Today my therapist introduced me to a concept surrounding disability that she called "hLep".
Which is when you - in this case, you are a disabled person - ask someone for help ("I can't drink almond milk so can you get me some whole milk?", or "Please call Donna and ask her to pick up the car for me."), and they say yes, and then they do something that is not what you asked for but is what they think you should have asked for ("I know you said you wanted whole, but I got you skim milk because it's better for you!", "I didn't want to ruin Donna's day by asking her that, so I spent your money on an expensive towing service!") And then if you get annoyed at them for ignoring what you actually asked for - and often it has already happened repeatedly - they get angry because they "were just helping you! You should be grateful!!"
And my therapist pointed out that this is not "help", it's "hLep".
Sure, it looks like help; it kind of sounds like help too; and if it was adjusted just a little bit, it could be help. But it's not help. It's hLep.
At its best, it is patronizing and makes a person feel unvalued and un-listened-to. Always, it reinforces the false idea that disabled people can't be trusted with our own care. And at its worst, it results in disabled people losing our freedom and control over our lives, and also being unable to actually access what we need to survive.
So please, when a disabled person asks you for help on something, don't be a hLeper, be a helper! In other words: they know better than you what they need, and the best way you can honor the trust they've put in you is to believe that!
Also, I want to be very clear that the "getting angry at a disabled person's attempts to point out harmful behavior" part of this makes the whole thing WAY worse. Like it'd be one thing if my roommate bought me some passive-aggressive skim milk, but then they heard what I had to say, and they apologized and did better in the future - our relationship could bounce back from that. But it is very much another thing to have a crying shouting match with someone who is furious at you for saying something they did was ableist. Like, Christ, Jessica, remind me to never ask for your support ever again! You make me feel like if I asked you to call 911, you'd order a pizza because you know I'll feel better once I eat something!!
Edit: crediting my therapist by name with her permission - this term was coined by Nahime Aguirre Mtanous!
Edit again: I made an optional follow-up to this post after seeing the responses. Might help somebody. CW for me frankly talking about how dangerous hLep really is.
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Drake's family secret
A/N: Another story idea I had and I probably will keep working on. I kinda want to continue on it I just have no idea how or with what yet.
Tim had a secret. Well, he had many secrets but this was one he had kept closed off for a very long time now. It was one of the reasons he fabricated a fake uncle to avoid getting adopted. After all, if you were put into the system how could you possibly get found or find your last living blood relative? His family didn't know and he never intended for them to know anyway. It was a secret well-kept of the Drake family, one that even the public didn't know about. His parents hadn't thrown around money to keep anyone involved silent for nothing after all.
But Tim had had vague memories as well as found the last remaining documents years ago. The problem had been that he hadn't been Robin yet at that time and couldn't do research like he can now. Tim had often wondered if one of the reasons he had followed Batman around back then was to see if he could help him with that matter too, yet he had never brought it up to Bruce nor any of his other siblings.
In a way it made Tim feel guilty now as he looked over that old piece of paper. The only hint he had until now.
He looked over the security video of Wayne Enterprise again. Watching that group of high schoolers that was there on a school trip visit. His eyes tracked one specific student among them. If things were different Tim would joke about how the boy looked like perfect Bruce adoption material. But as it was, Tim was not going to make that joke.
Because as much as the boy fell into the stereotype of Bruce's adoption problem, the boy had facial features that looked very much like one Jenet Drake. Tim could honestly see it, sure his memories were not the best in regards to his parents but he had kept at least some photos for references. But recognizing that threw in a whole other set of problems.
For one he would need to find a way to make sure the Drake Family secret doesn't get exposed to his family too soon. Second, he needed to find a way to approach the boy without looking suspicious. Third, he was on a time limit, according to what he found the school trip the boy was on lasted for a week. Once the boy was out of Gotham it would be even harder to find a passable excuse to approach him. Fourth, he would also need a blood sample. As much as the boy's looks alone could make Tim believe it, the rest of his family was paranoid and if he was completely homestead, he also would need it for his reassurance that he wasn't wrong. Which again he kind of doubted even with this little amount of evidence. The fifth problem in this was, how was he going to break it to the rest of his family.
Because the best kept Drake's Family secret, he was pretty sure he was the last remaining person in the know, was that Tim had a little brother. A brother that was born when he was around 3 or four years old. A little brother who had never gotten to grow up with him because Jack and Jenet Drake had used their constant traveling as cover so the public wouldn't know about him. They already had an heir with Tim, they didn't need a second child. So the moment his little brother had been born he was given up in a closed adoption. Never to be seen again and never to be connected to the Drake family.
Tim only knew about him because he had vague memories about his mother's pregnancy and also had later found the papers in his parents' office when he was around ten. He remembered how upset he had been at the discovery but also how he hadn't been able to do anything about it. Though it was back then that he had also decided that the moment he could he would do everything he could to find him. Things only started to change when he became Robin and then Red Robin. Now he had the resources and knowledge to find the little brother he had never gotten to grow up with.
But too much time had passed and his parents had been thorough when covering their tracks, which resulted in Tim having been unable to find that little brother of his. Having no name and no idea who adopted him, didn't help either. But Tim had had less to work with before, yet the search had given him massive troubles, to the point that he HAD contemplated getting the rest of his family in on it.
But now that wasn't necessary anymore, there was an actual chance again.
Thankfully he had come in late today, if he hadn't he wouldn't have seen the group of High School students on a school trip in the Lobby waiting for their tour guide. He wouldn't have seen the group of teens that lacked behind their fellow students a bit. But most importantly he wouldn't have seen that kid that looked like adoption bait for Bruce. That then by closer inspection had so many facial similarities to his mother that Tim had first thought he was hallucinating.
Now he was sitting in his office, watching the group of High Schoolers getting a tour through the building through the security cams while trying to come up with the perfect plan that didn't look too suspicious as he watched the boy who could be his blood-related little brother. Oh, Damian would throw a fit if he learned about having another brother, Tim mused for a moment as he noted down the boy's, Danny's, excitement about their aerospace department. He had already decided, if Danny was not living adequately he would pull all the strings he could to get his little brother home.
So far Tim had found out that the boy's name was Danny Fenton. He would dig into that later more. He would also make sure that if Danny was his little brother, he saw to it that he was getting treated right. He had noticed how his little brother appeared overly tired and there was a bandage hidden below his shirt plus through the security camera footage, he had also seen that there was a hint of scarring on his left arm.
For now, though he had sent a message to the tour guide to end the tour in his office, for something like a surprise introduction to Tim Drake-Wayne. He would continue to build up his plan of getting to know and confirm his little brother's status from there.
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None Of You Know What Haiku Are
I'm going to preface this by saying that i am not an expert in ANY form of poetry, just an enthusiast. Also, this post is... really long. Too long? Definitely too long. Whoops! I love poetry.
If you ask most English-speaking people (or haiku-bot) what a haiku is, they would probably say that it's a form of poetry that has 3 lines, with 5, and then 7, and then 5 syllables in them. That's certainly what I was taught in school when we did our scant poetry unit, but since... idk elementary school when I learned that, I've learned that that's actually a pretty inaccurate definition of haiku. And I think that inaccurate definition is a big part of why most people (myself included until relatively recently!) think that haiku are kind of... dumb? unimpressive? simple and boring? I mean, if you can just put any words with the right number of syllables into 3 lines, what makes it special?
Well, let me get into why the 5-7-5 understanding of haiku is wrong, and also what makes haiku so special (with examples)!
First of all, Japanese doesn't have syllables! There's a few different names for what phonetic units actually make up the language- In Japanese, they're called "On" (音), which translates to "sound", although English-language linguists often call it a "mora" (μ), which (quoting from Wikipedia here) "is a basic timing unit in the phonology of some spoken languages, equal to or shorter than a syllable." (x) "Oh" is one syllable, and also one mora, whereas "Oi" has one syllable, but two moras. "Ba" has one mora, "Baa" has two moras, etc. In English, we would say that a haiku is made up of three lines, with 5-7-5 syllables in them, 17 syllables total. In Japanese, that would be 17 sounds.
For an example of the difference, the word "haiku", in English, has 2 syllables (hai-ku), but in Japanese, はいく has 3 sounds (ha-i-ku). "Christmas" has 2 syllables, but in Japanese, "クリスマス" (ku-ri-su-ma-su) is 5 sounds! that's a while line on its own! Sometimes the syllables are the same as the sounds ("sushi" is two syllables, and すし is two sounds), but sometimes they're very different.
In addition, words in Japanese are frequently longer than their English equivalents. For example, the word "cuckoo" in Japanese is "ほととぎす" (hototogisu).
Now, I'm sure you're all very impressed at how I can use an English to Japanese dictionary (thank you, my mother is proud), but what does any of this matter? So two languages are different. How does that impact our understanding of haiku?
Well, if you think about the fact that Japanese words are frequently longer than English words, AND that Japanese counts sounds and not syllables, you can see how, "based purely on a 17-syllable counting method, a poet writing in English could easily slip in enough words for two haiku in Japanese” (quote from Grit, Grace, and Gold: Haiku Celebrating the Sports of Summer by Kit Pancoast Nagamura). If you're writing a poem using 17 English syllables, you are writing significantly more content than is in an authentic Japanese haiku.
(Also not all Japanese haiku are 17 sounds at all. It's really more of a guideline.)
Focusing on the 5-7-5 form leads to ignoring other strategies/common conventions of haiku, which personally, I think are more interesting! Two of the big ones are kigo, a season word, and kireji, a cutting word.
Kigo are words/phrases/images associated with a particular season, like snow for winter, or cherry blossoms for spring. In Japan, they actually publish reference books of kigo called saijiki, which is basically like a dictionary or almanac of kigo, describing the meaning, providing a list of related words, and some haiku that use that kigo. Using a a particular kigo both grounds the haiku in a particular time, but also alludes to other haiku that have used the same one.
Kireji is a thing that doesn't easily translate to English, but it's almost like a spoken piece of punctuation, separating the haiku into two parts/images that resonate with and add depth to each other. Some examples of kireji would be "ya", "keri", and "kana." Here's kireji in action in one of the most famous haiku:
古池や 蛙飛び込む 水の音
(Furu ike ya kawazu tobikomu mizu no oto)
(The old pond —
A frog jumps in
The sound of the water.)
You can see the kireji at the end of the first line- 古池や literally translates to "old pond ya". The "ya" doesn't have linguistic meaning, but it denotes the separation between the two focuses of the haiku. First, we are picturing a pond. It's old, mature. The water is still. And then there's a frog! It's spring and he's fresh and new to the world! He jumps into the pond and goes "splash"! Wowie! When I say "cutting word", instead of say, a knife cutting, I like to imagine a film cut. The camera shows the pond, and then it cuts to the frog who jumps in.
English doesn't really have a version of this, at least not one that's spoken, but in English language haiku, people will frequently use a dash or an ellipses to fill the same role.
Format aside, there are also some conventions of the actual content, too. They frequently focus on nature, and are generally use direct language without metaphor. They use concrete images without judgement or analysis, inviting the reader to step into their shoes and imagine how they'd feel in the situation. It's not about describing how you feel, so much as it's about describing what made you feel.
Now, let's put it all together, looking at a haiku written Yosa Buson around 1760 (translated by Harold G. Henderson)
The piercing chill I feel:
my dead wife's comb, in our bedroom,
under my heel
We've got our kigo with "the piercing chill." We read that, and we imagine it's probably winter. It's cold, and the kind of cold wind that cuts through you. There's our kireji- this translation uses a colon to differentiate our two images: the piercing chill, and the poet stepping on his dead wife's comb. There's no descriptions of what the poet is feeling, but you can imagine stepping into his shoes. You can imagine the pain he's experiencing in that moment on your own.
"But tumblr user corvidcall!" I hear you say, "All the examples you've used so far are Japanese haiku that have been translated! Are you implying that it's impossible for a good haiku to be written in English?" NO!!!!! I love English haiku! Here's a good example, which won first place in the 2000 Henderson haiku contest, sponsored by the Haiku Society of America:
meteor shower . . .
a gentle wave
wets our sandals
When you read this one, can you imagine being in the poet's place? Do you feel the surprise as the tide comes in? Do you feel the summer-ness of the moment? Haiku are about describing things with the senses, and how you take in the world around you. In a way, it's like the poet is only setting a scene, which you inhabit and fill with meaning based on your own experiences. You and I are imagining different beaches, different waves, different people that make up the "our" it mentioned.
"Do I HAVE to include all these things when I write haiku? If I include all these things, does that mean my haiku will be good?" I mean, I don't know. What colors make up a good painting? What scenes make up a good play? It's a creative medium, and nobody can really tell you you can't experiment with form. Certainly not me! But I think it's important to know what the conventions of the form are, so you can appreciate good examples of it, and so you can know what you're actually experimenting with. And I mean... I'm not the poetry cops. But if you're not interested in engaging with the actual conventions and limitations of the form, then why are you even using that form?
I'll leave you with one more English language haiku, which is probably my favorite haiku ever. It was written by Tom Bierovic, and won first place at the 2021 Haiku Society of America Haiku Awards
a year at most . . .
we pretend to watch
the hummingbirds
Sources: (x) (x) (x) (x) (x) (x)
Further reading:
Forms in English Haiku by Keiko Imaoka
Haiku: A Whole Lot More Than 5-7-5 by Jack
How to Write a Bad Haiku by KrisL
Haiku Are Not a Joke: A Plea from a Poet Who Has Had It Up to Here by Sandra Simpson
Haiku Checklist by Katherine Raine
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