Alice Te Punga Somerville, Always Italicise: How to Write While Colonised - Kupu rere kē
[ID: A poem titled: Kupu rere kē. [in italics] My friend was advised to italicise all the foreign words in her poems. This advice came from a well-meaning woman with NZ poetry on her business card and an English accent in her mouth. I have been thinking about this advice. The convention of italicising words from other languages clarifies that some words are imported: it ensures readers can tell the difference between a foreign language and the language of home. I have been thinking about this advice. Marking the foreign words is also a kindness: every potential reader is reassured that although you're expected to understand the rest of the text, it's fine to consult a dictionary or native speaker for help with the italics. I have been thinking about this advice. Because I am a contrary person, at first I was outraged — but after a while I could see she had a point: when the foreign words are camouflaged in plain type you can forget how they came to be there, out of place, in the first place. I have been thinking about this advice and I have decided to follow it. Now all of my readers will be able to remember which words truly belong in -[end italics]- Aotearoa -[italics]- and which do not.
Next image is the futurama meme: to shreds you say...]
(Image ID by @bisexualshakespeare)
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Are you disappointed that I’m not a murderer?
I mean, a little.
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hazel: percy and annabeth just have the most beautiful relationship
piper: i know! they are SO in love
frank: and they are always so on the same page
leo: and their relationship is so mature
*meanwhile*
percy and annabeth outside the cabin fighting over who gets to talk to sally on the phone first:
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In the early 1930s, scholarly studies were done on the impact of screen stars on teenagers, because of fears that the movies were sexualizing them. These studies found that teenage girls learned sex techniques through watching Garbo’s sex scenes, especially those in Flesh and the Devil; they then practiced her techniques at home with their girlfriends. Raymond Daum described Garbo’s many young female fans as having “schoolgirl crushes on her” that “defined a national idolatry.” And knowledge of Garbo’s non-heteronormative sexuality was spread through lesbian networks “from coast to coast.” Moreover, the 1920s was an era of commercial expansion in which the ranks of saleswomen and typists, careers dominated by young women, increased. These women made enough money to see a movie more than once. They identified with female stars and liked to see them in powerful roles.
Greta Garbo in Flesh and the Devil (1926)
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