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#Highly recommend this book!
ljblueteak · 2 years
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Paul McCartney in Laurence Juber’s Guitar With Wings. On the next page, Juber writes “A month on the farm was a great introduction to the McCartneys’ highland lifestyle, their escape from the business pressures that inevitably accompanied working in London.”
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bespectacled-bookwyrm · 10 months
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Just finished The Hunt by T. J. Lebbon.
I absolutely loved it! I can only describe it as a mixture of a human fox hunt and Kill Bill.
The jumps between points of view can be a bit jarring or puzzling, but overall it's really good! I highly recommend it!
(Also, at the time I'm writing this, this book is so unknown/unread that it lacks a picture and summary on goodreads. Huh.)
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Not Chalice of the Gods continuing the trend of Percy having no clue how his own sword works, six years and two wars into having owned it.
Iconic.
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Me watching tv: it’s what murderbot would have wanted
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ryuki-draws · 4 months
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That's all that's left. Fifty-seven pages of research, two bottles of morphine and one ticket back to the Capital. The train departs at dusk.
An illustration for a Patho AU inspired by Bulgakov I'll probably never write properly but it's been worming in my brain for over two years now.
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lonicera-caprifolium · 9 months
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"... What I thought was that if you-- maybe just once a year-- if we could come here at the same time, just for an hour or something, then we could pretend we were close again-- because we would be close, if you sat here and I sat just here in my world..." "Yes," he said, "as long as I live, I'll come back. Wherever I am in the world, I'll come back here--" "On Midsummer Day," she said. "At midday. As long as I live. As long as I live..."
(from Philip Pullman's The Amber Spyglass)
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geryone · 1 year
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Holy Feast and Holy Fast, Caroline Walker Bynum
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sinlizards · 1 year
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my final piece for @turnabout-cinema! had an absolute blast working on this one :]
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fella-lovin-fella · 1 year
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losing my mind over this, actually.
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alivehouse · 4 months
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you arent too stupid to get back into reading. i dont know i feel like i see this sort of weird self depreciating sentiment a lot thats like 'oh social media ruined my attention span too badly for me to read books anymore' or 'i cant read anything other than fanfiction' and i promise thats not true. yes it can be hard to get back into it if you havent read anything in a while but it not impossible and you *can* work your way back up to it if its something you want to do. just pick up something pick up anything and chip away at it. if you cant finish it its fine to put it down and pick up something else. but just try at least give it an honest effort. like not to sound an ad for a public library but its not impossible for you to start reading
edit: t.erfs are not welcome on my blog. try reading something other than uselessly reactionary 2nd wave theory from the 70s?
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poetrysmackdown · 9 months
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what makes a poem a poem? does it have to be written in a certain way? is this question a poem if i want it to be?
Fun question! This is just my personal sense as an avid reader and less-avid writer of poetry, but for me it’s useful to distinguish (roughly) between poetry as a genre and poetry as an attitude or philosophy through which language and the world can be understood. And of course these two go hand in hand. I see poetry the genre as essentially a type of literature where we as readers are signaled, somehow, to pay closer attention to language, to rhythm, to sound, to syntax, to images, and to meaning. That attentive posture is the “attitude” of broader poetic thinking, and while it’s most commonly applied to appreciate work that’s been written for that purpose, there’s nothing stopping us from applying that attentiveness elsewhere. Everywhere, even! That’s how you eventually end up writing poetry for yourself, after all. There’s a quote from Mary Ruefle floating around on here that a lot of folks have probably already seen, but it immediately comes to mind with this ask:
“And when you think about it, poets always want us to be moved by something, until in the end, you begin to suspect that a poet is someone who is moved by everything, who just stands in front of the world and weeps and laughs and laughs and weeps.”
Similarly, after adopting the attentive posture of poetics, there’s plenty of things that can feel or sound like a poem, even when they perhaps were not written with that purpose in mind. I’ve seen a couple of these “found poems” on here that are quite fun—this one, for example. The meaning and enjoyment you may derive from the language of a found poem isn’t any less real than that derived from a poem written for explicitly poetic purposes, so I don’t see why it shouldn’t be called poetry.
That said, I do think that if you’re going to go out and start looking for poetry everywhere, it’s still important to have a foundation in the actual language work of it all. Now, this doesn’t mean it has to be “written in a certain way” at all! But it does mean that in order to cultivate the attentiveness that’s vital to poetry, one needs to understand what makes language tick, down at its most basic levels. It will make you better at reading poetry, better at writing it, and better at spotting it out in the wild.
Mary Oliver’s A Poetry Handbook is an extraordinary resource to new writers and readers, and a great read for more experienced folks as well. Mary Oliver’s most popular poems are all to my knowledge in free verse, and yet you might be surprised to find her deep appreciation for metrical verse (patterns of stressed/unstressed syllables), as well as for the most minute devices of sound. In discussing the so-called poetry of the past, she writes,
“Acquaintance with the main body of English poetry is absolutely essential—it is the whole cake, while what has been written in the last hundred years or so, without meter, is no more than an icing. And, indeed, I do not really mean an acquaintanceship—I mean an engrossed and able affinity with metrical verse. To be without this felt sensitivity to a poem as a structure of lines and rhythmic energy and repetitive sound is to be forever less equipped, less deft than the poet who dreams of making a new thing can afford to be.”
In another section, after devoting lots of attention to the sounds at work in Robert Frost’s “Stopping by Woods on a Snowy Evening”, she writes,
“Everything transcends from the confines of its initial meaning; it is not only the transcendence in meaning but the sound of the transcendence that enables it to work. With the wrong sounds, it could not have happened.”
I hope all this helps to get across my opinion that what makes a poem a poem is not just about the author's intention, and not just about meaning (intended or attributed), but also about sound and rhythm and language and history, all coalescing into something that rises above the din of a language we would otherwise grow tired of while out in our day-to-day lives.
I'll always have more to say but I'm cutting myself off here! Thanks for the ask
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rachaels · 7 months
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I'm rereading the Hunger Games books and I truly cannot overstate how little grittiness and bite and general depth of emotion has translated over to the movies. I know it would've been difficult to really capture how Katniss thinks and feels without the aid of her internal monologue, but the viewers lose SO much here.
in the movies, when Katniss visits District 12 after it's been reduced to ash, the only thing you realize is that it was her home and now it's gone — you don't feel the weight she feels, because none of the characters who are presumed dead by the start of the third book were ever introduced in the movies to begin with.
she walks through the remnants of the bakery where Peeta's family used to live. through the books, you know that Peeta had an abusive mother, and two brothers who were either too old to volunteer for him in the games or simply wouldn't sacrifice themselves to save him. and you know Peeta's father, who promised Katniss he would feed and care for Prim before Katniss went into the games in the event that she didn't come back, who bought game from Katniss and Gale when his wife wasn't home, who knew Katniss's mother when they were kids and dreamed of marrying her one day.
and as she walks through the ashes of their home, her internal monologue says they all died. just like that. she's numb to the emotion of Peeta having no family to come home to. she's numb to the fact that her childhood friend and the Mayor's daughter, Madge, who gave her the pin and effectively started the mockingjay symbolization, died along with her parents. and as she passes by skulls and bones, she tells them, "I killed you. and you. and you." because she blames herself for every single death in District 12.
the movies never stood a chance. they can't be meticulous enough to introduce the Mellarks, or Madge and her parents, or Bonnie and Twill — and that's just a fraction of the characters who were cut for time. they can't effectively make you feel exactly how Katniss feels. and they had to stay within the confines of a PG-13 rating. they never stood a chance and it wasn't even close.
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entropyvoid · 7 days
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Golden Hour (+ lineart below cut)
I took a picture of the lines for once and did some basic crappy photo editing on my phone, so you could probably print this out and use it as a coloring page or something if you so wish lol. Do with it what you will.
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melisusthewee · 2 months
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Rafael Federman as Eduardo Strauch in La Sociedad de la Nieve/Society of the Snow (2003)
requested by Anon
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themightynyunyi · 1 year
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Without you I am lost I keep you at any cost
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canniefish · 9 months
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my second drawing for to know and prophesy in part by the amazing @moscca for the TLT BRE 2023!
these guys are some of the most uniquely well written, funny, tragic, complex and sympathetic characters in the series and I was so delighted to spend 27k words with them and even draw some little pictures about it
1 / 2
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