#but central themes tropes and motifs

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

#The witcher #Sorry if its convoluted I just got reminded of something and it made me a little angry #and as I had this conversation a lot of times I've decided to put it into written text #sorry about being bitter #but these are some of my favourite books and I'm still upset when I get reminded how badly they were treated in the recent adaptation #I'm not saying you should never change anything #But it's good to have enough background to understand why some things are the way they are in the original #and to understand what the source material is about #we don't talk about particular character's looks or something (altough I feel they could care more about it too) #but central themes tropes and motifs #long post #it may seem like I'm talking from a high horse here #people are welcome to interpret literature however they want #Nobody has a monopol on themes #I just think that in this particular case the cultural context influences the worldbuilding #and if changed it doesn't have the same impact anymore #meta

[highpriestessarchives]

Existentialism and Idealism in the Obsessed Artist Trope: The Role of Destruction in the Pursuit of Authenticity

A/N: this is long (2,455 words) and I’m sorry

Index

Introduction Existentialism and the Obsessed Artist Idealism and the Obsessed Artist The Search for Authenticity The Comfort in the Familiar Hurt So... What Now? Closing Words

Introduction

There is an odd sense of awe in losing one’s sanity for their passions… at least, that’s what characters like Nina Sayers (Black Swan) or Beth Harmon (The Queen’s Gambit) portray.

The Obsessed Artist trope is a prevalent motif in literature, art, and popular culture, depicting individuals consumed by their creative pursuits to the point of obsession. While this trope often romanticizes the notion of madness linked to genius, it also serves as a cautionary tale. The Obsessed Artist character often pays a heavy personal price for their single-minded pursuit of artistic perfection, sometimes culminating in self-destruction. The trope therefore underscores the potential dangers of obsession, illustrating how the relentless pursuit of an abstract ideal can lead to isolation, mental health issues, and even physical harm. Yet, despite these risks, the Obsessed Artist remains a figure of fascination, embodying the human struggle to create, express, and find meaning in a complex universe. Why is that?

In trying to unpack why I was so obsessed with the Obsessed Artist trope, I had to do a little digging into my own patterns. I realized that watching people deteriorate because of something they're passionate about is probably the epitome of tragedy, in my opinion; and it’s not because I like seeing people suffer. It’s more so because it’s cathartic, in a way.

I can see myself in them. That’s the easiest way to put it. I think of what I am passionate about and feel like it would never be enough for a number of factors. To dig a little deeper: I feel as though my work won’t be valid unless I’m hurt because of it, like there’s a semblance of pain that needs to be paid in order for something to be valuable.

Now, as it’s written, that’s not a healthy outlook; but, I thought, “But that’s normal, isn’t it? I mean, nothing worthwhile is ever easy.”

Existentialism and the Obsessed Artist

Now, I want to pose a scenario for anyone reading: If a golden chalice was on the opposite side of a rose bush, would you go through its thorns? And if you were to discover that there was nothing in that gold chalice, that it was left behind for a reason, what can you say about your pain then?

In one post, I talked about Kierkegaardian Despair and how Kierkegaard was an existentialist that talked about utilizing one’s own despair since despair is inevitable. I thought that answered the question as to why I believed I had to suffer in order to achieve things: existentialists argue that individuals must confront suffering and embrace it as an integral aspect of their journey towards authenticity and meaning. This does not necessarily mean seeking out suffering for its own sake but rather acknowledging its presence and learning from it in order to live more fully and authentically.

The trope of the Obsessed Artist often intersects with existentialist themes, particularly in its exploration of the relationship between passion, suffering, and creative expression. The Obsessed Artist archetype typically depicts individuals who are consumed by their artistic pursuits to the point of obsession, often sacrificing their personal well-being, relationships, and even sanity in the process.

From an existentialist perspective, the Obsessed Artist embodies the existential struggle to find meaning and authenticity through creative expression. The artist’s obsession with their craft can be seen as a manifestation of their quest for purpose and identity in a world devoid of inherent meaning. Suffering, whether self-imposed or external, becomes a central theme in the Artist’s journey, driving them to confront existential questions about the nature of existence, the value of their work, and the significance of their artistic vision. We’ll get to more on authenticity later.

To put it simply, perhaps the Artist chooses destruction, subconsciously or otherwise, in order to feel something about themselves. However, I still felt that something was missing.

Idealism and the Obsessed Artist

For me, the relation to the Obsessed Artist trope wasn’t too much in asserting my own agency and knowing myself as existentialist thinkers would say. There was something more, something that had to explain why I believed that “madness” was worth the goal, or why the goal required despair or pain.

In other words, “Perhaps the ‘why’ is answered in the ‘what.’” As in, what we are trying to create. Perhaps another reasoning behind the Obsessed Artist’s descent to madness and suffering is explained in what they are trying to produce. For example, going back to the Golden Chalice scenario, the Obsessed Artist allowed themselves to be cut by the thorn bushes because they wanted the chalice.

Once again, I looked into my own art. My writing projects and most of my art pieces, such as “Resemblance,” has a theme of connecting the mundane with the metaphysical. Idealism, as a philosophical perspective, posits that reality is fundamentally mental or spiritual in nature. It emphasizes the role of transcendent truths and spiritual insights in shaping human understanding and perception of reality.

From an idealist perspective, creative genius is seen as a manifestation of their ability to tap into higher forms of consciousness or reality. A creative’s heightened sensitivity to the world around them allows them to perceive and communicate truths that are inaccessible to others. This notion of genius is closely intertwined with the idealist belief in the existence of transcendent truths or spiritual insights that lie beyond the material world.

A/N: Even though I can resonate with this notion in a spiritual sense, this does not mean that one has to be religious or anything similar along those lines in order to comprehend it. One can still apply this connection to “transcendent truths or spiritual insights” in the sense of understanding other complex natures such as how human nature works or whatever one’s thoughts are about our connection with the universe and those around us

Idealism offers a nuanced understanding of the link between genius and madness by recognizing the Artist’s struggles as integral to their creative process. The Artist’s experiences of mental illness or psychological instability are not simply signs of pathology but are also seen as expressions of their heightened sensitivity and depth of perception. In this way, idealism provides a framework for appreciating the complexities of the Artist’s psyche and the role of mental health in shaping their artistic vision.

The Search for Authenticity

Now, what does it mean to search for authenticity and how does relate to the role of suffering in pursuit of purpose?

Existentialism

Existentialist thinkers such as Jean-Paul Sartre and Friedrich Nietzsche argue that individuals must confront the reality of their existence and make choices that align with their authentic selves. For the Artist, authenticity plays a crucial role in their creative process and pursuit of their dreams. The Artist seeks to express their unique perspective, emotions, and experiences through their art, striving to create work that is genuine and reflective of their innermost self. This authenticity is not merely about artistic style or technique but extends to the Artist’s willingness to confront their own vulnerabilities, uncertainties, and struggles in their creative endeavors. Suffering, within the context of authenticity, becomes a means through which the Artist asserts their individuality and autonomy. By embracing their experiences of pain, hardship, and adversity, the Artist affirms their authenticity and commitment to their artistic vision. Suffering becomes a testament to the Artist’s willingness to confront the complexities of existence and express themselves truthfully, even in the face of existential uncertainty.

Idealism

At the same time, in idealist philosophy, authenticity is often associated with aligning oneself with transcendent ideals or spiritual principles. The quest for authenticity involves seeking to live in harmony with these higher principles and values, rather than being driven solely by material desires or worldly concerns. Idealist thinkers argue that true authenticity lies in recognizing the ultimate reality of the spiritual realm and striving to live in accordance with its principles. From this perspective, the Obsessed Artist's quest for authenticity may involve seeking to express and embody transcendent beauty, truth, or spiritual insight through their art. The Artist’s dedication to their craft and their willingness to confront their own psyche and emotions may be seen as manifestations of their quest to understand higher forms of consciousness or reality. Moreover, within idealism, authenticity may also involve a recognition of one’s own intrinsic worth and value as a spiritual being. The Artist’s pursuit of authenticity may therefore be intertwined with a deeper understanding of their own identity and purpose within the larger cosmic order. Suffering does not have the same sense of inevitability in idealism as it does in existentialism, but idealist aspects can explain why suffering exists. In this trope, it may be used to channel into the Artist’s creative process as a means of expressing and grappling with existential questions, emotional turmoil, and spiritual insights. Art becomes a vehicle for transcending the limitations of individual suffering and connecting with universal themes of human experience, ultimately contributing to the search for authenticity both for the Artist and the audience. Perhaps I can write another post on literary devices that use idealist methods of transcending suffering; but, as this post deals with trying to understand why one can feel the need to suffer in order to have something valuable, it does not quite fit.

The Comfort in the Familiar Hurt

Alright, so perhaps I feel the need to suffer in order to validate my work because there is something authentic in that validity in comparison to art without pain. Whether it’s because there is a strong sense of self-awareness in recognizing suffering as a necessity or in that suffering is a tool that links the mundane with the metaphysical, I will subconsciously await that despair and pain while in pursuit of my own truths and happiness.

So, if the why behind the Obsessed Artist’s spiral is explained by the Artist’s attempt to physically represent their own psyche or mental health and how they view the world and/or their attempt to understand themselves amidst all of that, what does that say about destruction being a manifestation of those attempts?

For that, the answer seemed simple enough: it’s easier to destroy than to create.

After all, the Obsessed Artist destroys themselves, their relationships, their livelihood all in their attempt to create something. They seem to cause more harm to the point where it becomes second nature for the character for a number of reasons:

Catharsis and Release: Destruction can serve as a form of catharsis for the Artist, allowing them to release pent-up emotions, frustrations, and existential angst. The act of destroying their work or their surroundings may provide a temporary sense of relief from the pressures of creativity and the burdens of self-expression. By relinquishing control and succumbing to the chaotic force of destruction, the Artist may experience a momentary respite from the turmoil of their own psyche.

Escape from Perfectionism: The Obsessed Artist may struggle with perfectionism and an insatiable desire for artistic excellence. Destruction offers a way to escape from the relentless pursuit of perfection and the anxiety of never being able to live up to their own high standards. By destroying their work or sabotaging their efforts, the Artist can temporarily alleviate the pressure to create something flawless and unattainable, embracing imperfection and embracing the inherent chaos of existence.

Expression of Inner Turmoil: Through the act of destruction, the Artist externalizes their internal struggles and confronts the inherent contradictions and complexities of their own psyche. This outward expression of inner turmoil serves as a form of self-validation, allowing the Artist to confront their demons and make sense of their existential predicament through the medium of destruction.

Rebellion Against Conformity: The Obsessed Artist may rebel against societal norms and expectations, seeking to carve out their own path and assert their individuality in a world that often stifles creativity and authenticity. Destruction becomes a rebellious act of defiance, a way for the Artist to break free from the constraints of societal norms and expectations and assert their autonomy and independence. By destroying their own work or rejecting conventional notions of success, the Artist asserts their freedom to create on their own terms, even if it means embracing destruction as a form of creative expression.

The Artist becomes locked in a cycle of creating and destroying, each act serving as a manifestation of their ongoing quest for self-expression and existential understanding. The destruction wrought by the Artist extends beyond their artistic endeavors to encompass their relationships, livelihood, and ultimately, their own sense of self.

The belief that it is easier to destroy than to create reflects the Artist’s profound existential struggle and the overwhelming weight of their creative burden. The act of destruction becomes a coping mechanism, a way for the Artist to release pent-up emotions and navigate the complexities of their own psyche. Yet, paradoxically, this destructive impulse only serves to perpetuate the Artist’s suffering, trapping them in a cycle of despair and existential turmoil.

So… What Now?

Again, the Obsessed Artist is a cautionary tale. Hopefully, it’s not a person’s desire to emulate the behaviors shown in these characters. In fact, by learning from the Obsessed Artist and integrating these philosophical perspectives into our approach to art and self-expression, we can cultivate a healthier and more sustainable creative process.

Embrace Authenticity Without Self-Destruction

Recognize that authenticity in artistic expression does not necessitate self-destructive behavior. While existentialist themes may highlight the importance of confronting inner turmoil and existential angst, it’s crucial to find constructive outlets for these emotions rather than resorting to destructive habits. By channeling existentialist ideals of authenticity and self-awareness into positive and productive avenues, we can create art that is both genuine and nourishing to our well-being

Challenge Perfectionism

Challenge the notion of perfectionism and embrace the imperfections inherent in the creative process. Incorporate elements of idealist philosophy by recognizing the beauty and value of authenticity over flawless execution. Allow yourself the freedom to experiment, make mistakes, and learn from failures without succumbing to self-criticism or destructive habits. Embrace the journey of self-discovery and growth inherent in the creative process, rather than fixating on unattainable standards of perfection.

Closing Words

Ultimately, this engagement with the Obsessed Artist trope can potentially furnish us with a roadmap towards a more enlightened and fulfilling artistic vocation, one predicated upon the transcendence of personal limitations and the cultivation of a more profound artistic ethos. In so doing, we may embark upon a trajectory characterized by a fidelity to authenticity, an attunement to self-awareness, and a fortitude in the face of adversity.

Of course, these thoughts are just that: thoughts. All of this is merely my own attempt in understanding my fascination with aspects of literature, art, and life. You may resonate with it or disagree entirely or feel something in between.

#writers on tumblr #on writing #creative writing #writer #writers #writing #writeblr #writers and poets #writerscommunity #writing life #novel writing #writer stuff #writing community #writing advice #writing inspiration #writing tips #writers of tumblr #writer things #writer problems #writer community #writer on tumblr #obsessed artist #tropes #writing trope #writing tropes #character tropes #writing stuff #trope talk #trope analysis

[swallowerofdharma]

Jealousy

One of the occasions when I strongly feel like my opinion is at odds with other people’s is when Doumeki’s jealousy comes to the surface. I am not sure if maybe this is a result of how unacquainted I am with romance literature or portrayals in media of romantic relationships, heterosexual ones mostly, since I have always been very impatient with those tropes. And that’s maybe what it is, that many readers of Saezuru are more comfortable or acquainted with straight romances and are used to read jealousy or possessiveness from the male partner as a sign of interest and proof of affection or love. I can’t take it like that tho, personally, honestly I can’t see a man being jealous of his partner or potential partner as a positive. Jealousy is a sign of insecurity for me and men being insecure? Potentially bad news, my alarm bells are going off and I don’t get any enjoyment from that part of the story. So is Yoneda Kou using Doumeki’s jealousy uncritically and just as a romantic motif?

Again what Yoneda-sensei did with the yakuza plot in the first half of Saezuru is very interesting to me, because within the whole Hirata’s debacle jealousy was a very central theme. Yashiro’s thoughts about the relationships between men in the yakuza are also quite revealing, and he tends to think about those men as behaving in their relationships like they would in romantic situations. The first we see of one of Hirata’s passive aggressive behaviors towards Yashiro, he is taking his wakagashira to a function at the Matsuhara group’s place. That place is tied to a period of Yashiro’s life when he was completely adrift, those aren’t good memories, here is Yashiro’s unreliability again in revisiting the past and always downplaying it or seeing it in the lighter way possible. In this case, being in a room full of men, yakuza men, those types of violent and ruthless men tied together by either exclusion from normal society, or money interests and money debts, or complicated emotions under the surface waiting to shift the uneasy balance, Yashiro is thinking of them and of their dynamics in homo erotic terms. The fantasies that he has here, in my opinion, surge from anxiety, as part of his normal coping mechanisms and part of the pattern where he is being fucked all the time and the best he can hope for is to enjoy it or find some form of empowerment in it. When Misumi comes in and sits beside him and not at the front of the room, where his place should be, and Hirata and the others notice, Yashiro is uneasy about it, like he was when Doumeki reported what was being said at the other office by the manager Kirishima (the one in charge of collecting money from debtors and that hired Doumeki in the first place). Yashiro interrogates Kirishima only about those rumors that could potentially become a threat due to jealousy and resentment in a highly hierarchical environment.

Yashiro correctly understands that a man’s jealousy is an open door for trouble. Hirata is keeping track of his movements and of his interactions with Misumi. Rumors are spread widely across the group, but again it is more troubling that these rumors involve Misumi now that a succession process is underway in the Doushinkai. Sexual relationships between men in the yakuza can’t have a legitimate place because of this fear of a perceived unfair competition and advantage, because a sexual relationship has the power to potentially build intimacy and trust in a way that isn’t like any other (that’s the primary function of sex in a marriage, and that is a unique type of relationship protected by several laws and where the bond is considered so strong that each party is exonerated from having to report confidential information exchanged between them to any other authority). That is why men in these environments tend to prefer a very strong unbalance of power in sexual relationships and to keep women separated from their business relationships. Hirata breaks many rules considered fundamental in the yakuza, having betrayed a sworn brother (Kurobane) and having ordered the killing of a sworn son (Yashiro) and remarkably letting his men use sexual violence to gain information from Ryuuzaki’s girlfriend. In the yakuza all those things are strictly forbidden, and the need for protection of the members’ women is another sign of the place these women have in this world, a position of inherent weakness where no one expects them to stand on their own and where they have no power.

While Yashiro correctly perceives jealousy as a threat, he also shows a certain disappointment when Doumeki denies that he is angry after discovering his relationship with Ryuuzaki. Yashiro shows many contradictory behaviors, signs of his decision to hide himself and his vulnerability. But he has been effected by the way Doumeki keeps looking at him and the possibility that maybe this person might care. On the other hand, Doumeki is alerted early on to the fact that showing his true feelings now that he regained potency (remarkably by watching Yashiro while recounting his time with the nurse) is potentially going to cost him his position as Yashiro’s bodyguard. From this moment on Doumeki is misguided by this insecurity. After the reunion, Doumeki discovers that Yashiro is in contact with Inami and he is taken by anger and jealousy, and he is misguided once again by those emotions.

Yashiro’s feelings towards Izumi are so complex that we can’t really conclude if he is jealous or not, only that he is suffering, and that he can’t quite manage to picture himself beside Doumeki. Both scenes played between the entryway of his building and the elevator have shown a Yashiro yearning for Doumeki, a Yashiro who doesn’t want to let him go. These scenes happen before he witnesses Doumeki and Izumi together. Yashiro really struggles with this new and assertive Doumeki, a full yakuza now. He entertains the desire to be chosen, but he feels like that is probably no longer a possibility if his competitors are women.

I do understand what Doumeki wants and why he keeps pushing Yashiro. Doumeki wants him to admit out loud what is it that he really wants: whether the truth has always been the same and Yashiro hasn’t changed - he can’t have a normal relationship, he likes to be treated roughly, gentle sex makes him nauseous and so on - or whether he has been lying all along - he might have wanted to be embraced by Doumeki and treated gently, since that time in the bathtub when Doumeki asked for the first time, he ultimately wanted what happened between them at Doumeki’s house and he still wants it. Why Doumeki has to torture this information out of Yashiro is what I have a problem with. Doumeki senses that Yashiro is lying, but can’t be sure. He wants the truth, but he never quite understands in the first place why Yashiro is lying, why the mask was there in the first place. He hasn’t asked the right questions yet, in my opinion, since the very start. And I believe that Yoneda has been very consistent in showing the readers that Doumeki is misguided. Does it matters that he cares for Yashiro, that he loves him if he acts like that? Is jealousy a good sign? Yashiro knows that the person closer to you has the power to really hurt you. Other people don’t have the power to hurt Yashiro in any way that matters to him, even if they beat him, or rape him again, even if they kill him, they would do him a favor. But the ones he let close to his heart have suddenly all the power. Yashiro is a liar because lying is tied to his survival instinct and Yashiro’s survival instinct is tied not to the preservation of his own life, but of his sense of self. This is trauma at its most deep level, something I always thought Doumeki, like most people for that matter, never has been fully equipped to understand. Which is completely normal, but it is all the more important that people become aware of how important are boundaries and dialogue. And those are the areas where Doumeki is a dog with a bone, or more of a policeman with a suspect than a sympathetic character or a younger man blinded by love or infatuation. As I said in a previous analysis, I truly believe that Yoneda is so clever that it is actually an intentional subtext that Doumeki’s motivations aren’t all about selflessness. That he needs to prove to himself that he didn’t rape Yashiro back then, because he himself isn’t so sure about it.

#saezuru tori wa habatakanai #saezuru analysis #yoneda kou #eri reads saezuru #going again in uncomfortable territory #sorry if I am unable to be more brief #I have multiple interpretations of this story but when I write down I have to give priority to some ideas above others #the yakuza is such a incredibly interesting setting for this story and #how it is used is so unconventional and above the romanticized #idea of crime and criminals #so good #yashiro #doumeki chikara

[words-after-midnight]

Writeblr Introduction (finally): N. Roy / words-after-midnight

Because I've been here since December and still haven't posted one of these.

[Updated 22-07-2023]

About me:

I'm Nico (he/him), a 32-year-old chemist moonlighting as an author of dark adult contemporary crime fiction and horror. I'm based in Tio'tia:ke, colonially known as Montreal, where I live with my 10-year-old cat Saturday and most of my chosen family and friends. I plan to publish under a pen name similar to the one on my blog (ie. not my real name - I like to keep my different "lives" separate). You can read more about me here. I love tag games and ask games and interacting with folks on here! I especially love the Find the Word and Last Line/Heads Up Seven Up games, so please never feel like you're annoying me by tagging me in those. I also love any and all music tags!

What I write:

My novel-length projects - 95% what I talk about on this blog in terms of my writing - are predominantly (though not exclusively) in the realm of adult contemporary crime fiction, usually in combination with horror, thriller, docufiction, and/or psychological fiction. All of my novel-length works take place in the same universe, and are all - either directly or indirectly - connected to each other.

My short fiction is typically either contemporary litfic, slice-of-life, crime/procedural, or experimental horror. Most of my existing short fiction is currently being submitted for publication (or in the process) to various literary periodicals.

I write and submit freestyle poetry on occasion.

My forte is writing well-developed, messy, typically queer characters who exist on a continuum between morally gray to morally bankrupt, as well as complex, intense, and/or dark relationship dynamics. Other things I love writing and featuring in my stories include:

Small casts (I typically focus on 1-3 central characters)

Symbolism, motifs, and foreshadowing

Found/chosen families and homes

Exploration of dark real-world themes, including themes involving mental illness, trauma, and recovery

Intense and/or introspective narration

Faster-paced narratives

Trope subversion

Social commentary

Experimental narrative styles

Unconventional formatting

Genre-blending

Complicated endings

What I read (with some exceptions here and there):

Crime thrillers/dramas

Psychological thrillers/dramas

Contemporary horror (not into supernatural or fantasy horror unless the premise and/or themes are very intriguing)

Litfic with darker plots/character relationships

Mysteries (especially murder mysteries)

Dystopian and/or realistic speculative science fiction

My projects:

I currently have three active WIPs, which you can read more about under the cut. You can also find general information about all my projects here.

Active WIPs:

🌙 Life in Black and White | Adult contemporary | Psychological thriller | The love of my life | Querying as of Fall 2023

Draft start date: June 7, 2008 Draft completion date: February 12, 2011

Status: Line edit + prepping query package

Comps: THESE VIOLENT DELIGHTS (Nemerever) x GIRL ON THE TRAIN x CATCHER IN THE RYE

Summary: At the dawn of early adulthood and fresh from a childhood fraught with instability and loss, Gabriel's life revolves around outpatient psychiatric treatment, his own rigid routines, and trying to find purpose. But when his best friend moves in with the alluring Jeff, a former fellow patient, and Gabriel reluctantly befriends him, everything changes. After a fateful choice permanently estranges them, Gabriel is left to pick up the pieces of his life and identity, while all the while, a growing obsession lurks beneath the surface... Major themes: Control, choice, obsession, mental illness and recovery, stigma/social perceptions of mental illness, inevitability, grief, trauma, the butterfly effect.

WIP intro post Story playlist Pinterest (cw: violence, gore, some disturbing and/or suggestive imagery)

Tags: #libaw, #call it midnight (for inspo reblogs)

💀 The Dotted Line | Adult contemporary | Experimental horror/Dark comedy/Crime | Camp NaNoWriMo project - July 2023

Banner image source

Draft start date: July 1, 2013 Draft completion date: TBD

Status: Drafting

Comps: THE SHAWSHANK REDEMPTION x A CLOCKWORK ORANGE

Summary: A young, emotionally challenged inmate nicknamed after an Al Pacino movie navigates the bizarre and dangerous world of a medium security American state prison while plotting his escape.

Major themes: Survival, reinvention of self, abolitionism/overt anti-carceral messaging, institutional abuses and corruption, trauma, the darkest recesses of humanity.

WIP intro post M&S Camp NaNoWriMo Directory post Story playlist Pinterest (cw: violence, gore, some suggestive imagery)

Tags: #tdl, #the jungle (for inspo reblogs)

🔵 Supernova | Adult science fiction | Dystopian/Speculative/Science fiction | Introduced as part of Moon & Seraph Pitch Week in March 2023

Draft start date: TBD Draft completion date: TBD

Status: Pre-production (zero drafting/outlining)

Comps: FRANKENSTEIN x BREAKING BAD

Summary: What if you held the key to the Earth's salvation... and its potential destruction?

An eccentric Montreal chemistry professor is rumored to have isolated a dangerous theoretical compound with powerful implications for the energy sector. Despite her many warnings, her new PhD students, seeing strong potential for a solution to the advanced climate crisis threatening life on Earth within a few decades at most, decide to investigate the claims. By doing so, they ignite the spark to an unstoppable chain reaction of passion and pride, power and corruption, and unintended consequences they never could have anticipated.

Major themes: Scientific responsibility and ethics, unintended consequences, the road to hell is paved with good intentions, advanced climate crisis, discrimination and social inequalities.

WIP intro post Moon & Seraph Pitch Week post Inspo playlist

Tags: #sn, #hexa (for inspo reblogs)

#writeblr intro #feel free to reblog i appreciate it! #crime fiction #horror #writeblr #writing #writers on tumblr

[starlit-hopes-and-dreams]

happy storyteller saturday!

do you find that there are certain themes, tropes, or motifs that tend to come up in your projects? are they intentional, or do they more show up on their own?

Happy STS on monday, Saran!

Uhh, hmm. Very little of my writing is done with purpose, aside from the purpose of telling the oc's story (and maybe slipping in some torture... *ahem*)

That being said, I like to write with at least two MC's. I write with a certain relationship or goal of a relationship (in whatever form that might take) in mind, be it central or secondary to the plot... if I have one lol.

So far, everything I've written deals with captivity in some form, and although I generally take that literally (:D), you could also argue that one or more oc's are held captive by their own fears, pasts, traumas, etc. Breaking free of physical bars isn't the same as breaking free of the mental ones, and I do like to explore that. Angstily. (yeah, i think i made up a word there, oh well XD)

#starlit asks #sarandipitywrites #i don't have a very large back catalogue so this could change #but it certainly seems to be a theme currently lol #thanks for the ask! #sts #sts asks

[jasminewalkerauthor]

Trope talks: Redemption arcs

The redemption arc trope, a narrative device that traces the journey of a character from moral decline to personal growth and ultimate redemption, has been a compelling and enduring motif in storytelling across cultures and eras. This essay delves into the evolution of the redemption arc trope over time, its profound impact on societal values, its universal appeal, and the cultural influences that have shaped and been shaped by this powerful narrative archetype.

The roots of the redemption arc can be traced back to ancient myths and religious parables, where characters faced moral challenges and sought redemption through transformative journeys. However, it is in more recent literary and cinematic landscapes that the redemption arc has flourished. From classical literature to contemporary film, the redemption arc has undergone transformations, reflecting changing cultural norms and storytelling preferences.

Classical Literature:

In classical literature, figures like Oedipus and Macbeth exemplify early versions of the redemption arc, where tragic flaws lead to a fall from grace, followed by a quest for personal redemption or an understanding of one's own actions.

Religious Narratives:

Many religious texts incorporate redemption arcs, such as the biblical stories of figures like Saul, who transforms into the Apostle Paul, illustrating the power of redemption and spiritual renewal.

Modern Literature and Film:

The 19th and 20th centuries witnessed the rise of nuanced redemption arcs in novels like Charles Dickens' "A Christmas Carol" and later in cinematic masterpieces like "The Shawshank Redemption." These narratives introduced complex characters whose journeys from darkness to light became central to the storytelling experience.

The redemption arc trope serves as a powerful mirror reflecting societal values and aspirations. By portraying characters who grapple with their flaws and seek redemption, these narratives offer audiences a framework for moral reflection and personal growth. The impact extends beyond individual stories, influencing cultural attitudes towards forgiveness, empathy, and the belief in the capacity for change.

Moral Reflection:

Redemption arcs prompt audiences to consider the complexities of human nature, challenging preconceived notions of good and evil. These narratives encourage introspection and foster a greater understanding of the inherent capacity for redemption within individuals.

Empathy and Compassion:

Characters on redemption journeys evoke empathy, allowing audiences to connect emotionally with their struggles. This emotional resonance fosters a greater sense of compassion in society, emphasizing the transformative power of forgiveness and understanding.

The redemption arc's enduring popularity can be attributed to its universal themes and the resonance of the human experience it encapsulates. The universal appeal lies in the relatability of characters facing internal conflicts, seeking redemption, and undergoing transformative journeys. Whether in ancient myths or modern blockbusters, audiences are drawn to narratives that explore the complexities of redemption, providing hope and inspiration.

Cultural influences shape and are shaped by redemption arcs, creating a dynamic interplay between storytelling and societal values. In cultures where redemption is a central theme, the narrative archetype reinforces notions of resilience, second chances, and the belief in personal growth. Conversely, the redemption arc can challenge cultural norms, provoking discussions around forgiveness, justice, and the potential for positive change.

In conclusion, the redemption arc trope stands as a timeless and impactful narrative device that transcends cultural and temporal boundaries. Its evolution from ancient myths to contemporary storytelling reflects not only changes in narrative techniques but also shifts in societal values. The enduring appeal of redemption arcs lies in their ability to offer audiences a profound exploration of human nature, encouraging reflection, empathy, and a shared belief in the transformative power of redemption. As stories continue to unfold, the redemption arc remains a poignant reminder that, even in the darkest of circumstances, there exists a path from darkness to light, from fallibility to redemption.

#writeblr #writers of tumblr #bookish #writing #booklr #fantasy books #creative writing #book blog #ya fantasy books #ya books #writers block #writers #national novel writing month #teen writer #tumblr writers #writblr #writer problems #writerblr #writers community #writers corner #writers on tumblr #writerscommunity #writerslife #writing blog #writing community

[animefeminist]

Making Up and Making Waves: How Tropical-Rouge! PreCure rewrote narratives of femininity and fairy tales

Spoilers for Tropical Rouge! PreCure.

Media for young girls is often full of gender stereotypes—and the magical girl genre is no different. When Pretty Cure announced that their eighteenth season would be themed around makeup and mermaids, many fans online feared that the series was regressing into gender-specific tropes and expectations. However, what Tropical-Rouge! Pretty Cure delivered could not be more ideal: not only does it express a modern, empowering take on the culture of makeup, it also deliberately puts a new spin on the story of The Little Mermaid. With both of these motifs, Tropical-Rouge balances historical attitudes with refreshing, contemporary ideas that grant its young female characters agency and thus delivers a great message to its target audience.

Applying Makeup With a Varied Palette

When it comes to modern magical girl franchises, there is simply nothing like Pretty Cure in terms of both scale and overall sales. In Japan, PreCure products have consistently ranked in the top-selling toys for girls for well over a decade, so what they sell to girls both in product and in narrative is always important to consider. In the case of Tropical-Rouge! Pretty Cure, the usual array of toys also came with a new makeup line called “Pretty Holic”, a series tie-in for the young fans of the show. This was in keeping with the fact that each Cure has a different “charm point” in-series: lips, cheeks, eyes, nails, and hair. 

Across the history of magical girl series, there have been many iterations of characters using makeup, though it usually functions as just a transformation device. Immediate and prominent examples are in the Pretty Guardian Sailor Moon franchise (1992-present) with “make-up” being a literal part of the transformation catchphrase, followed by Wedding Peach (1995) and most recently Smile Pretty Cure (2012) a.k.a. Glitter Force (2015) where cosmetics are merely a method of activating a transformation rather than a central theme of the series. Still, the inclusion of child-friendly cosmetics into a mainstream, popular iteration of Pretty Cure was enough to concern some parents. 

In an interview in Animage’s January 2022 Tropical-Rouge! PreCure special issue,producer Murase Aki stated that, “It’s a mermaid motif, but it’s not The Little Mermaid. It’s the tale of strong girls doing the most right now. When they use makeup, it’s not for a prince!” This statement and this idea underlines this entry in the Pretty Cure franchise.

Read it at Anime Feminist!

#precure #tropical rouge precure #pretty cure #cure la mer #articles

[nekropsii]

I think. we as a fandom should talk about transfem Jake more. or at all. his role model is Lara croft goddammit. I think @/alphasesh put it best (alphasesh tumblr com/post/685246181389074432/jake-oh-man-i-hope-all-these-hyper-masculine#notes)

[Link to the post included for ease.]

Ahh, yes… Jake’s status of being Narratively a Girl as a method of trope subversion accidentally coming out with some extreme themes of Gender Troubles. A subject matter and point of discussion that I very much so wish would be considered classic. You’re right, it’s absolutely severely under-discussed, despite the fact that that motif is quite critical to his character. I’d go as far to say that if you fail to include the Gender Troubles/Narratively Feminine aspect of Jake’s character, you’ve failed to write Jake.

Femininity is a central piece of Jake’s character, and it’s a trait that’s quite quickly defined about him. His constant hypersexualization within the confines of the story, and consistent reduction to being nothing more than either a bumbling idiot (read: a bimbo) or an object of romantic interest/obsession to lust after is very much so a part of it all. Jake is experiencing what it’s like to be a woman without actually being a woman at all, and the fact that he relates to and idolizes strong female characters who often get the same treatment by viewers is quite a noteworthy feature of his psychology. It’s fascinating.

His identity is molded around characters like Lara Croft! He wants to be her! I agree with you here, truly- I really do wish people would explore the themes of Femininity in Jake’s character. Let Jake be a little gender-funny. There’s no harm in it!

#i love Jake so much. shakes him in my fist like he’s dice #homestuck #homestuck meta #homestuck analysis #alpha kids #jake english #jake.pdf #nekro.pdf #nekro.sms

[likealittleheartbeat]

Just going through the gay subtext tag as one does, and it’s just amazing to see so many characters and series mentioned that really center on super masculine environments, or, more specifically, homosocial groupings--and by that i mean a singly gendered group to the exclusion of womanhood and femininity. and so even as these blogs are shipping two men together, both characters get to preserve their masculinity as they work in and for the proliferation of their masculine groups--boat crews, armies, sports teams, rock bands. 

It’s such a shift from the prominent understandings of gay coding from the past 100 years, where you’d be looking for the “sensitive boys,” lovers of the arts (and those arts they loved would often be threaded through queer history), the bullied and lonely who find that one true friend and maybe an inspirational teacher along the way. It was a pretty Platonic understanding of queerness in the relational aspect for better or worse. And it centered the swishy and effeminate for their marginalization.

The new “gay subtext” draws focus to more masculine characters who tend to exist easily enough in hyper masculine spaces and groups without discomfort. You’ll see comic characters like Bill and Ted loving their bros or militant types like in Master & Commander constructing intricate rituals among a whole hoard of other men. And shows like or Black Sails and Our Flag Means Death are making these kinds of gay relationships narratively explicit, but by situating them within a highly masculine context, even a typical effeminate character like Stede is validated through his participation and upholding of the masculinist exploits of the crew and the patriarchal laws of the sea. 

In these iterations, the emotional arcs of characters can hyperfocus on the challenges of deviant sexuality and coming to the conclusion that, actually, its not really disruptive or deviant to these environments. There’s more humorous levity in a lot of these depictions, which I really appreciate. But does the audience’s allowance for that levity come from a stronger sense of security for these characters? A masculinist gay sexuality tightens the knot of patriarchal power in a lot of these depictions, creating repackaged separate gender spheres that exclude women from participating in masculine exploits. Yes, they offer representation of transness, and, in fact, i’ve noticed a lot of trans-masc folk being drawn to these kinds of depictions, but the stories instate a culture in which trans folk have been assimilated into gendered categories that have merely accepted trans people without reducing hierarchical separation. 

when the netflix wave of avatar the last airbender fans arrived into the fandom, it was striking who they shipped: a pairing that had been rare in the fandom up to that point. not only the who but the how stood out. these two male characters were loveable as goofs, as clowns, as bros--just guys being guys. this pairing was perfect for fluff and modern au’s. they were devoid of the angst and passion that had previously marked the ships (and the infamous shipping wars lol), because they as a pairing were kind of devoid of the show’s central integrated themes. while together, they could suggest a resistance to empire, their time together in the show and in fan portrayals is marked by tropes of masculine revolution--protecting/saving women, shallow and befuddled emotional communication, and urges toward revolutionary violence. these are not bad things necessarily. the interest in these motifs simply stands out in this wing of the fandom when we compare it to the broader pacifist and feminist center of the show. the willfulness of this audience to focus on characters that provide potential for more traditionally masculine themes is telling when you have actual protagonists, aang and katara, who embody and force the audience’s contention with feminine values and their integration into a larger understanding of power structures, especially colonial power structures.

when i look at this trend of centering homosocial gay relationships more broadly, what i hope is that it’s simply making a pocket for the experiences and values considered masculine to exist peacefully and without shame. everyone has the potential to experience and participate in them, after all, and they can be important. my fear, though, is that it indicates acceptance of a “diversified” patriarchy, in which defined representation of diverse identities is a more important narrative goal than questioning broader hierarchies of power that limit and oppress the characters and force them into definitional boxes, especially definitional boxes that allow them to retain their unearned societal privileges over others. there’s just some level of responsibility that one can take when they choose their brotp’s and create content to still illustrate the limits of homosocial gay representation, to see how little two gay bros do to narratively disrupt much of anything. 

#meta

[first-only]

Can you please explain the trope vs theme vs cliché vs motif vs archetype, thing?

Like, I know they mean different things, but I don't know their specific definitions

(if it's not a bother of course)

trope - a recurring element, plot device, characteristic commonly used and widely recognized. Called by some the 'building blocks' of fiction. Even if you're trying to write 'without tropes', you usually still end up writing around the tropes - if your medieval knights dont carry swords, then that's a (very basic) inversion of the trope and your story is about swordless knights as opposed to just knights, still invoking the trope. You dont need to avoid tropes, you cant really. You need to use them well, and if you're going for 'originality', combine them in unusual (but meaningful) ways, or invert them properly.

cliche - what some mean when they say 'trope', actually means one overused or not well implemented (ie doesnt make sense in the story, is pulled from the real world, is pulled from a thousand different stories). Cliche in itself means a matrix or a mould, as in something made widely and interchangeably, always the same. I would personally say at this point cliches are mostly subjective - where someone is tired of a certain element, someone else might rejoice in it, despite the objective receptivity in the genre. I would go as far as to say that avoiding cliches as a dogma will lead to worse writing than just embracing your favourite ones and building off of them what else interesting you want.

archetype - is a literally and psychological term, established widely by Jung in psychology and introduced deeply in literature by Campbell. In modernity of course, archetypes are an old ass thing. An archetype is a symbol that is recognizable, even subconsciously, across generations, cultures, nations. According to Jung, this is how dreams and the subconsciousness as a whole are to be analyzed and interpreted. They're supposedly deeply ingrained knowledge of humanity that everyone has access, and reaction, to. For example, a tree will always mean Family, a mask will always mean public image/self-identity, a lion will always mean strength. An 'archetypal hero' will always be strong, brave, big, a leader. Where a trope might be interwoven with that, it can always be inverted. The archetype you can recognize in any character, regardless if they're a protagonist. You're supposed to immediately and subconsciously react to and recognize the archetype, while the trope needs to be proven and relies on previous, conscious, knowledge.

motif - a recurring theme in the work itself. Not the main theme of the work, but a characteristic or specificity that shows up overtime again and again. Can be used to support the main theme, to subtract from it, to enhance a character presentation. Mostly i believe its a good way to present more world- and character building. It can introduce a secondary theme in the work. It's generally not specifically pointed out by the work, but left to the reader's consciousness to distinguish and crystallize. This can be imagery, a concept, even certain language or visuals the author uses. Motifs and Mood usually go together - a work where poverty is a motif will usually have its general mood affected by that.

theme - the general actual point of the work. What is the story about. Supplemented by all of the above, but carries its own immutable end. Even if you dont intentionally put a theme in your work, it will exist. It can be pointedly centralized by the author, or it can be the story and its resolution and characters speaking for themselves. Hell, it can be opposite to what the characters are experiencing. A story about rich people living their lives can absolutely be actually about the devastation of poverty and the corruption of power for example. The language and presentation of the author plays a huge role. The way the events are structured plays a huge role. Note that this is not inherently interwoven with your motifs, but they absolutely play a role. Archetypes are useful if you want to convey it on multiple levels. Think a golden calf in the ballroom of aforementioned rich people story.

Now, let's go with Star Wars for examples, as it's i guess the most popular thing i can actually talk about and it's positively ripe with all these things and a great example: The protagonist coming onto his fate from a poor upbringing is a trope. The scoundrel leaving the heroes to their fate and returning at a crucial moment to save the day is a cliche. The masked black giant figure leaving death everywhere it goes is an archetype.

Generational burden is a motif - Luke carries his father's lightsaber only to have to defeat him with it. Vader turns for the lives of his children, goes from bowing to one master just to kneel to another. Yoda is keeping ancient tradition that he burdens our hero to carry, only acknowledges his sister as an alternative. Obi-Wan has to be the master of two generations, failing both. Leia watches her family die, only to have to keep doing their work. The force itself is an ancient burden, generational in its presentation in the story.

The theme of the work is hope. This is, ultimately, a story about hope against all odds. Overencompassing and motivating and inescapable. The story starts with only a hope to its name, and it ends only on hope's shoulders. Vader's own hope for the future of his son is what saves him. Luke's determination is only held together by hope. The rebellion is, verbatim, built on hope. The Force, the burden, is transformed in our hero's hands from an incarriable weight and tough lesson into wings that let him change the rules of the universe (the empire) itself.

#ask #absolutely not a bother dont worry! #i love ranting about writing and literature in general

[afamclass2024]

Blog post #5

I really enjoyed Toni Morrison’s Beloved, as the story really resonated with me. Toni Morrison's creative choices demonstrated her amazing writing ability. I thought the allusions and references to Christianity were reminiscent of Eve’s Bayou in some regards. It's very true that for many African Americans with a relation to slavery, Christianity is embedded in one’s culture. That’s why I think it's important that many of our stories include references to this religion. While some may argue that Christianity was forced on many black folk in the United States through slavery, the fact remains that religion has had a large influence on African American culture. Whether or not someone believes Christianity was forced upon African Americans does not change the fact that it's a large part of many of our stories. I also thought the use of red imagery and the color red for hope in Beloved was very profound. The use of a color motif for hope throughout this Beloved is very important to developing the story. Also, the way in which the characters were able to react to supernatural events with acceptance was very interesting and telling. It revealed the ability some have to adapt to supernatural occurrences. The novel’s central theme surrounding the devastation brought on by Slavery is very significant to many African American individuals who have been or have family that have been directly affected by slavery. Lastly, I thought the way Beloved was able to portray motherhood and intersectionality was extremely necessary. The fact that this film had so many mothers and mother figures (specifically black mother figures) was so very needed. The presence of community othermothers who would treat unrelated kids as their own reveals the importance of the saying “it takes a village.” The ability of mother figures to step in with children who are not their own is such a powerful ability. Even in the modern day, wealthy people pay for expensive daycares, nannies, and babysitters to help take some of the load off that an individual mother may struggle with. The image of black women stepping in and taking care of children is so powerful. That being said, I feel it important to state that I am mostly referencing when the imagery of black mothers helping other black mothers with their children. When I black mother is always seen taking care and looking after a white child that is not hers, it falls dangerously close to mammy trope territory.

[jadamcmichael]

Confronting Monsters: A Profound Exploration of Horror Narratives and Societal Challenges

In the realm of horror narratives, the question, "Do you believe in monsters? You think monsters are real?" reverberates, setting the tone for a profound exploration of the diverse forms that monsters can assume. Throughout this course, which has taken me through an array of films, short stories, and anthologies, the nuanced nature of monsters and their profound significance has gradually come to light. Let's delve into the intricacies of this exploration, starting with the short film "Paralysis." Here, the protagonist's internal struggle unfolds in the aftermath of a recent divorce. The narrative artfully introduces the lurking monster, initially concealed within the protagonist's stressed demeanor and anxious actions. As she prepares a meal, an underlying tension becomes palpable, eventually revealed to be the fear of paralysis. The protagonist's coping mechanisms, such as lighting candles, using a dream catcher, and taking prescribed medication underscore the lengths one might go to evade an internal monster. However, the inability to conquer this fear suggests that some monsters are unconquerable, a notion reinforced by the therapist's response: "There are all kinds of monsters."

Transitioning to "Lost," the theme of confronting monsters takes on a societal dimension. Imani, navigating her role in the private prison system, grapples with the monster within—the realization that she profits from the suffering of others. This revelation prompts her to quit her job, mirroring the horror trope of attempting to escape a monster. However, the narrative takes a poignant turn as the symbolic discovery of a bloody inmate jumpsuit connects her personal revelation to broader systemic issues. The monster transcends Imani's actions, evolving into the pervasive greed and capitalization of the American system.

The juxtaposition between "Paralysis" and "Lost" unveils a shared motif: the challenge of confronting and defeating monsters. In "Paralysis," the internal struggle illustrates the futility of escaping personal demons, echoing the therapist's acknowledgment that various kinds of monsters exist. Conversely, "Lost" delves into the intricacies of addressing systemic issues, with Imani's journey illustrating that personal growth alone may not dismantle deeply ingrained societal monsters.

As these narratives unfold, they reveal the broader theme that attempting to conquer a monster doesn't always guarantee success. Some monsters, whether internal or societal, prove formidable and resistant to easy resolutions. The interconnectedness of personal and societal monsters underscores the complex nature of horror narratives and the challenges they present. In navigating these tales, the central question remains: Can we ever fully conquer the monsters within and around us? The therapist's response echoes, reminding us that in the vast tapestry of horror, "there are all kinds of monsters." Expanding on the exploration of monsters, it becomes evident that they embody more than just entities that instill fear. Monsters are symbolic representations of our deepest fears, insecurities, and societal issues. In "Paralysis," the monster is the intangible fear that disrupts the protagonist's life, reflecting the universal dread of facing the unknown. The therapist's acknowledgment that "there are all kinds of monsters" speaks to the diversity of fears that individuals grapple with, both personal and collective. It prompts introspection on the nature of the monsters we encounter and the strategies we employ to confront or evade them.

In "Lost," the monster takes on a multifaceted nature, intertwining personal culpability with systemic injustices. Imani's realization that she contributes to the suffering within the private prison system unveils a societal monster driven by profit motives. This monster extends beyond the individual, becoming a metaphor for the insidious structures that perpetuate inequality and exploitation. The bloody inmate jumpsuit serves as a powerful symbol, representing the human cost of a profit-driven prison industry. It underscores that the monster isn't confined to the actions of one person but is deeply ingrained in the fabric of society.

As we contemplate these narratives, it's crucial to acknowledge the universality of monsters in the human experience. Monsters exist not only in the realms of horror fiction but also in the complexities of our own lives and societal structures. The therapist's response encourages a broad perspective on monsters, urging us to recognize and grapple with the diverse challenges that manifest as monsters in different contexts.

Moreover, the narratives compel us to question the effectiveness of conventional approaches to conquering monsters. In horror tropes, characters often overcome their fears through confrontation, yet "Paralysis" and "Lost" challenge this notion. The protagonist in "Paralysis" attempts to seek professional help, only to find that even the therapist acknowledges the omnipresence of various monsters. Imani, in "Lost," confronts her personal monster by quitting her job, but the larger societal monster remains elusive, highlighting the limitations of individual actions in dismantling systemic issues.

The exploration of monsters extends beyond the immediate narratives, inviting us to reflect on societal monsters that persist in our world. One such pervasive monster is the profit-driven private prison system, as depicted in "Lost." The horror of this system lies not only in the personal realizations of those involved, like Imani but also in the broader implications for marginalized communities. Its a known fact that private prisons, motivated by profit, contribute to mass incarceration, disproportionately affecting people of color. The profit motive becomes a metaphorical monster that influences policies, perpetuating a cycle of injustice and inequality.

The lack of transparency within private prisons adds another layer to the societal monster. The opacity surrounding their operations prevents adequate public scrutiny, allowing these institutions to function with limited accountability. The absence of transparency becomes a metaphorical shroud that conceals the true extent of the injustices perpetuated by the private prison system. It reinforces the idea that some monsters thrive in the shadows, eluding the scrutiny that could expose and dismantle them.

Reports of human rights abuses associated with private prisons further amplify the monstrous nature of these institutions. Inhumane conditions, overcrowding, violence, and inadequate healthcare constitute a litany of horrors that individuals within these facilities endure. The profit motive, once again, stands as a menacing force that compromises the well-being and rights of those imprisoned. The monsters in this context are not mythical creatures but tangible manifestations of systemic failures. The influence of private prisons on legislation emerges as another facet of the societal monster. Critics argue that these entities lobby for policies that serve their interests, leading to harsher sentencing laws and stricter immigration enforcement. The intertwining of corporate interests with legislative decisions becomes a monstrous distortion of justice, where profit motives supersede considerations of fairness and rehabilitation. The legislative influence of private prisons becomes a metaphorical monster that undermines the principles of a just and equitable society.

The notion that monsters can be deeply embedded in societal structures challenges the traditional narrative of conquering monsters through individual heroics. While personal growth and realizations, as seen in "Paralysis" and "Lost," are crucial, they may only scratch the surface of the larger, more insidious monsters that persist. The call to action extends beyond individual confrontations to collective efforts aimed at dismantling systemic injustices.

In this broader societal context, the narrative of Imani in "Lost" takes on a profound significance. Her decision to quit her job symbolizes a personal triumph over her immediate monster, the participation in a profit-driven system. However, the broader monster, representing systemic issues, remains largely unaffected. This disparity emphasizes the complexity of tackling societal monsters, where individual actions, though impactful, may not suffice to dismantle deeply ingrained structures.

As I contemplate the multifaceted nature of monsters, both personal and societal, the therapist's response echoes in my mind: "There are all kinds of monsters." It serves as a poignant reminder that the monsters we encounter are diverse, nuanced, and deeply embedded in the human experience. From the internal struggles depicted in "Paralysis" to the societal critiques in "Lost," the exploration of monsters in horror narratives becomes a mirror reflecting our fears, challenges, and the urgent need for collective action to address systemic issues.

In conclusion, horror narratives, with their portrayal of monsters, offer more than mere frights; they serve as a lens through which we can examine the complexities of the human experience. "Do you believe in monsters? You think monsters are real?" invites us to confront our fears and acknowledge the various monsters that pervade our lives, whether in the form of personal demons or societal injustices. The therapist's assertion that "there are all kinds of monsters" underscores the diversity and ubiquity of these challenges. As we grapple with these narratives, we are compelled to recognize that the journey to conquer monsters is multifaceted, requiring introspection, collective action, and an unwavering commitment to dismantling the deeply entrenched monsters within our societies.

[mysteryreviews]

Five Little Pigs - Agatha Christie (1942)

⭐⭐⭐⭐⭐

Briefly: Hercule Poirot is approached by the daughter of a convicted murderess. Her mother supposedly poisoned her father, a famous artist, sixteen years ago. Now an adult and looking for answers, she asks Poirot to find the truth. Poirot returns to the crime through the recollections and relationships of the five people present for the murder, examining each of their particular perspectives and retellings of the crime in turn.

Full review under the cut!

Honestly, maybe Christie's best mystery novel in my opinion. Certainly it's up there, even if we are quibbling over "best." It delivers on character in a way that many other near-perfect mysteries of hers fall a bit short on. Many will disagree or at the very least bristle at me ragging on Christie's characters, but honestly... her one-off characters are not the focus of her work. And that's ok! I find she treats them as pieces to move around the board more than anything else. Their motivations and their personalities are central to plot, but they are just that. They are engines for the plot, and that seems to be more important to her than character for character's sake.

All that to say that Five Little Pigs really stands out in this regard. The characters are engines for plot, for the mystery itself, but they do transcend here in ways I find rare for Christie. They're quite precise, and psychologically complex, and the structure of the novel puts focus on them in a really compelling manner.

Five Little Pigs revolves around a murder long past, where the only extant evidence exists in memory. In this way, the psychology of the characters, not only their past and present motivations but the intricacies of their memories, their values, the way they perceive situations, is what forms the meat of this book. Maybe it's just that I'm particularly compelled by repetition and variation upon a theme, but the structure of multiple characters describing the same situation from different angles really does it for me. I find the characters and the mystery are drawn out delicately and subtly, but by the end you have an intricate and solid sense of who each of these people are and how their pasts and presents entwine.

I reread this book recently in order to recommend it to a friend who was looking for some first forays into the mystery genre. Honestly, I think Five Little Pigs is a great rec for anyone who is into capital L Literature or capital N Novels, but new to the genre of detective fiction. Its focus on character and its intricate structure both provide a more level footing for those who are drawn to psychology- or character-central texts, while also acting as a great introduction to the appeal of the mystery novel. The pieces fit together beautifully, everything seems to have its place, and the reveal(s) hit the nail on the head in terms of both fulfilling and subverting expectations. All around, a fucking classic. Should be up in the pantheon of Christie novels that all people recognize. Even on reread was an absolute joy, especially when given some time to forget the details.

Truly my only critique would be that the "five little pigs" motif is kind of goofy and could be deleted whole cloth while damaging nothing about this book. If anything, it probably turns away some readers as it's harped on a bit in the introductory chapters before being largely dropped... forgive Christie for her repeated nursery rhyme tropes. Our girl was ahead of her time and was presaging creepy kids singing in horror movie trailers. She can have a pass on this one.

#agatha christie #five little pigs #murder mystery #five stars

[vonkarma2]

3, 5, 8, 13, 16 for zeolan for the worldbuilding asks?

3.) any recurring images/elements?

Hmmm this is kind of broad so I’m not totally sure how to interpret it I guess I will go with like. If it was a tv show. What visual motifs or recurring shots would there be. I think if there were constantly shots of Rocio alone like in an empty space that would be kind of funny imagine watching a show and there’s an obvious meta narrative focus on how lonely you are I’d be so mad. That and shots of like her back while she’s reading something or working on something like she’s closed off to the world or whatever. Definitely a lot of contrast of darkness vs light though for sure like places with people in them being associated with yellow/orange light whereas empty places are associated with the dark. 

Also there would probably be many unnecessarily long shots focusing on nature and the environment around the characters bc that’s what I personally like to see 

5.) pick a theme song for the tv adaptation.

life itself glass animals 😞😞😞 rip to the animatic I started in early 2022. theres a whole vision. for variety ill also say the definitive end credits song would be 

8.) what inspired your world building, if anything?

Honestly. Not much lol I feel like a lot of it is just me trying to make something that appeals to me personally just thinking of like aesthetics 

in the extended secret worldbuilding there are some aspects inspired by or influenced by real history. that being said I try not to avoid making that too direct or have it come up too often bc 1) it’s easy to make it extremely tasteless or at least inaccurate/shallow in its portrayal ofc 2) it is ultimately a fantasy world where I wanted to make shit up + have everything be original rather than have like. direct copies of real places + events. I think it’s like background concepts can be to some extent based on reality but specific events are all homebrewed yk

sundown 2020

probably fullmetal alchemist like subconsciously. wrt the magic system not the world itself 

I guess you could say I was inspired by actively trying to go against like. Tolkien esque or popular YA fantasy tropes of the late 2010s early 2020s. Bc a lot of what made me want to make the story in the first place was being tired of and annoyed by the kind of tone that was prevalent in YA fantasy at the time 

I literally CAN’T think of much this is so sad. My worldbuilding is just too original you guys 😔 

no lol but yeah it mostly wasn’t inspired by anything specific which is a shame bc I do think looking at things you were influenced by is pretty fun

they don’t know the wizard system is fully ripped off from how the wings of fire books used animus magic expect it’s learned instead of born 

13.) how long have you been working on this project? what has changed from the outset?

A little over 3 years like since February 2020 :3. I love this question it feels very behind the scenes like Im talking in a documentary.  Mostly the structure of the story has become much more linear when the original was like arcs based if that makes sense? Like episodic even though the episodes were pretty large in scale + theoretical length. Ofc a lot of the characters’ personalities have as well. I think the main focus too like initially it was just for fun but when I first added like a vague general central theme it was a lot abt dissociation from your identity + the weight of living and things like that. Life is hard but it’s worth it <3 And now there’s more focus on the nuances of interpersonal connection and things like that. I do like the original theme though I wouldn’t want to drop that idea entirely even though I’d probably want to have it show up in a more nuanced or subtle way idk 

16.) imagine the entire story takes place but in the meantime the characters all also have tumblr. what kind of (terrible) tumblr posts would happen?

rocio would hate all forms of social media viscerally. if she absolutely has to use it then it’s several thousand word long rants that stay in the drafts for eternity 

cirillo probably the type to just use it as a diary 

angel runs an extremely popular yet controversial fan page for enstars or some shit (<I mean. in universe it would be about 1400s romance novels) but occasionally vagues abt his personal life and everything he says sounds extremely concerning. And then like once he ends up on the news everyone’s like omg… bone stealing witch tier drama 

gloria only posts thirst traps + posts that are like “will be in [x city] tomorrow if anyone wants to meet up 👅” with every location change

#thanks sm for asking this was very fun #I need to come up with a working title NOW #my ocs

[our-reality]

give me a rundown on your silly guys when you feel up 2 it ?

omg yaur ofc .... i've already talked about their personalities in the past (which i can link you to if you want me to!!) so this time i'll expand a bit on their actual roles/tropes in the story and how they factor into the theme :)

ruby - the main character, along with java. originally she was solely the main character, but as time went on and the more i developed the two's relationship the more obvious it became that they should be co-leads. anyways ruby plays into the "sunshine" character trope very heavily and she's easily the most cheerful and optimistic out of all the 7 main characters.

however, she represents overarching theme of the story that "you can't get better on your own, you have to let others help you" in a way unique to her. long story short, she was the one who needed to get better in her youth, but because she had so many different support systems in her life, she was able to then extend the kindness she received to others, being the primary person to do so throughout the entire story. imo she probably embodies the theme the best, which is good cuz she's my favorite xoxo

java - like i said, co-lead to ruby and foil in a lot of ways, often opposing ruby's willingness to stick her head out for others by being more cautious and apprehensive. definitely follows the "brooding" archetype (making her and ruby's relationship a brooding x sunshine kinda deal).

what's interesting about java with the theme, though, is that while she's older than ruby, she's still heavily on the road to recovery from her teenage years. she sort of represents the journey there, not being fully healed to the same extent ruby is (though ruby is FAR from being healed herself), but is absolutely on her way to being there (see: how she treats requiem in comparison to swift treats them. ough. but i'll get to that later)

ALSO SMTH THAT I JUST THOUGHT OF java has the most amount of connections between the seven main characters while ruby most strongly embodies the central theme which makes both og them the heart of the story in different ways that's neat........

python - oh good lord okay. uhm. it's a sort of mentor figure to the two main characters but he's definitely on the reluctant side. uh it for suresies plays into the whole antihero trope with how he looks and behaves, and he also has by far the most connection to the main villain so there's something. uhm but hey in terms of the theme.

the consistent motif throughout his life is like. needing help but not having anyone around to help him with. it was definitely the worst when it was a god (looked down upon by the other gods and largely lived in swift's shadow), and it didn't really get much better when he became human, which was why it felt so betrayed by vysel that it killed him :)!!! on that note though i think after that moment he stops sort of "playing by the rules", accepting all of the constant rejection it's received, and resorting to violence more often because, from its perspective, it's the only thing that's worked so far.

it embodies an end of the spectrum of what happens if you don't/can't let others help you heal, and he spends a lot of season 1 climbing out of the habits it fell into after vysel's death. he does get better though dw

swift - also a mentor to the main characters like python is, but unlike python who can manage being a decent mentor (all things considered) and a good friend, sky's a soaring mentor but not the greatest person to be around. they have a lot of that "all work no play" kind of energy and doesn't really understand the concept of breaks because she never gets one haha what.

aside from that yk that spectrum of what happens when you don't let others help you heal i mentioned with python. she's equal but the polar opposite. sky had piles of people to help them after python's dissappearance but sky shut all of them out because none of them were what she "wanted". in skies mind, python was the only person who could make things better and they refused to think otherwise. which to her credit the other gods are kinda assholes so it's not an incorrect assumption but shshsh. so they isolated herself, selling skies soul to their work and the prophecy (aka the narrative), because in their perception it would only make it harder if she had to juggle the two hardest jobs in the universe AND be other peoples' friends because, other than python, she only saw friends as boxes to check, as just more people they had to hold up appearances to.

they get better too thankfully but essentially python was wrecked by having no one to help and used their overwhelming passion to hurt both himself and others, while swift was wrecked and tried to get rid of skies passions altogether so that she wouldn't be able to hurt themself or others. funny how that works huh

shocker! no. once the second half kicks off it's like. abundantly obvious that there's a lot more to his character than what he first shows. he actually has a lot of different combined traits from the other characters (mentioned the growing up too fast thing already, but there's also there's a parallel to python with the delving into a "false" persona thing, and a parallel to swift with the selling his soul to work thing), which i swear wasn't me being lazy it's just how it worked out

c+ - uh. the comic relief LMAO. for the first half of season 1 he serves as a comedic foil to java and to round out the "humans who had to grow up too fast" trio (with ruby and java). basically his character in the first half is meant to disarm you, like at least there's one character that doesn't have a despressing underside to him right? right???

i wrote out some other stuff regarding his character a lil bit ago which i can also link you too but yeah!! my funny guy :)

vysel - the villain. that's it we're done here BWJSKDKSJFKLS no but fr i hesitate to call him an antagonist because that sort of implies he's a direct opposition to the protagonist and he really?? isn't??? well. okay it's complicated. he has a very direct connection to python but other than that. he himself has no connection to swift but the spirits absolutely do so that kinda works but he doesn't know ruby or java pretty much at all. yeah he's one of java's favorite artists but that's kind of a one sided thing. but PLOT TWIST THAT WAS INTENTIONAL THE WHOLE TIME!!!!!!!!!!!

in a bunch of like. esp old "chosen one" stories the villains often don't have super strong connections to the chosen hero, which isn't especially an issue in most cases. but the reason i bring this up is because, in addition to the main theme, vysel's also a major prop for the theme of the narrative. cuz well. he kind of is just a prop, isn't he? like yeah he personally wronged python and he develops beef with the other main cast as time goes on, but he's not the first or last to harm python AND they couldve just as easily formed beef with a different person. if it wasn't him brought back and it was someone else? it wouldn't make that big a difference to the main characters, or anyone, really. he's assimilated into the narrative from the start, and that fact only becomes more and more apparent to the audience (and eventually him as well) as the story goes on. and i could say even more but that would be off topic n his section is long as hell already lmao

uh anyways i'm gonna keep the rest brief but in terms of the main theme he respresents like. yes you have to let others help you but sometimes others can be toxic and you have to be able to recognize when people's help and love for you is conditional. and this is pretty much restricted to python but if i talk about vysel anymore i'll lose my mind sorry

requiem - FINALLY REQUIEM and they were supposed to be the main character as they're the literal chosen one before they forced themself out of the narrative (but not really because you can never truly escape your fate lol). basically the "refusal of the call" stage of the hero's journey taken to the extreme. anyways yk that whole black and white motif they have. yeah that's no coincidence that's just like. visual language. every inch of their existence is connected to their chosen one status . its fun

and this is something i've never extensively talked about ever so NEW LORE!! their parents neglect the fuck out of them. FUN RIGHT thorne write a character with two loving and living parents challenge (impossible). but uh yeah yk those jokes that're like "wow how are all the parents of these heros just fine to let their child walk around all by themselves with no supervision". yeah that. their parents aren't physically or emotionally abusive in any way and they do care about requiem to an extent but they also are. not good at being parents. so when requiem ends up running away from home with the gang they. don't care for a while. oops.

and reqs not a paticularly good or bad student either so they're really not used to an adult giving them attention, let alone 4 at the exact same time so yeah when the gang shows up on their doorstep and say "hey do you want to go on a trip around the entire world with us" the adjustment period ends up being pretty rough for them ! but when they do finally start to open up it's very obvious that they need so much help . in terms of the theme yk how i said python and swift were different ends of the "what happens when no one helps you" spectrum? well requiem isn't quite on their level but they're well on their way to being just as bad as them, if not worse. so the other four kind of have to work at them and unearth all of the things they've repressed, basically trying to stop them from spiraling into the same unhealthy coping mechanisms that python and swift and especially java (who i haven't mentioned in relation to reqs until now but they are Extremely similar characters. reqs is like a younger java brought forward in time except somehow even more emo). and yeah that's how they relate to the theme heehee

i hope you realize why i can't go on long winded rants about their characters cuz there is even more to be said about them beyond all of this . i was trying to be brief when writing these . uh anyways if you want me to elaborate on these more i will but HOUH

#ruby #java #python #swift #c+ #vysel #requiem #hope this was worth the wait heehee

[lailoken]

“The idea that associating faeries and Witches with the dead related to an initiatory phase of the faerie encounter makes sense of why faeries are often confused with the dead, and why Witches are relentlessly associated with death. The Witch as poisoner of the well and bringer of disease is much like the apples of the Underworld upon which the Queen of Elphame claims "all the plagues of hell are upon," which could even be taken literally as diseases.

There is a risk in passing through the realm of the dead to get to the Crooked Path, there is a risk of an incomplete initiation that brings back demons of madness and disease instead of healing powers. For this reason many of the motifs of Witchcraft have to do with initiatory death and the Underworld, even though it is as much about the realm of Faerie as it is about the world of the dead. What we see in Witchcraft are images of blackness, skulls, bones, poisons and narcotic ointments, curses, animalistic transformations, cannibalism, perverse sex, and sorcerous tortures. This is all the uninitiated or partly initiated ever get to see. Our faerie light, the cunning fire, is hidden from view, but hidden in plain sight.

Initiation in other shamanic cultures involves things like dismemberment, eating of the flesh and blood by demonic entities and heating and forging symbolism. Eva Pocs talks about the way something was often removed or put in during a Witch's initiation in the Balkans. She says the removal of a bone or even the little finger was required in some parts of Europe. Just as Witches sucked illnesses or fairy darts out in the British Isles so did other Witches remove a bone from the body of an initiate, scratch them and take their blood for a pact or take something else from them that would serve as a relic of their personal power. The procedures of healing and the processes of induction into the cult resonate profoundly, and initiation can be seen as a form of drastic healing.

Things may also be inserted into people's bodies, both by faeries and Witches. You can see in the following charm that way back since the dark ages both faeries and Witches have been linked together in the practice of throwing elf shot or "witch shot" as it was also called.

The tenth century metrical charm “Against A Sudden Stitch" (WiÐ fœrstice) offers remedy against sudden pain (such as rheumatism) caused by projectiles of either ése [gods], ylfe [elves] or Witches (gif hit weere esa gescot OÐÐE hit wœre ylfa gescot 0ÐĐº hit wære hægtessan gescot) “be it Ése-shot or elf-shot or witch-shot." This brings to mind the physical ways in which Witches are renowned for putting things in people, such as pins of blackthorn into the heart of a poppet doll. The bewitched were sometimes seen to vomit up pins, and the tangled hair of the one who had hexed them. In this way both for good or ill, Witches and faeries were united in being held responsible for either removing strange body parts like an extra unnoticed bone, or instead inserting magical objects into the body of either a victim or potential initiate. As we have seen, when it comes to the realm of Faerie and humans the only difference between victim and initiate is a strong familiar spirit who acts as a kind of bridge and guide between the worlds.

Eva Pocs gives an account of how death and resurrection experiences were part of becoming known as a woman or man of Faerie. Lady Wilde also spoke how Irish Faerie Doctors often acquired their trade through having spent time in Faerie following abduction. Pocs tells us in her Fairies and Witches at the Boundary of South-Eastern and Central Europe that the living ones, as in people who had not passed through the initiation trauma, were not permitted to gaze upon the Otherworld in Balkan traditions. But the light-shadowed people who were either faerie already, or who had been taken away and "changed" were allowed to know it. The light- shadow was perceived as an aura around the person's head like a halo.

"As far as 'transitory death' and temporary soul journeys are concerned, they, according to several beliefs, mean initiation; if someone has ever looked into that other world,—eg. Has seen the fairies who must not be seen by a living person,—from that time on he/she is considered initiated." Or as another account from the area puts it: “The faeries killed him but revived him, giving him power." 

During these abductions the iele takes out a piece of bone and replaces it with a stake or wheel spoke. One year later in the same location they put back the removed bone. This trope of something being removed or inserted into the body of the initiate is found in many shamanic cultures throughout the world. In some cases the shaman is believe to be in possession of an extra bone that must be counted by the spirits.

These faerie motifs of abduction, initiatory death and repatriation into the community with altered status, and the insertion or removal of body parts and blood are all clues to better understanding how Witchcraft flows forth from the Faerie Faith. Eva Pocs points out the following similarities. Just like faeries:

"The witch, for instance, flies in the form of a crow or a whirl-wind, sits in a swallows nest, where she seems to sometimes be little, sometimes big, and sometimes disappears, she walks on the top of trees as quickly as the wind; or the whole witch company 'transforms into crows and alights on wil- lows'. They travel in green coaches on the top of the trees..."

Of course this close connection between the Faerie Faith and Witches was muddied by persecution of the Craft. The faerie practices were increasingly assimilated into the household and moved away from the wilderness, with Sicilian Fairie Witches going from house to house, rather than out into the forest. Meanwhile Witchcraft was given all of the dangerous Otherwise characteristics, the ones so crucial to initiation that were slowly being stripped from the faerie narrative. In the process the realm of Faerie was losing its teeth and claws, and Witchcraft was being vilified almost out of existence.

All of the negative or dark attributes of the faeries, which were originally part of their primordial ambivalence, were gradually settled on Witches. Cunning practices became strongly associated with Faerie, and Witchcraft with demons, even though originally it is almost impossible to make this distinction in a meaningful way. In this way most forgot that Witches serve with the right hand as surely as they blight with the left, a characteristic shared with the fées of Brittany. Faeries throw darts and blast crops as surely as they bestow blessings and cure the diseases they cause.

LOnce faeries, and the human practitioners of magic who had faeries for familiars, both shared in those characteristics, including the ones that do mankind good, and those that do mankind ill. Faeries, and the Witchcraft that grows forth from it into the human side of the hedge, carry with them all the plagues and poisons of the Earth, and also the potential inoculation and medicine that affects every cure.

Only those who have passed through the world of the dead are offered access to the Third Path. Only he who has walked that path and come back wearing the virid doublet of Faerie and learned to keep silent, can now come back and eat of the fruit upon which all of the plagues of Hell alight to find the secret of their cure. In the Underworld, the Tree of Knowledge and the Tree of Life and Death are the same tree.

Even in Britain where we don't find the bone tak- ing motif and only occasionally see an explicit spiritual death followed by resurrection, we do find the passing of the breath, where a Witch's shadow is able to enter someone else, giving them soul, through the breath and mouth, or illnesses is sucked away with the mouth. Witch teats also allow something to be sucked away as a form of nourishment to the familiar, who also sometimes drank the Witch's blood drops. Familiars were sometimes put in another person by blowing them into someone's mouth and we may conjecture during sexual encounters with faerie beings where vital force was being taken out and inspiration put in.

The relationship between faeries and Witches is as much peppered in the language of consumption and assimilation through eating as it is in sexual ex- pression. Witches and their familiars live off each other, eat of one another. Here do we perhaps find the origins of the "eat of me" theme behind the Housel or Red Meal. Where some Witches consume the body and blood of their Devil and his Dame, just as the Christians consume Jesus Christ.

In this natural religiosity of consumption and mutual nourishment we see the foreshadowing of all such edible sacraments. The spirit world is understood to enjoy blood. As early as the 13th century in Ireland Alice Kyteler sacrificed a black cock at the crossroads to the spirit Robin Artisson, her spirit lover and familiar—himself a man of Faerie, a dweller at crossroads.

Jeffrey Burton Russell says of Robin Artisson: “As much like a faerie as a witch's familiar, Robin appeared in a number of shapes, a cat, a shaggy dog or an Ethiopian."

Alice was also said to gamble about on a salve-covered broom (no talk of flying on it only of putting ointment on it mounting it and moving around) so perhaps something was introduced into her body via the salve. Even if the straddling of the broom does not suggest intimate applications of the unguent, flying ointments, regardless of how they are administered are always an herbal formula given to them from outside the hedge, which is put into the body via the pores of the skin.

Another Witchcraft tradition, prominent mainly in Britain that involves taking something out, is the practice of taking blood above the breath. This procedure, where one suspected of bewitching someone was attacked and scratched badly enough to make blood flow, usually above the nose and mouth, was believed to neutralize their power for a time. We can conjecture that the reason has to do with the way power or Virtue is considered to be stored in blood and breath and is connected via an invisible thread to the power of the familiar spirit nourished by these two things. The Witch's power and virtue is expected to leak out in great glut in blood above the breath because so much power lives in the skull. Drawing the blood above the breath can be seen as an attack on the Witchs familiar as well as herself. It is quite illuminating to look closely at the scratching attack on Joan Guppy, whom we have mentioned earlier in relation to Faerie Doctoring.

"They scratched her face with overgrown brambles, saying that Guppy 'was a witch and they came for the blood and they would have it and her life also before ... they left her." Not just blood but "the blood" — witch-blood. This statement is reminiscent of the sweet blood faerie Witches were believed to have in Sicily. We can conjecture that when they say they came for the blood and would have "her life" before they left, what they actually meant was her soul force or magical virtue, as they didn't actually kill her. Witchblood, sweet blood, the power that holds a tenuous thread, like a bridge made of one hair, between this world and the paradise of Elphame—a thread that must cross the abyss of Hell and is like-wise just as capable of unleashing it.”

—

Sounds of Infinity

Chapter 9: ‘Faerie Doctors and Magicians’

by Lee Morgan

#sounds of infinity #Lee Morgan #Gloaming folk #faerie #fair folk #the fae #faerie faith #faeries #faerie doctor #faerie witch