#katherine introspection.

[auboutdespages]

AU BOUT DES PAGES

Hey les papivores 2.0, aujourd’hui nous allons plonger dans un univers mélancolique. Katherine PANCOL célèbre romancière française, est une écrivaine dont le style se caractérise à l’américaine marqué par de nombreux dialogues et ses récits qui décrivent souvent des destins chaotiques de femmes indépendantes.

ROMAN

« Les écureuils de Central Park sont tristes le lundi », Katherine PANCOL.

Le PITCH, d’abord !

Souvent la vie s’amuse.

Elle nous offre un diamant, caché sous un ticket de métro ou le tombé d’un rideau. Embusqué dans un mot, un regard, un sourire un peu nigaud.

Il faut faire attention aux détails. Ils sèment notre vie de petits cailloux et nous guident.

Les gens brutaux, les gens pressés, ceux qui portent des gants de boxe ou font gicler le gravier, ignorent les détails.

Ils veulent du lourd, de l’imposant, du clinquant, ils ne veulent pas perdre une minute à se baisser pour un sou, une paille, la main d’un homme tremblant.

Mais si on se penche, si on arrête le temps, on découvre des diamants dans une main tendue…

Et la vie n’est plus jamais triste. Ni le samedi, ni le dimanche, ni le lundi…

Mon AVIS, humblement !

Belles tranches de vies que nous livre ici, en grand chef, Katherine Pancol, tartinées tantôt de miel, tantôt de pâte à tartiner bon marché, mais toujours accompagnées de son fameux tea time dont elle seule à le secret.

On lui pardonnera sans problème cette éternelle histoire d'amour manquée entre Philippe et Joséphine (mais où va-t-elle chercher les prénoms de ses héroïnes ??), mais on l'attend au détour des traits de cet étonnant Junior, surdoué improbable qui casse quelque peu la véracité des propos.

Bien moins malin celui qui trouvera dans ces pages le fil rouge qui a fait le succès de l'opus précédent (La Valse lente des tortues)... on le cherche mais on ne le trouve point, perdu qu'il est peut-être entre les tourments de cette croqueuse d'Hortence (décidément, les prénoms sont un mystère pour Madame Pancol... ) et les pérégrinations de cette bonne vieille Henriette.

Toujours est-il qu'une unité de ton se propage dans les méandres de cette saga familiale à l'américaine, digne des meilleurs Dallas, un questionnement uniforme sur le rapport étroit entre hommes, à l'image du Petit Jeune Homme, vers de terre amoureux d'une étoile filante, de Gary poursuivant un père fantoche ou de Junior devenant un homme au contact du paternel.

Pancol nous en met plein la vue cette fois, en nous faisant entrer dans de nombreux mondes qui nous sont contemporains : celui des affaires internationales, évocant cette "crise financière" si proche de nous ; celui du "gratin" parisien, celui de l'écriture et de sa longue introspection ; une belle galerie de personnages, connus ou nouveaux, nous est alors donnée en pâture, donnant au livre un beau relief qui explique ses presque 1000 pages. Le lecteur en a pour son argent, il est content, content également de refermer ce troisième opus, dernier d'une longue saga qui menace de tourner en rond s'il propose un quatrième volet.

Bref, un écrin brillant et divertissant comme on les aime aujourd'hui, même s'il souffre de quelques incongruités.

#roman #livres #passion #blogger #booklover #coup de coeur #livreaddict #bibliophile #cameroun

[englishstrawbie]

Home (1/1)

Fandom: Station 19, Grey’s Anatomy

Characters: Maya Bishop, Carina DeLuca 

Summary: After such a heartbreaking day at the Elena Bailey Memorial Clinic for Reproductive Health, all Carina wants to do is go home.

a.k.a. a post-S19 6x12 & GA 19x12 Carina introspective.

* * * * * * * * * *

It is late by the time Carina finishes work. After Tia’s emergency c-section was Jackie, who gave birth to a baby boy she named Dylan; then Natalie, whose daughter weighed in at a healthy eight pounds six ounces; and finally Katherine, whose son entered the world screaming, as if he knew what kind of day it had been. Carina smiles at each happy set of parents, congratulates them and wishes their family well, but the joy she usually feels is missing.  

She is numb as she walks through the hospital towards her office. She hasn’t allowed herself to remember the image of the car purposefully driving towards her colleagues, or Tia being flipped through the air and landing on the hard concrete ground. She hasn’t allowed herself to feel the hatred that the man behind the wheel so clearly had for all of them, not just Addison, for simply doing their jobs. She hasn’t allowed the anger to build or fear to creep in or tears to fall, because Tia and Jackie and Natalie and Katherine needed her today and they came first.

Read more @ AO3

#station 19 #grey's anatomy #maya bishop #carina deluca #station 19 fanfiction #my fanfiction

[akitasimblr]

Do you relate to any of your ocs? If yes, why? 🚨 Send this to 10 simblrs you adore ❤️

sorry it took me so long! but i wanted to put some thought on it and days have flown away. well, well, which harpers do i relate the most?

ulysses: he's the one who decided to live on a isolated island with a lighthouse with a household full of dogs. this was once my dream. to live on a lighthouse with only dogs and the sea for companions. ulysses reflects my tendency to be a loner who enjoys their own company too much and likes to dwelve into introspective thoughts, philosophies, ideas and ideals.

zelda: another loner! zelda reflects my need for liberty and independence. and also my uninterest (and fear?) in committing in relationships.

yvonne: yvonne is the rebel within me, i suppose. strongly moved by one's own ethics and values. not doomed to conform and not giving a damn to outside opinions about her or how she runs her life. and still, deeply committed to her family relationships, even when they fail her.

katherine: katherine is my loony side, i guess. not loony, bad choice of words, katherine reflects my head in the clouds, my wild imagination and my (very) childish side. and also the tendency to look odd to others because i don't exactly follow the social roles as expected. she's probably the spontaneous me in her best.

nathalia: she's the cynical me. the dark humour i tend to have and that sometimes creates the weirdest situations... the one who often laughs when it's not convenient (or proper). the one who shares unsolicited remarks that are said with irony but not always understood that way.

#asks #extras #extras:ulysses #extras:zelda #extras:yvonne #extras:katherine #extras:nathalia

[the-last-doppelganger]

🌵 🌴 🍁 🪵

send 🌵 and i'll recommend a canon rp blog

I honestly love @kingmakercastle ! Such a perfect portrayal of Lucien - an interesting character that is fleshed out further ❤️

send 🌴 and i'll recommend a blog i haven't spoken to yet but admire from afar

@quarterwitch I'd love to interact with them!

send 🍁 and i'll recommend my favorite blog duo

I’m not entirely sure what a blog duo is, but I absolutely I think it's blogs that are affiliated and have common lore so I'd say @imbalanceofpower and @taintedtemptress Their lore, the development of both Klaus and Katherine is honestly impressive, and I love listening to their views.

send 🪵 and i'll say a positive thing about my own blog

Uhhh….. I’m not sure how to answer this. I’d say my introspection is good.

#anon ask #they're all amazing!

[ao3feed-newsies]

i found something in the woods somewhere

by, we_are_inevitable by we_are_inevitable Fresh. That’s the word that he keeps coming back to. Growing up in the city, he’s never had access to this kind of environment– fresh air and quiet, trees everywhere, dense wood all around. It’s lovely, but David really hasn’t had the chance to explore it. Something tugs in his chest, and whispers in the back of his mind: You have time now. Why not? Seventeen minutes later, dressed in jeans and converse, wearing a blue and black flannel, with nothing but a backpack full of four plastic water bottles and a whole box of granola bars, David crosses the treeline in his own backyard and walks into the woods. - David Jacobs doesn't know who he is. He wants to find out. Jack Kelly knows exactly who he is. Maybe he doesn't want to. After a lifetime of feeling stagnant, Jack and David search for the answers. Words: 5309, Chapters: 1/3, Language: English Fandoms: Newsies!: the Musical - Fierstein/Menken, Newsies - All Media Types, Newsies: The Broadway Musical! (2017) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Categories: M/M Characters: David Jacobs, Jack Kelly (Newsies), Crutchie (Newsies), Albert DaSilva (Newsies), Racetrack Higgins, Katherine Plumber Pulitzer Relationships: David Jacobs/Jack Kelly Additional Tags: Alternate Universe - Modern Setting, Alternate Universe - Fantasy, Spirits, Forests, Nature Magic, Nature, Introspection, Character Study, Implied/Referenced Character Death, First Meetings, Eventual Romance, Transformation, Autistic David Jacobs, David Jacobs Needs A Hug, ok i don't know how to explain this one, rlly speculative and fun and stuff!!, Character Analysis, Skeletons, Jack Kelly is Bad at Feelings (Newsies), Cryptozoology, kind of?, Mind Manipulation, Magic read : https://ift.tt/qbi2A5O - April 26, 2024 at 11:32AM

#AO3feed #newsies #fanfic #newsies fanfic

[sulietsexual]

Such a dumb question, but I always trust your opinion - what is Elena's personality supposed to be? What are her core strengths and what do the writers intend as her main flaws? How are she and Bonnie different? Is the more introspective, serious Elena we see at the beginning more her real personality or just the product of her grief?! Thank you so much in advance for any light you can shed - this issue always nags at me :)

There are no dumb questions, Nonnie! I'm maybe not the best person to ask about Elena's characterisation, as I still don't know TVD all that well, but I'll do my best!

I have to admit, I find Elena's character to be a bit of a blank-slate character, at least in the very early seasons of the show. In basing her characterisation first around her grief and then around her love interests, the writers kind of forgot to write the rest of her character. It's hard to figure out what she wants, what her desires are, what her goals are and sometimes even where her motivations are coming from.

For example, characters like Caroline, and even Bonnie to a certain extent, are shown to have interests and motivations; Caroline is ambitious in her academic and social activities and is driven by her own insecurities and desire for perfection and we get to see her struggle with these traits and with finding a balance and then growing within herself, especially once she's turned. Bonnie, though woefully overlooked by the writers in many areas, is still given strengths and goals and motivations through her witchcraft and her desire to learn and refine her powers and delve into her past and her ancestors.

But Elena is not presented with any of this, at least at first. We learn that a lot of her actions and her overall demeanour and detachment from her friends, social activities and school is a result of her parents' death and her survivors guilt, but we don't really get to know what she was like before the accident, so it's hard to read her character accordingly. Once she starts seeing Stefan, and is later caught between him and Damon, her characterisation becomes very much centered on the brothers and her feelings for them, and she doesn't seem to be driven by much else. 

It also doesn’t help that she is so often put in danger and threatened within the narrative, as her perpetual victim status detracts from her character and denies her growth - she’s not allowed to get stronger, as that would make it harder to put her in dangerous situations. I think that this is most egregious in Season 2, when everyone is trying to get their hands on her in order to present her to Klaus. Elena spends so much time being stalked, hurt and captured, that there’s almost no room for her to grow.

I will say that there are traits which Elena is clearly given from the early seasons and which she maintains throughout the series, showing that there was at least a decent foundation for character growth. She's shown to be extremely compassionate and empathetic and is a very selfless person. She’s also very brave and is shown to run into dangerous situations for those she loves. She also has bit of a death wish, probably as a result of her survivor's guilt and she can be a bit of a martyr, even if it is driven by love for her friends and family.

I'd say the introspective and serious side you've mentioned is actually a core trait of hers, as, even as she loosens up more at college and becomes more open with people, she does seem to maintain these traits.

This all being said, I do think that she gets some decent growth in the later seasons, in particular Seasons 5 and 6. When she goes to college we see her start to have a bit more fun, loosen up and try to experience college life to the fullest. She also becomes more assertive and stronger in this season, especially after she’s body-jacked by Katherine.

She gets even better in Season 6, when we finally get to see her set some goals and express desires outside of romance. I love that she decides to commit to pre-med, as it suits her established characterisation, tying into her compassion and empathy and desire to protect and help others. I also have really come to like her relationship with Damon this season, as the removal of her memories forces her to form a new and more genuine bond with him, and it also starts to bring out the better side of Damon.

I feel like I got a bit off-topic here, so the bottom line is, I feel like the writing of Elena’s character is a bit thin at first and could definitely be deeper and more fleshed out, but that she does have established characterisation and is given some growth in later seasons, which elevate her character and give Nina a bit more to do with the character.

#answered #anonymous #the vampire diaries #tvd #tvd meta #elena gilbert #meta

[we-pay-for-everything]

Dumb question, but can you talk about the similarities and differences between Stefan and Elena? People keep saying how alike they are, and on one hand I get it, but I also think they're really different in ways I have trouble articulating :)

I think I have a post like that, but it included Damon too. Let me see if I can find it!

I've concluded that I've never actually answered that question, but this was the closest thing I could find x.

Assuming you like Delena, these posts might interest you too: x x x x.

I think the first post I linked explains the differences between Elena and Stefan. In the end, Elena is not one to live in the past or torture herself with past decisions. She's very pragmatic and always wants to focus on the present and make the best of things. That's why she told Stefan she'd let him go if he refused to change in season 3, decided to accept her transition in season 4 and also to forget Damon in season 6. Elena doesn't want to "love a ghost", whether that ghost is Stefan, Damon, or her former self. But Stefan is someone who spends a large portion of the series trying to forget who he is and to stop his life from changing. He refuses to let go of human Elena, is unable to move on when Damon dies and goes into hiding, and his inability to "embrace" his dark past keeps him from truly moving on and even puts him at risk. This is a huge difference between Elena and Stefan, and, imo, the main reason why Elena chooses Damon.

Stefan learns to live in the present eventually - mostly due to Damon and Caroline's influence, imo, but Elena's too - yet, while he's with Elena, this difference, initially unimportant, over time becomes insurmountable. In the beginning, Elena had lost her parents and was sad and trying to become the old Elena again. Damon actually tells her to let go of that Elena. Elena related to Stefan because he was sad and lonely too and grieving someone (his parents, and Katherine, kinda), but then in season 3 he can't let go of his revenge fantasy and that's when things really start going south. Elena outgrew Stefan in many ways. They were both introspective, loyal, kind, honest, felt like outcasts (Elena couldn't relate to people her own age anymore), and found comfort and someone they could relate to in each other. But Elena got better - she learned to adapt - and when she became a vampire and effectively stopped being the doppelganger, she wanted to actually move on with her life and Stefan wanted things to go back to how they were.

Personality wise, they had those obvious similarities I mentioned and I honestly can't think of others. They responded identically to a lot of situations: they prioritized their friends' lives over their own, valued family above everything. Perhaps Elena was more stubborn than Stefan, and less forgiving after she changed. She was also a bit more pragmatic, more flexible and adaptable, but I think Stefan was too - he grew a lot.

Also, Elena was more outgoing and pleasure seeking than Stefan most of the time. She liked to party and go out with friends when she wasn't concerned with dying. Stefan was more private and liked quieter environments. I think, in the end, Stefan wanted to settle down and Elena wanted excitement and adventure in her life. That's why Damon become so appealing to her when she became a vampire. She saw so much death and wanted to embrace life, and Stefan couldn't truly keep up with that. But, again, she also settled down as a human.

Dunno, there are more differences (and similarities) but I can't articulate them right now either... Sorry!

Thanks for the ask!

#ask #tvd #elena gilbert #stefan salvatore #delena #thanks for the ask

[sheepisreading]

Books I finished in May 2023

Again, not a lot here but y’know.

Edit: forgot a book!

Super-Infinite: The Transformations of John Donne, Katherine Rundell, 2022

A book I just randomly picked up at the bookstore. I don’t know, I loved the Bill Bryson Shakespeare biography, and this seemed to be in a similar vein but more genuine than funny, which I appreciate. I was also attracted to the book because the idea of the renaissance man, concerned by all subjects of study, is always of interest to me. I’d never actually heard of John Donne, but after rading the book, I definitely understad why people write books about him. Katherine Rundell writes with such distinction and beauty about Donne, using excerpts of his writing and of other scholars’ writing, the whole book is a delight to read. You don’t even have to care one bit about John Donne to read it, I know I didn’t at the start, but I grew to thanks to the exquisite way Rundell tells us about his life. I recommend it ! 

A Certain Hunger, Chelsea G. Summers, 2020

This book I first heard from last year, bought it, and then proceded not to read it for a year. I just didn’t feel like it I guess. I finally picked it up because I had nothing else left to read at my student accomodation. It’s a book about a food writer who kills her lovers. She writes from prison (not a spoiler) and recounts how it all went down. I didn’t vibe with the overly serious food descriptions at first, but I got used to it as I read. It was kinda cool, it’s a contemporary setting too, and I don’t usually read murdery books, so it was a nice change of pace for me. I grew more attached to the narrator towards the end. She really grew on me, I found her a bit pretentious at first but she does show another more introspective and self aware view which warmed me up to her a lot. Basically, a good crime book!

Radical Intimacy, Sophie K. Rosa, 2023

This book was probably handed to me by the gods above. I say that because I read an old fanfic (here, it’s amazing (it’s also fall out boy fanfic be warned)) in like April in which radical intimacy as a concept is mentioned as basically relationship anarchy mixed with non monogamy and like sex and romantic gestures between friends. All of which I subscribe very very much to. I googled radical intimacy after reading it and immediately this book (which JUST came out) popped up! It’s amazing and basically full of everything I’ve always wanted to read on the topics of relationships (or all kinds)! It’s separated in chapters dealing with romance, sex, family, death, friendship under capitalism, and how relationships between people are the thing. As in the thing ever. And I could not agree more! Nonconformative relationships are precious to me and seeing them being spoken about so openly and true-ly was wonderful, especially put into perspective with politics! It’s like Rosa wrote my thoughts out (after doing some research and applying theory to them). I can not recommend this book enough!

#bookblr #books #bookish #book community #book review #chelsea g summers #sophie k rosa #a certain hunger #radical intimacy #katherine rundell #john donne #i guess

[lyricscribex]

Hit-maker and producer Brody Brown unveils his latest musical masterpiece entitled "Eyes on Me."

Brody Brown, an experienced figure in the global hip-hop industry, hails from Compton, California, the iconic birthplace of the genre on the West Coast. Nurtured by his musically inclined grandmother during his formative years, Brody acquired proficiency in multiple instruments such as bass, guitar, percussion, piano, and organ.

At the young age of 14, destiny opened its doors for the multi-instrumentalist prodigy, as acclaimed R&B sensation Bobby V recognized his remarkable talent and invited him to join his touring band as a bass player. From that moment, Brody Brown's musical journey intertwined with the industry's brightest stars, including the likes of Lil Wayne, Chris Brown, T.I., and Katherine McPhee. His remarkable contribution as a bassist and co-writer led to the Grammy-nominated anthem "Grenade" on Bruno Mars' groundbreaking debut album. Now, this versatile artist finds himself stepping into the spotlight, ready to claim his rightful place on center stage.

Brody Brown's debut album, titled "The Kickback," introduces us to his captivating artistry, and the second single and video from the album, "Eyes on Me," takes us on a mesmerizing sonic journey. Released on January 27, 2023, across all major streaming platforms, this track immediately grabs your attention with its minor-key ambient synths and trippy vocal samples, creating an eerie atmosphere. As the singer confidently approaches the microphone, he delves into the challenges and insecurities that accompany success, seamlessly blending singing and rapping. And when the beat drops, a relaxed yet groovy downtempo 808 rhythm takes over, providing the perfect backdrop for his introspective storytelling.

Don't miss out on watching the amazing "Eyes on Me" music video below!

#music #hiphop #song #defjam #newvideo #newsong #video #brody #brodybrown #rap #westcoast #clubmusic #Youtube

[theartistknownaslymond]

💬

Thanks for the ask, Katherine! <3 In response to this post, 'a quote from my own writing that I’m proud of', I'm choosing the last posted chapter of the band AU prequel (which will have more chapters one day, I promise!).

It's very much not my normal style at all, but I'm pleased with it as a scene-setter and something that summarises the passing of time - which I'm so lazy about writing usually, I get distracted by the minutiae in individual scenes and feel lost thinking about how to describe the bigger picture. So this chapter is something I'd like to be able to do more of. It's also kind of a manifesto for the band AU in some ways, thinking about the way myths are built up around people and how the industry of providing entertainment chews individuals up and celebrates the narrative of suffering while ignoring or burying actual abuses or traumas. It's about what Francis is fighting against, if you will, both the worst impulses of the industry he's in and his own worst impulses, built on the narratives and myths he's been fed and inspired by growing up, too.

Apparently the year was a nostalgic one. It glanced back wistfully at the memories of punk and glam, and wished they had not died so young. It pulled out old favourites and dusted them off for the charts; it took solace in things that had been successful before (number 1 in May, first released a decade earlier: Suicide is Painless, the theme from M*A*S*H).

Moving on would be difficult: how could it be done without attracting words like derivative, lazy, unoriginal? Much safer to remember the genius that had already been, rest assured that at least we would always have that. There was more happening, of course, newness in every record store and club, but it was a bubbling, nebulous, contradictory mess of scenes, because the past is easy but the present confounds.

We like to tell ourselves that origin stories are special. Legends are forged through hardship, and heroes can only rise to their true potential once they have passed through suffering. Look at that guy in his thin coat on the cover of The Freewheelin’ Bob Dylan; think of desperate people at cross-roads, think of life-changing choices. Live for the music or you may as well not be alive. You can’t be a troubadour if you don’t wander and you can’t be a bluesman if you don’t get your heart broken. Youth is impatient, and it will demand these experiences from life: now, because I must earn the future. Because this is the only way.

But origin stories are tidied up in the retelling. They are life as a series of montages, taking only the significant hardships and leaving out the daily trivialities: the blisters on those wandering feet and the weakness in the legs of a hungry man. You can’t give away too much when you tidy it up for public consumption, because if you stopped to remember the details you might ask yourself: was doing it this way really worth it?

Then again, at the time there did not seem to be another way. The sound of a back-door slamming shut is an irrevocable thing: metallic and large, big enough that for a second it dwarfs the whole city. It can be a portal from one life into another — but probably only in the retelling. At the time it’s just a noise loud enough to make your teeth rattle, its vibrations enough to shake a dusting of snow off the gutters above.

Really, it was a year in flux, like every year is when you live it — but people get introspective around zeros. They want to know what it’s all for, just in case this is the last one. And you can’t know until later, in the telling.

Francis Crawford did not leave the venue in search of answers: he had been telling himself it was all for the music for so long that he didn’t know what that meant any more. Wasn’t music just another thing that Margaret Douglas owned? He left to get away from answers. To find other questions to ask. To take himself out of himself, peel away the skin and see what emerged.

In the case of Lymond’s missing year, the details would — for the most part — remain as tantalisingly opaque as he chose to keep them. Who could say how he was able to disappear from the public eye overnight, vanishing into the frozen air? Only one other person, and he had his own reasons for remaining quiet. Unchallenged, Francis slipped into the city shadows, dropping into lives deemed unlawful; unsavoury; unimportant. He was an immigrant amongst immigrants, haunting scenes of furious creativity where the crumbling past began to give way to a cynical new future.

He would certainly never speak of the way his first year of professional musicianship culminated in a thick fever and a bone-aching cough, soothed and nursed by one who only returned at unsociable hours between precarious jobs. How he lay weakened on a narrow mattress, shivering in layers of someone else’s coats and jumpers, watching powdery snow try to reach the streets and fail — swirling in gusts around the twelfth story window instead.

As he answered for his hard living and avoided thinking of what had been lost, the outside world woke up to an intriguing new mystery. How was it that Lymond, last seen bumming cigarettes off fans and signing their cassettes in the cold outside the venue, could have simply disappeared? He was not a household name in America, but surely even in Downtown Manhattan people would notice a topless man with a bright blue guitar wandering the streets?

Then again, it is relatively easy to go missing in New York, and the city is a maze that traps and ensnares the unwary. The worst had to be assumed as apologies were made and bookings cancelled. It was the north-east. It was winter. Temperatures were unforgiving, the streets were a desperate tangle of struggling lives, and bodies were often never found. When a man with nothing but the jeans on his body and a useless instrument goes missing on a November night, and the weeks pass, and the silence stretches, what more can be said?

Margaret Douglas tried to downplay the worry, the tragedy, to soothe the people who thirsted for a story. She claimed a half truth: he had taken a break for the sake of his health. She omitted the effect of lessons she had taught him, like how to preserve consciousness in a state of exhaustion with the right cocktail of drugs, and how to prioritise the pleasure of the body over long overdue rest. She omitted the details of his contract, and the argument and the blame that had been cast. She did not mention the unfamiliar, personal sting that his absence brought her.

However, the world was accustomed to Margaret Douglas giving firm answers when she had them, and it was rapidly clear that this was not a situation she had any control over. Lymond’s life was no longer one she could mediate, and the hysteria of the rumour mill swelled. Weeks passed, and public certainty eclipsed her hedging statements. Records flew off shelves: Lymond now had a cult following of professional mourners and misery vampires. Lennox Records profited.

His new fans looked back on his album and they saw his pain: the song about the graveyard, the yearning, the references to people passed and places lost. The public rewrote the terms of his life, lined up his disappearance next to his sister’s and nodded sagely with understanding. Too wise for this world. Too much feeling. Too fragile and brittle to make a stand in the face of all that pain.

His family said nothing: one statement requesting that their privacy be respected; reiterating Gavin’s feelings towards his son following the loss of Eloise. Sibylla was not heard from, never seen without the large, square sunglasses that covered half her face. Richard would be swept aside by one of his father’s aides if he looked as though he might say something ill-advised. The Crawfords closed ranks, keeping the memory of Eloise protected within, and leaving the memory of Francis out, open to the public for reinterpretation.

Privately, Margaret Douglas fought hard to maintain the habit of a lifetime: she would not second guess her decisions now. Not ever. But she had thought him a clever one; the disappearance shocked her. A sliver of electric heat struck her chest when she thought of him, and she wondered at the suddenness of the loss. He had not seemed the type for self-destruction — but then again, all that coiled energy had to be released somehow. Through some emotional outlet he had kept from her, perhaps. Who knew what had gone on behind those thirsty blue eyes, after all?

She stayed awake late, standing at her hotel window, smoking into her own reflection, contemplating the cold river and thinking of the fragile body of a boy. She did not open the window to sample the wind’s bite: she was no romantic, and could imagine suffering quite well enough without needing to share in it. She listened to his record again and felt the burden of wasted potential settle on her like a heavy cloak. But she had a responsibility: his legacy. She would scrape together what demos she could. Find some live recordings. A second album could be made, even without the artist.

#ask me and i will play #writing meme #band au: prequel #every day i write the book #<- if only that tag were true ahaha

[cuuno-moved]

Ok i made Progress on the Nature Wives fic, i'd say its about 2/3rds done? Maybe? My estimates are always a lil off take it with a grain of salt

Its also kinda a Katherine introspection/character study, because all my fics turn into introspections/character studies eventually

yeahhh based. im like half done with the wedding fic

[thesinglesjukebox]

RM - "COME BACK TO ME"

Permission to shower?

[5.17]

Anna Katrina Lockwood: BTS' thoughtful leader, RM, is actively rejecting the aggressively populist tropes his group has traded in for the past five years or so. "Come Back To Me" is a pretty nice song! Languidly downtempo, minimally arranged, acoustically instrumented — it's a trope in and of itself how much this song slots in the playbook of the post-boy group redefinition in progress. OHHYUK's production is the dominant attribute, which is not a bad thing but perhaps not quite what one would expect from a release from a BTS member. RM's vocals kind of drift on by indistinctly — so, perhaps less of an active rejection of the boy group tropes than a meditation. [7]

Joshua Minsoo Kim: RM takes the typical café-friendly Korean ballad and makes it "respectable," bringing on OHHYUK and Sunset Rollercoaster's frontman. The result is something closer to the former's music but with a faux-deep seriousness (a common problem with BTS solo projects). The switching between English and Korean is fun, highlighting the differences in mood between both languages, but this is a song whose relaxed mood is too manicured and labored over. RM is in the shadow of the 2017 class of KRNB artists who could do this stuff effortlessly, from Rad Museum to 2xxx to offonoff. [4]

Nortey Dowuona: Apparently Sunset Rollercoaster were in the off-hours playlist. I hope none of my fellow writers who suffered the shocking betrayal of 2022 by Lil Yachty are surprised by this. I was though, so I will close my mouth. Praise Kuo for his fantastic guitar riffs, praise OHHYUK for having the good sense to trust RM to stick to his range so the Melodyning wasn't v obvious, and condemn Tame Impala for teaching young men my age all over the world the best way to make guitar driven music is to lock it in Logic.  [10]

Michael Hong: RM assembled some of Asian indie's biggest — here, he's got Hyukoh's OHHYUK and Sunset Rollercoaster's Tseng Kuo-hung — for an album engineered to sound tasteful. The result feels like a room dressed in the soft lighting and refined fixtures meant to look stylish but never lived-in. Beyond the pleasantness, "Come Back to Me" feels like nothing: a cursory outline of feelings sluggishly pulled together into roll credits that work better closing out the album than they do as a lead single. Even in the case of the former, it still sounds uninspired. [2]

Jacob Sujin Kuppermann: There's a cafe that I go to in my neighborhood fairly often — I'm not a regular or anything, but I know the different baristas and their tastes. There's a set that lean towards crowdpleasers: Motown, lite-'80s pop, some of the sunnier elements of the Jason Mraz-wave of the 2000s. Some lean more toward the Boygenius-National-Bon Iver constellation, and then a few more opt for even more anonymous choices: piano covers of pop hits, lo-fi beats to study and relax to. "Come Back to Me" is one of the few songs that could slot into any of their playlists, a pleasingly blank object with just enough heavy-handed marks of artistry that it sounds bespoke. [5]

Ian Mathers: This feels almost aggressively shapeless, and I mean that as a compliment. "I forgot the hour/I don't want to know about the hour" is pretty much the mood the song both engenders and reflects, and even when it hits a kind of stumbling crescendo, there something appealingly weary and wary about it. It kind of reminds me of Jack Johnson, but for once I don't mean that as a pejorative. [7]

Katherine St. Asaph: Drifts perilously close (and the verb here truly is "drifts") toward a set of sounds I normally don't love: Post Malone, How to Dress Well, Jack Johnson, "The Lazy Song." RM alternates between barely trying to sing and trying way, way too hard. Yet while I still don't love this, I like it well enough. He sounds genuinely introspective, maybe that's why. [6]

Alfred Soto: Maybe I'd prefer it in Korean, but I suspect it would sound like Post Malone or something. [3]

TA Inskeep: So sleepy it feels as if he took some Ambien before recording. I miss the old Rap Monster of “Do You.” [3]

Will Adams: If you're willing to put up with the first two minutes of post-coital guitar noodling from your worst college hookup, you'll be rewarded with four minutes of blazed-out relaxation on a blanket on the quad after finals week is over. Your mileage will vary based on how fondly you recall your college years. [5]

Mark Sinker: Every time I had this playing while I worked – concentrating, barely even half listening probably – I was loving it, for the mood and the simplicity and the whistling; for the husky lightness at the edge of my attention. And I like that even when you point your thinking listening mind at it, it’s still not much more than a feather dodging your grasp. It doesn’t firm up or settle or clarify, quite the opposite.   [7]

Jonathan Bradley: At close to a third of the way through these six-and-a-half interminable minutes, RM allows some drums to kick into his dorm room serenade, suggesting he has Anderson .Paak's stoned beach-soul headiness in mind for "Come Back to Me," rather than a deliberate attempt to whistle his way into Jack Johnson's deck chair. "I forgot to shower," he muses, and I think he's trying to suggest there's something filthy about his attempt at funk; he does, after all, pronounce "staying good" as if he hopes listeners might hear "stank good." Get dressed, dude. Use some deodorant. [3]

[Read, comment and vote on The Singles Jukebox]

#rm #rap monster #music writing #music #music reviews #music criticism #the singles jukebox #bts #Youtube

[eternalduos]

⭐Please give some director's commentary on whatever part you wish for Instructions For Stealing Stars. I just got done reading the latest chapter and I'm loving the way everything is starting to come together and get more complicated!

link to the game

Omg thank you!!! I'm so glad you enjoyed the latest chapter, it's been so gratifying to finally write the heist that the whole fic has been building up to hehehehe. For that, I'll do a little passage from the last scene of the most recent chapter!

A muffled voice boomed from the stage— “Folks, can we have one last round of applause for our grand finale?” Followed by equally-muffled clapping and cheering that was about as raucous as a bunch of snooty socialites could get. He couldn’t help but feel his pride bolstered by that. Considering how out of practice he was, and how intensely he had to rehearse to get back in shape, he thought he put on a decent show. His poor conditioning was luckily a mystery to the audience, but he knew it all too well. His chalky hands still stung from grasping the trapeze, and his shoulders and hips were screaming their displeasure at him. He might’ve even spotted Cleo through the spotlights. No sign of Pearl, though. And still none. She’d put her clothes some other place backstage, so Scott had the small makeshift changing room to himself. Scott reached into racks of circus costumes and pulled out the tailored suit from Katherine’s shop. White-tie formal, and in Scott’s opinion, rather drab. Nonetheless, he dressed, twisting on a pair of silver cufflinks and tying his tie into a bow. And finally, the finishing touch; rather than a pocket square tucked in his breast pocket, he had a playing card. The jack of diamonds. He breathed deeply, looking at himself one last time in the mirror. Looking back at him was a runaway circus freak dressed up like a socialite. A failed thief, an ex-convict, a miserable and lonely little wretch. Staring at himself in an empty room, because he was enough of a fool to burn bridges with the friend that could’ve stood there at his side. No, instead they’d spat vitriol at each other the night before. He might be getting her killed tonight. Or thrown in jail—wouldn’t that be a poetic bit of revenge? He felt no sense of glee as he thought about it, no burning fire of justice, no catharsis at the end. He just felt sad.

Because this chapter was so plot-heavy, there weren't a ton of places for me to put a lot of character introspection, but this is definitely one of the moments where I really packed it in. Scott is alone in this scene, which is notable, because he hasn't truly had a scene on-page where he's all by himself since Chapter 2, and there's a ton of insight into Scott's character from this.

First, the fact that he feels his "pride bolstered" by the applause of the audience, while at the same time being in pain from the intense conditioning he had to do for the circus. This is some pretty heavy handed symbolism for how much Scott values appearances, and especially appearing perfect, and getting praise and admiration for his forced perfection. To him, it doesn't matter if he is hurt as long as he "puts on a good show," and that applies to both his circus performance and his heisting (we get a line later about how there's no difference between a circus show and a heist). The fact that he's alone in this scene with no "audience" watching him means that he's a lot more vulnerable than usual, and we see more of an emotional break.

Then, we get narration about Pearl, how he didn't see her in the audience. The reader knows from Pearl's POV earlier in the chapter that she wouldn't watch Scott's performance because it would make her nervous—however, to Scott, it's hurtful because the circus is another representation of how perfect he's trying to be, and how he's refusing to make mistakes. Scott feels that if Pearl wasn't watching him perform, she's giving up on him.

Then Scott looks at himself in the mirror and we get a real break, as he sees only imperfections. "a runaway circus freak dressed up like a socialite" Because he feels like he's wearing a costume, doing an unconvincing performance. He describes himself as miserable and lonely as if to admonish himself for being pathetic but not really allowing himself to feel those emotions. Again, he mentions Pearl, and the fact that he's alone in this scene becomes more poignant because he didn't have to be. Pearl could've been there with him, but she isn't.

So yeah!!! That's one of my favorite bits from this chapter hehehe!!

#artie's all day talk show #asks #anonymous #ty so much for the ask this was so fun to talk about!!!! #ifss posting

[freshlybrewedbookreviews]

Epic Solitude: A Story of Survival and a Quest for Meaning in the Far North by Katherine Keith

I didn't dislike this book: Keith's life story is pretty epic indeed, but I was disappointed there wasn't more about the Iditarod. When I'd bought this book years ago, I'd mistakenly thought that was the focus, but that was not the case. I'd bought this in my post-Wild fervor for something similar, and this read wasn't quite there. While Wild felt like it contained many universal truths we could all connect with, Epic Solitude felt pretty introspective and singular to Keith's life and experiences, which is fine, but made it harder for me to connect with the read. But if you're looking for a book about one person's experiences and life in Alaska, this could be an enjoyable read for you.

#book review #freshly brewed #Epic Solitude #Katherine Keith #books #reading

[maya-matlin]

Ashton! I'm curious where you are in your TVD watch? I sort of gave up for now. I just don't really connect with it. Elena and Bonnie have no personalities other than being bland generic heroines, Caroline DOES have personality but cares way too much about things I couldn't possibly care less about like beauty pageants and popularity (maybe I'm too old for this show?!), I know everyone likes Stefan and I wanted to but I find he ranges from either totally flat to smugly self-righteous, and Damon has some funny lines but isn't anyone I could actually root for. And idk I just don't find vampires as fascinating as most do lol. I hope you're loving the show more than I did - you might inspire me to give it another shot!

Hi! Unfortunately, I've still only watched the first season. I keep telling myself I'm going to finish the show, and I definitely will. It's my own fault for watching so many shows at once. Sadly, I have the exact opposite takes as you do LOL. Elena, Bonnie and Stefan are easily my favorites while I find Damon to be extremely cliché and unlikable. Admittedly, those three are much more introspective compared to Damon and Caroline who might be a bit more entertaining on the surface. For me, the appeal of the first season was the show's arc rather than any specific character. Though, I was drawn to the love story between Stefan and Elena, Stefan's continued attempts to stay on the right path, Elena's grief over her parents and journey to being happy again, and Bonnie and everything related to her family being witches. I'm curious to see how season 2 plays out with the return of Katherine. So, I don't know. This might not be the show for you. I don't agree that Stefan is self righteous or that Elena and Bonnie are lacking in personality. I know both Damon and Caroline become more prominent as the show goes on, something that will probably appeal to you. I'm also not much of a vampires person, but so far the show is pretty good. It's still better than Twilight :p

#Anonymous

[independentartistbuzz]

7 FROM THE WOMEN: MISHA PENTON

Misha Penton is an amazingly versatile artist known for her work as a singer, composer, and filmmaker. 

She has been recognised for her unique blend of art song, sound poetry, and chamber electronica. Her upcoming projects include the release of a music video titled “Earthshine” in celebration of the winter solstice 2023, along with a performance and release party in collaboration with Sawyers Yard Houston, where she is based.

Additionally, she has a forthcoming EP inspired by a 19th century fairytale book in the works. 

Misha’s diverse body of work has been featured at prestigious institutions such as the Museum of Fine Arts Houston, Dallas Museum of Art, and Rothko Chapel. She has worked closely with influential mentors in voice, opera, and experimental voice, including Lois Alba, Kathleen Kaun, Katherine Ciesinski, and Richard Armstrong, and has collaborated with organisations like Houston Grand Opera, Liminal Space Contemporary Music Ensemble and the Quartus Chamber Players.

Penton holds a BA in Music from Skidmore College, as well as an MFA in Interdisciplinary Arts from Goddard College, and a PhD in voice and composition from Bath Spa University UK. 

We caught up with Misha for an Exclusive Interview below! 

What Have You Been Working to Promote Lately?

“Earthshine” is my new single and music video. The work celebrates the winter solstice season, the longest night of the year. This dark and introspective time is a pause before the lengthening days bring us toward summer. I love the idea of going inward and engaging with stillness before the beginning of a new cycle. Earthshine is the dim glow on the darkened part of a crescent moon — the reflected sunlight from Earth shining on the night side of the moon. My music video and song conjures the subtle illuminating energies of beautiful things unseen or unnoticed. I created “Earthshine” to honor the cycle of the seasons. I often work creatively with the wheel of the year: the solstices, equinoxes, and moon phases. Noticing these cycles taps into the ebb and flow of natural energies. I sometimes feel caught up in our fast-paced and chaotic digital world. Observing the waxing and waning of the moon or remembering the tilt of the earth and the changing angle of the sun feels grounding.

2. Please tell us about your favorite song written, recorded or produced by another woman and why it’s meaningful to you.

So many! I’ll choose “Moments of Pleasure” by Kate Bush from The Red Shoes. The lyrics capture fleeting, beautiful images of her life with a rip-your-heart out vibe. And her singing is intimate and deeply connected to the emotional experience — “Just being alive / It can really hurt / And these moments given / Are a gift from time / Just let us try / To give these moments back / To those we love / To those who will survive.”

3. What does it mean to you to be a woman making music/in the music business today and do you feel a responsibility to other women to create messages and themes in your music?

My music is about following my creative vision and that’s what I encourage other artists to do. Stay inspired by surrounding yourself with others committed to their unique journeys, only do projects worthy of your time, skills, and attention (in other words, say “No” a lot) and always honor your work.            

4. What female artists have inspired you and influenced you?

Björk, Kate Bush, and Annie Lennox, for their unique music, musicianship, embrace of technology, and beautifully crafted and singular images. Meredith Monk, for her innovative vocal compositions and large-scale theatrical performances that blend classical, folk, and experimental music. Cathy Berberian, the mid 20th century contemporary classical and opera singer—she’s the grandmother of vocal new music and avant-garde singing. Diamanda Galas who is utterly unique, stunning, and fearless. And of course, the soul, blues, jazz, and R&B greats like Nina Simone, Aretha Franklin, Ella Fitzgerald — and artists who took up their mantle like India Arie, Alicia Keys, Lauryn Hill, and H.E.R. There are so many amazing artists—too many to list!                                                                                                        

5. Who's Your Favorite Female Icon (dead or alive) and why?

Audrey Hepburn. Funny Face with Fred Astaire is probably my favorite of her movies. It’s set in NYC and Paris in the 1950s and features the Gershwin classics, “How Long Has This Been Going On?” and “’S Wonderful.” There’s a great scene set in a bohemian coffeehouse in Greenwich Village and another where she floats down the Daru staircase at the Louvre in a red Givenchy gown. She embodied elegant and fashionable stardom (she was a muse of Hubert de Givenchy). She was also an activist and humanitarian, working with UNICEF and raising awareness of global children’s needs.                                                         

6. What was the most challenging thing you have had to face as a female artist?

Challenges or unfair professional situations usually evoke my anger and I’ve used that anger as a catalyst to create my own work. I only do projects that are a good fit for me artistically and personally. In the past, I’ve worked with men who were immature and not nearly as hard-working and intensely creative as I am. My work deserves far better—so I strive to create an ideal environment for my work, myself. Don’t take any sh*t from anyone. Do your own thing and you’ll find the right creative tribe.                             

7. Finally – Where can we find you online? Website | Instagram | Facebook |

Spotify | Apple Music | Bandcamp | Misha on Streaming Platforms

Misha has been praised for her ability to create immersive musical experiences, incorporating layered voices, swirling guitars, and electronic textures. Her collaborative efforts with other artists contribute to the richness of her work, showcasing a diverse range of influences and creative approaches.

We look forward to hearing more from her in the upcoming year! 

#spotify #music #interview #new music #Youtube