one of the characters wrote “I love you.” This gave Yuki an idea, he wasn’t sure if he would go through with it, but he had an idea regardless.

-☔️💖☔️-

The pair finished the manga later than they originally thought. Muku had cried multiple times. Yuki wouldn’t admit it but he did tear up a bit. Muku fell asleep first. Yuki borrowed a pen and took Muku’s hand. Writing something as lightly as he could, then he carried Muku into his bed. He listened to the rain and the soft sounds of Muku snoring. He left to go to his own room after that.

-☔️💖☔️-

Muku woke up not on the floor, but in bed. He didn’t remember crawling into bed so maybe Kazunari put him there. Muku stretched and caught a glimpse of something on his hand. It said “I love you.” and it was Yuki’s handwriting.

-☔️💖☔️-

Yuki woke up a bit later than usual. He stayed up wondering if Muku would notice what he did. He found a sticky note on his sewing machine. It said “I love you, too.” It was Muku’s handwriting.

#God I cannot write romance I am so bad but I love them so much #I can’t write for Yuki either what the-#a3!#a3!actaddictactors #a3fanfic #Muku Sakisaka #Yuki Rurikawa #Muku/Yuki #Yuki/Muku #Muki #Muku x Yuki #Yuki x Muku #Mukuyuki #a3 muku #a3 yuki #Kazunari is mentioned #mochiifics!

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