There are a lot of things I'm sad about in my life. You don't get to go through the kind of medical trauma I've been through and come out unscathed on the other side.
But one thing I'm really bitter about is that I can't remember my wedding anymore. The pernicious anemia took it from me and wiped my brain clean. Except it's not clean, not really. I remember it in patches. Like red wine stains on a white rug that have never quite lifted out no matter how hard you try.
I look at the pictures on my bookcase, and they feel like remembering a story someone else has told me. There's a young woman in a white dress wearing my face, and she looks happy. I'm happy for her. But you can see the strain around her eyes, too. The pain she's hiding because no one with authority believes her when she says her body doesn't feel right. That something is Wrong.
They won't believe her for another decade. They won't believe her until it's almost too late, and it's that lateness that will rob her of her memories and turn them into a wavering rainbow suspended in the fine haze of watery sunlight that occasionally surfaces through the blanks.
There's one memory that's real, though. Solid. It's not my vows. It's not my father walking me down the aisle. (Though those are there, just hazy and dream-like). It's our first dance.
It's the lights dimming around the room as the staff cleared the floor, causing the fishbowls full of white roses and LED lights on the tables to wobble like pools of moonlight against dark paneled walls.
It's the band inviting us out onto the floor and us giggling because we know what's coming next, and no one else does. It's the twang of a banjo reverberating around the room through the speakers, followed by the dulcet tones of Kermit the Frog wondering why there are so many songs about rainbows.
It's us waltzing around the enclosed circle of light, singing to each other out of tune and grinning like idiots as everyone around us starts to laugh.
It's everyone joining in on the song because it's the Muppets, and everyone knows the words. It's 100+ people singing the Rainbow Connection, some laughing, some a bit tearful, because it's bringing back memories. Because it's making a new one.
It's looking up at my new husband through the brain fog and all the pain in my body and thinking, "I want to remember this moment forever."
I don't know what entity was out there listening to me at that moment and chose to grant that wish. I don't know why this is the one memory that stuck while everything else in my brain got decimated into scattered, fragmented snapshots. But I'm so, so thankful it is.
Though, I could have done without it randomly coming on my YouTube music out of nowhere to hit me in the emotions like a brick to the back of the head. Jesus Christ.
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"The idea of reforming Omelas is a pleasant idea, to be sure, but it is one that Le Guin herself specifically tells us is not an option. No reform of Omelas is possible — at least, not without destroying Omelas itself:
If the child were brought up into the sunlight out of that vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. Those are the terms.
'Those are the terms', indeed. Le Guin’s original story is careful to cast the underlying evil of Omelas as un-addressable — not, as some have suggested, to 'cheat' or create a false dilemma, but as an intentionally insurmountable challenge to the reader. The premise of Omelas feels unfair because it is meant to be unfair. Instead of racing to find a clever solution ('Free the child! Replace it with a robot! Have everyone suffer a little bit instead of one person all at once!'), the reader is forced to consider how they might cope with moral injustice that is so foundational to their very way of life that it cannot be undone. Confronted with the choice to give up your entire way of life or allow someone else to suffer, what do you do? Do you stay and enjoy the fruits of their pain? Or do you reject this devil’s compromise at your own expense, even knowing that it may not even help? And through implication, we are then forced to consider whether we are — at this very moment! — already in exactly this situation. At what cost does our happiness come? And, even more significantly, at whose expense? And what, in fact, can be done? Can anything?
This is the essential and agonizing question that Le Guin poses, and we avoid it at our peril. It’s easy, but thoroughly besides the point, to say — as the narrator of 'The Ones Who Don’t Walk Away' does — that you would simply keep the nice things about Omelas, and work to address the bad. You might as well say that you would solve the trolley problem by putting rockets on the trolley and having it jump over the people tied to the tracks. Le Guin’s challenge is one that can only be resolved by introspection, because the challenge is one levied against the discomforting awareness of our own complicity; to 'reject the premise' is to reject this (all too real) discomfort in favor of empty wish fulfillment. A happy fairytale about the nobility of our imagined efforts against a hypothetical evil profits no one but ourselves (and I would argue that in the long run it robs us as well).
But in addition to being morally evasive, treating Omelas as a puzzle to be solved (or as a piece of straightforward didactic moralism) also flattens the depth of the original story. We are not really meant to understand Le Guin’s 'walking away' as a literal abandonment of a problem, nor as a self-satisfied 'Sounds bad, but I’m outta here', the way Vivier’s response piece or others of its ilk do; rather, it is framed as a rejection of complacency. This is why those who leave are shown not as triumphant heroes, but as harried and desperate fools; hopeless, troubled souls setting forth on a journey that may well be doomed from the start — because isn’t that the fate of most people who set out to fight the injustices they see, and that they cannot help but see once they have been made aware of it? The story is a metaphor, not a math problem, and 'walking away' might just as easily encompass any form of sincere and fully committed struggle against injustice: a lonely, often thankless journey, yet one which is no less essential for its difficulty."
- Kurt Schiller, from "Omelas, Je T'aime." Blood Knife, 8 July 2022.
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in the time loop the only way out is to leave her there but you don't ever leave her there, never in the roughly one thousand years you have been in the same day. it is probably like "50 first dates" but you haven't stooped so low as to watch "50 first dates" yet. (but who is to say what another thousand years of the same media will bring to you, maybe you will develop a new taste).
you spent about 200 of these years sulking in a bathtub or on the couch or staring at the seaside. 300 of them have been spent slowly mapping the geographical distance you can actually get before the time loop restarts. you have a list of favorite places: one library in Western Massachusetts called "The Bookmill", which has weird hours and has never raised an eyebrow to you arriving out-of-breath and panting, asking to see a specific book on a specific shelf. There is one beach without a name in North Carolina; it is an accident of geography and ownership title disputes - and it is pristine, untouched, warm and cozy. you've taken her on a lot of picnics there. Acadia National Park. One specific birdhouse in the mountains.
you were stuck in the time loop with the money you entered it with: not enough to rent a private jet. you've robbed a bank a few times, you don't like the way it ends. maybe next century you'll get the hang of it. you don't like the look on her face when you say hang on i have to stop at the bank.
you just have to leave her, and you can go back to being a person again. you took 5 years just catching a flight and sitting in the Grand Canyon. if there's one thing you regret more than anything, it's that you hadn't gotten your passport renewed before this fucking time loop. maybe you should spend some time learning forgery - but also, like, you look like an english teacher. nobody is going to be cool about you asking to see their paper printing machines.
the world is very big. that is one of the things groundhog day gets wrong. there are no consequences, so you have literally all the time (or none of the time?) in the world. in groundhog day, he does a lot of very cool things, but in reality - your muscle memory never gets better. you can't necessarily learn how to play piano or sculpt ice, because your hands never remember the practice. but hey - maybe you'll try violin next. drums. synth.
you can open any door and walk into any conversation. money isn't really an object. you can try every meal off every menu, forever. take her on helicopter tours and into every museum and on every event that is happening right-now at-this-moment. parades and funerals and calligraphy classes.
but you are somewhat trapped by the limitations of your body. if you were reading a book, you still need to get up and go back to the library and find that book again when the day resets. (thank god for the internet). it still takes like 2 hours to board a plane, and then takeoff and landing and traffic. you've gotten off to run around on the freeway. one of the little thankful things: since your brain isn't actually developing (it's a muscle too), the days thankfully don't feel shorter to you. that would be agony.
all you have to do to leave the timeloop is let that man get away with it. that's all. in every version of yourself - forever - you have stopped him.
the problem is that this experience has convinced you of the existence of the human soul. after all, how else are you forming memories? your very cells reset. information has to be transferred somehow. and if timeloops are real, you can convince yourself other magic exists. so you have two choices here: this hell, or the next. there might be a millennia where you have been worn down to the point you can accept fate's decision. this is just not one of them. ironically - she is the one thing you have left.
and besides! if you can't always find something new in your partner, aren't you failing them? there is something new about her, every day with the same morning. every brutal day with the same orange sunset.
after all, you wanted to live with her in heaven, in eternity, and, well - isn't this second-best.
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Steve’s never noticed a man’s neck before. But he keeps catching glances of Eddie’s and can’t figure out why it’s doing things to him. Specifically his junk.
He assumes it’s because he’s jealous. Or maybe it’s just more prominent because of Eddie’s long hair?
But neither of those reasons explain why he wants to put his teeth in it.
“Rob, do you think I could have a delay in symptoms from those bats?”
“What do you mean? Do you think you finally got rabies? Steve, you were supposed to get that shot!”
“No, no. I did, that’s not it. No, but there are like bats that are vampires right? Could I be a vampire?” He raises his eyebrows in concern.
Robin, however, visibly relaxes and goes back to her book. They’re keeping each other company during another slow shift.
“No, you’re not a vampire.”
“How do you know? I mean, I kinda want to bite Eddie,” he says with such assurance.
“What?” Robin scrunches her face.
“Yeah, it’s bad.” He leans over the counter resting on his elbows. “Yesterday, when he stopped in after dropping the kids off, it took everything inside of me not to tip his head back and sink my teeth into the long muscle on his neck.”
“Ew, that is not… is that why you think you’re a vampire?”
“It’s the only thing that makes sense.”
“And-and not that you might be…? Oh my god,” she lowers her head into her hands. “I can’t believe I’m going to ask this. Do you also want to lick his neck? And I don’t know, maybe kiss it?”
Steve pauses, letting her question tumble around in his mind before responding.
“Yeah, yeah, I wanna do that too. Does that make me a vampire?” His voice raises in fear.
“No, dingus. No, it doesn’t,” she sighs. “I think it does make you the muppet in this situation though.”
Steve tilts his head trying to understand what she’s talking about, when the little bell above the door tinkles, drawing his attention.
Eddie saunters into the store while casually pulling his hair up into a ponytail.
“Hey!”
Steve zeros in on the taut neck muscle begging for Steve’s lips.
“Ohhhhh,” he whips his head back to Robin. “I want to fuck him.”
Part 2
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I don't think we're talking enough about how the premise for the 1827 meetup in the cemetery was a date, pure and simple. There was no "uh oh, Aziraphale is in trouble again", no big point in history that both sides needed them to attend, no Arrangement at all... nope, it was an invitation and an accepted invitation. It was literally Crowley saying "hey angel, I saw a thing that you'll find funny (I was thinking about you), come and hang out with me about it" and Aziraphale does.
And I wonder what would have happened next if they hadn't stumbled across grave-robbing Elspeth and her moral dilemma.
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