Randomly thinking about “tolerate it” (narrator voice: it was not random) and how under the cloak of fiction it is ostensibly inspired by works like “Rebecca” (which Taylor said she read during the 2020 lockdowns I believe?), with the line of “you’re so much older and wiser” indicating that the speaker is significantly younger and inexperienced compared to the person she’s speaking to and a pretty direct reference to the plot of the book.
But I saw something somewhere once that stuck with me about how it might not be referring to relative age between the characters but chronological age as in the passage of time in a relationship. And that made me think about how in a contemporary context, it might not necessarily be referencing an actual age gap between the two characters, but rather a sarcastic or cynical response to the man’s claims that he has matured (“you’re so much older and wiser [than you were before/than you were when we met/etc.]”), which then made me think about that line in relation to the woman. And that it could be taken like, “you act like you’ve matured so much in our time together and like you know everything, while I’m supposedly still stuck as the girl I was when we first met.”
Which then made me think of the “right where you left me” of it all and did you ever hear about the girl who got frozen time went on for everyone else she won’t know it and the bit in Miss Americana where she talks about how celebrities get frozen at the age at which they got famous, and how she’s had to play catch up in a lot of ways not just in her emotional growth but kind of in general. (Which also made me wonder if she’s ever been called out for immaturity/lack of curiosity/lack of education about things in her life…)
Which then made me think about the rest of the song, and @taylortruther’s posts yesterday about “seven” and “Daylight” and the way Taylor idealizes her youth yet contrasts it with an almost sinister reality in its wake, and the line, “I sit by the door like I’m just a kid,” because the discussion raised that her relationship let her recapture some of the childlike joy and wonder she’d lost. So this line is a double-edged sword: the speaker sits by the door with childlike hope that the person will come home and cherish her, but on the darker side, feels like the child dealing with the monsters she doesn’t have names for yet and the feelings of isolation she felt as she aged.
I’m not saying the song is necessarily autobiographical; like most of the songs on folkmore, it’s clearly a fictionalized story based on media she’d consumed and created, but we know a lot of the fictional songs were infused with her own feelings and experiences and… This idea swirling in my head picked up steam and now I kind of can’t stop thinking about it. Sorry but I’m a little obsessed now.
Like maybe it might start to shed light on why she identified so strongly with the novel in the first place…
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okay I NEED to write a post that’s not just me taking the piss out of my mind palace and I need to write it like RIGHT NOW because I WANT to admit that there are things I’ve said that I think could be better or more accurate. there ARE bits and pieces I’ve neglected . and there are things that I haven’t articulated yet that I want other people to KNOW ABOUT!!!!
like with things other than himself masato’s poker face kind of sucks. with his older brother he’s way more open about how he feels, but he’s still not saying some critical SOMETHING. masato and tashiro, sometimes, occasionally, (frequently) just talk very easily. their dynamic is like astonishingly….. nuanced? like some days it’s taaaaashiiiiiiiiroooooo-kuuuuunnn and other days it’s
and some days, in my mind, masato is sitting very quiet and still watching tashiro do nothing in particular, and he’s torn between wanting to run away and stay right where he is until he stops breathing, or at least until his heart stops beating so damn hard.
and I definitely haven’t highlighted enough how legitimately functional and . well. “normal” . masato is externally despite his nights being plagued by dreams. or how so much of his angst is because, despite everything, he’s still just as young at heart as his friends are. in the space of his family, he’s still just a kid. he’s not unflappable he gets flustered and caught off guard he’s silly and expressive but he’s hard as hell to read sometimes. he lurks around corners. he’ll oscillate wildly between reflective and flippant. he’s PETTY.
he’s someone younger brother, and he’d rather be at his death bed than admit whatever fundamental something it is that he’s avoiding so hard.
like it’s. meaningful, that’s something I haven’t really gotten to. it’s meaningful that masato is always a few steps away from death, or half a dozen steps past it. he can even wear a detectives hat—it might be the only way he would ever, EVER open up. like. I’m going to loosely quote sunnnfish’s textbook but You can do things to a dead body that you can’t do to a living one.
but I also think that if I went back and altered the. dirtbrain hanzashiro canon, I guess. I’d make it easier to remember that masato isn’t 100% steeped in miseries. because I definitely think that I make it sound like that. like I should say that I don’t revel in his misery. not because it’s true necessarily but because I put so much of myself in front of and also into him that it reflects badly on me if I don’t. but anyway he still has his fun his distractions work it’s just that he’s plagued by dreams. the river is the metaphor for his burdens. that’s the bottom line. so it’s not that he’s being plagued by feeling nervous AND the river. they’re the same. the river is a prominent image in his mind, as it is in mine, but when he thinks of it he’s not thinking of it as the physical manifestation of his burdens, he’s not tying them to the river. they’re distinct in his mind, because he refuses self reflection.
also I’d play into the crime scene thing more. I like masato I want him to have fun and I think he deserves to wear a detective’s hat and dance around dgs holmes style. even if he does still have that massive puncture wound in his chest. even if he is still bleeding all over. like masato’s a weirdo but he’s not in isolation, is what I mean. not practically. he isolates HIMSELF but that’s because he’s ashamed of his vulnerability, not because of any external rejection. he has fun, still, but when he grows quiet, when his eyes open, when his expression is, ironically, even harder than usual to read, he’s being burdened by himself. but otherwise it is out of sight out of mind and hanzawa masato does so enjoy being silly and weird.
the thing, though, is that tashiro, from his outside perspective, DOES think of the river as it’s own entity. how could he not. he hasn’t been filled in yet on the things masato’s been putting up with in that freaky head of his, so he thinks of a river washing hanzawa senpai up like any regular corpse and it’s.. scary! if he could, masato would dance around his own corpse, investigating the lividity and wound in his chest with detached enough vigor, but tashiro isn’t like that. tashiro CAN’T be like that. tashiro had been surrounded by red lighting, flickering, buzzing, and saw the body in the water, and decided that he was here to do something, and he went and pulled him out and bandaged him up. which is a scene I’ve been struggling to write. and obviously “decided” is a bit misleading, because there was nothing else to do. like what sort of demon would tashiro have to be to see someone floating down a river in a scary environment like this and just LEAVE them there?
it’s like as far as chronology goes tashiro’s interactions with the river are complicated. because in MY chronology like as in the order they were written by me. in my capacity as writer. tashiro’s in reality first, only seeing trace unrealisms following masato around (the lanterns in the hallway, the blue hour, etc.) but in THEIR chronology. tashiro, who’s unacquainted with dreams mostly, suddenly is viscerally aware that he’s in one, and there’s a river in it. and while I haven’t gotten to saying so explicitly yet, like with a lot of things, the closest tashiro gets to being in the river is a dangled foot over the side of the pavement, skimming it. not taking a proper step into that world, but getting a feel for it. and then he takes hold of masato’s wrist, then hand, and pulls him out of the murk. bandages him up. mapping intimacy, hands brushing against masato’s ribcage.
and it’s obvious for me to say, I live in my brain and all of these details click together in ways that are mostly going unnoticed, this is before any realizations are fulfilled on tashiro’s part. he’s doing this because he found hanzawa senpai basically Dead in a river and he could help. he’s doing this because he’s himself. he’s doing this because he has no idea why else he would be here.
it’s just like. dirtbrain’s hanzawa to tashiro is a struggle between my capacity as a writer and my understanding that I could tell the story I want to tell so much better in a visual medium that I don’t have access to. so basically while I work out my own shortcomings everyone join hands with me so we can send harusono sensei psychic pleas for news on hanzawa to tashiro. or at least the over 10000 words on hanzawa masato. etc.
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OKAY….. SLAY………..
this gives me just an inch of closure as the perpetual question solidified in my mind has been “What did I do to make you stop loving me?”
There was such a warp of reality at the end, this denial of truth, it stunk of her disorder but I couldn’t help but ask myself, “Am I asking for too much? Is it really all in my head? Am I misremembering all those years? Am I truly the ‘bad’ one, making fuss out of nothing?”
I take solace in the understanding now that she was consumed by the sickness. I know that I did all that I could, that unfortunately my love, compassion and loyalty never would’ve been enough to escape this. This always would’ve been the outcome as long as she refused to get treatment for it.
It’s interesting to think that she will do this again. She will eat and consume and ruin everybody around her in a desperate attempt to save herself. Every lover she takes will see the trail behind her that she has pillaged but they will believe that they are special, she will treat them special. She will feed the delusion that her love for you is beyond the sickness and what you have together stretches eons. She will not tell you that she will, she will leave you too, and she will not look back.
She’ll never look back.
And this why if I ever get intimately involved with someone with this diagnosis again my rule is that they need to actively be in treatment or it’s no dice lol! (*^◯^*)
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