consider... hob and Things and history
hob getting settled enough to hold on to old things in a very intentional way because of the way they hold memory; the way they bring the past into the present. hob still writing with his sheaffer snorkel and his parker 51, lovingly restoring them when they break. hob making himself eggs in the morning in the same cast-iron pan he's carried from lifetime to lifetime, identity to identity, stripping and re-seasoning it each time he leaves an old life behind
hob still wearing his denim jacket covered in vintage pins from the pride parades of the 1970s and 80s. hob preferring slow fashion and thrifting; watching clothing trends go out of style and come back in. hob owning a smartwatch, but his 1880s pocket watch still runs and keeps time. and he's the same man who bent his ear to its reliable tick 140 years ago but he isn't the same, not the same at all—and it reminds him of how he's grown with the passage of time, and how he should always keep growing
(when it is time, when he is ready, some of hob's things always go to museums if they're particularly significant, or they get left to friends or to lovers, a little bit of him to hold on to in a life he sheds)
hob's things being a love letter to material culture, though not for the sake of materialism. hob recognizing the luxury of being able to stay in a place for a long enough time to own well-loved things, and the privilege in that, after having experienced abject poverty and dispossession himself; after having inflicted poverty and dispossession and cruelty on others
and so he wants his home to be a home for everyone. he wants his things to bring everyone love, to bring people together. he wants his inn to be a place for everyone (and he means everyone, and he'll fight anyone who jeopardizes that). especially, he hopes for it to be a place where his lonely once-stranger (dream, he still has to remind himself, sometimes) might feel a little less lonely
come to the inn of an evening and hob will make you a drink expertly mixed through decades of practice and infused with welcome. a solid chunk of the barware in the new inn is thrifted vintage, and he lets the patrons eat off and drink from it daily, lets them break it without apology, because things should be used and loved and carry stories
if someone breaks a mismatched teacup, sometimes he glues it back together and drills a hole in the bottom of it for drainage and plants something in it. if someone breaks a plate or a cup, irretrievably soils a linen napkin, warps the tines of a fork... hob sands away any rough porcelain edges. puts all the little remnants of life lived in the inn into a bin by the door and sticks a note on it that says "take a piece of our history :)"
and people do take things, silly as it seems. hob spots a scrap of an old floral linen napkin from the bin tied around the handlebar of a student's e-scooter like a streamer. one of his patrons takes the shards of a 1900s bowl and makes a mosaic art piece out of it that he brings to hob to put up at the inn; hob insists he couldn't possibly take it, keep it, put it in your home, make me another
his colleague from the history department invites hob over for dinner at his home, and they use the set of 3 plates that went in the bin because the fourth plate broke. the phelps' son just went off to uni and they're empty nesters now, and it's a perfect lucky little number, oddly healing for the three of them, dr. phelps and his wife and hob, eating off these three plates and thinking about kids growing up too quickly, kids meeting their potential, kids lost before their time
come to the inn, and if you come in on a friday hob will be serving weekly community dinner, good enough to make your grandmother cry, because it's home-cooked from recipes he's perfected over generations—first chicken-scratch-scrawled in iron gall ink on a piece of notebook paper and now scanned in high-res onto his tablet and emailed around to the staff. when hob moves on to his next life people will still be talking about this meal, making these dishes for their families
come to the inn and if you need it, hob will put you up in one of the rooms for free, no questions asked, for however long you need—all he asks is that you sit with him even for 15 minutes before you leave and tell him your story. he's got a noticeboard up on the wall and it asks people to leave little notes and drawings and things, and when the board gets full he puts everything in a scrapbook and labels it with the dates and keeps the scrapbooks on a little library book cart for people to look through
consider dream visiting hob's flat and passing his hands over hob's thrifted and loved and long-lived objects; being able to tell their provenance in the dreams of their former owners. dream and hob together honoring the living memories of hob's things and the people who once loved them
dream telling hob about the old woman who owned his teakettle once, and daydreamed, whenever she brewed her tea, of when she'd first met her late husband at 19, because his cologne had smelled of bergamot. about the two men who wrote each other the pair of victorian postcards hob keeps taped to his dresser mirror; about their secret love affair, and how there had been so many letters before that, all of them burned in an abundance of caution. about the sisters who'd worked together to piece the quilt hob sleeps beneath at night—how they'd posted it across the country back and forth to each other over years until it was finished
hob being living history. preserving it in himself. in his things. in his memories. in the memories and spaces he creates and curates
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Your analysis on stuff makes me feel things I've never felt before.... I don't know what to do with these emotions.... OMG!! I'm gonna go and question my existence now. Thank you...
Anon, it's because I'm still a practicing emo.
I don't think anyone from my generation who heard lyrics like
The truth is you could slit my throat
And with my one last gasping breath
I'd apologize for bleeding on your shirt
made it into adulthood without having a shit ton of repressed emotions hiding under the surface waiting to erupt at the slightest prompting.
I haven't outwardly shown emotions for easily over a decade now, so I have to do something with all these simmering feelings: insert -> analyzing fictional characters' behavior. As an emo, I love the angst. I love the pining. I love the batshit craziness of it all.
So if I can imagine a character scribbling a lyric on his Converse with the blackest of Sharpies, I'm invested:
In heaven, I lost my taste for hell
I need time to replace what I gave away
Note to self: I miss you terribly
No one dies from love. I guess I'll be the first
Like violence, you have me forever and after
Yeah. So like I said - EMO!
Oh, and I'm an English professor, and we LOVE to analyze the fuck out of everything. All the time. Everyday. 24/7
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Wille didn't want Simon to go to the police. He understood why Simon wanted to do it, had to do it, but still... he would have prefered another solution.
He still helped Simon to get his justice, talked to August, went to Simon with new information, chased August down, pointed a gun at August and got the truth out there.
He stood by Simon.
Yeah... that's love baby!!!
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hi! have we thought about the connection between "my love had been frozen deep blue, but you painted me golden" and "there's many different ways that you can kill the one you love, the slowest way is never loving them enough, [...] do i really have to tell you how he brought me back to life?" and "your touch brought forth and incandecent glow, tarnished but so grand"?
we have talked about it but i want to talk about it MORE! i'd also like to add "wool to brave the seasons" and "no more tug of war / now i just keep you warm" and "he built a fire just to keep me warm"
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