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coram deo

@reformedfaerie / reformedfaerie.tumblr.com

(backup to @faeriefully)
Fae; reformed Christian; writer
"courage dearheart"
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“To forgive for the moment is not difficult. But to go on forgiving, to forgive the same offense again every time it recurs to the memory- there’s the real tussle.”

— C.S. Lewis // Letters to Malcolm: Chiefly on Prayer

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learning how to speak your mind is so terrifying but its 100 million times better than stewing in silence and hoping someone picks up on your vibes

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ACTUALLY being silly is one of the greatest joys of life. if you see me in the street meowing back at cats I see and kicking snow piles down know that I am living my best life.

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petruchio

i get why a lot of people don’t like reading mockingjay as much as the rest of the trilogy, but i think it’s actually so essential to understanding the central thesis of the entire hunger games series.

the whole point of the hunger games is this: all human life is valuable, and artificial divisions between people keep them weak. and the only way out is radical love.

and this is something that is literally echoed again and again in the books. take, for example, gale. why is gale such an interesting, complex, and yet reprehensible character? yes, it’s because at the end katniss cannot separate his bomb from prim’s death. but it’s deeper than that. why does gale build the bomb in the first place? it’s because gale doesn’t see every human life as valuable. gale is willing to kill people and to deny them their humanity simply because they are his “enemy.” so, there’s the obvious example of his willingness to blow up the nut with everyone inside and his disregard for the human casualty. and the people in the nut aren’t even from the captiol, he just wants to do it because the stereotype of that district is their allegiance to the capitol, and gale hates that.

but there’s another scene, also in mockingjay, that i think goes under-discussed which is his view of katniss’ prep team. when katniss finds her prep team literally imprisoned in 13, she’s horrified and upset by the conditions they are in. but gale isn’t. and he’s confused about why katniss would care for them! her response is to say that it’s because they cried when she went to the quarter quell. and gale is like, “sure, but they’re still from the captiol.” and this argument is so important. because katniss argues that the prep team deserves to be treated as human beings, and when he presses her on why, she basically says because they treated her as a human being. but gale can’t see that–all he can see is that they’re from the capitol, and he’s confused about why katniss should care.

and this is, so crucially, what katniss learns in the hunger games. she realizes that she doesn’t want to kill the other tributes just because they are from the other districts. she hates the fact that they have turned her against people who are, in their core, just like her. frightened children who have been manipulated to kill other children against their will, all selected based on their district, a social divide that has literally been invented and imposed on them.

and another just absolutely essential thing to understand here is that peeta knows this all along. we talk at length about how peeta’s defining trait is his kindness. but what’s so important about peeta’s kindness is how it transcends any boundaries of social class or social division.

when peeta gives katniss the bread, it’s important to note that just before he does that, we hear his mother talking about “seam brats pawing through her trash.” peeta’s mother buys into the social divides in district twelve–she views herself as better than someone from the seam simply because of her standing as a merchant, and reinforces these class divides by refusing to extend the simplest humanity to a child from the seam. she literally refuses to feed a starving child on the grounds of a social divide, within a world that already has divided them into districts. but peeta doesn’t see it like this. peeta refuses to deny katniss food just because she’s from the seam. peeta gives her kindness. peeta gives her humanity.

and he does the same thing in the games! his entire first interview, the dramatic king focuses, not on the games, but on his genuine love and adoration for another tribute. how radical! to refuse to subscribe to a system which asks him to hate her? to want to kill her? and to instead confess his love for her? sure, katniss ends up being the mockingjay. katniss might have held out the berries. but peeta in that moment is the one who sets the rebellion in motion. peeta is the one who refuses to engage in the senseless hatred of someone who “should” be his enemy. instead, he reaches out in love.

and it all culminates at the end of mockingjay, when katniss votes for the capitol hunger games to gain coin’s trust. and peeta is utterly horrified by this. because he can’t understand how she could have been through everything he has been through and not understand that continuing to senselessly kill human beings (children!!) for some kind of revenge just reinforces these binary modes of thinking. but the thing is–katniss DOES see that. and when coin proposes it, that’s when she knows she has to stop her. because coin, like gale, like peeta’s mother, and like so others many around her, is still buying into these divides. is still viewing the captiol as the enemy. is still viewing a human life as expendable. 

and there’s a quote in mockingjay that i think lays this out pretty explicitly. katniss says, after she kills coin and is recovering, point blank: “they can design dream weapons that come to life in my hands, but they will never again brainwash me into the necessity of using them.” she’s realized the crux of the entire hunger games–that manipulating us to hate and kill our fellow humans, that drawing up divisions between people because of where they live and what they produce, that believing that hating someone on the basis of any of these is justification for their death, is all a farce. it’s all a distraction. it’s all pretend. she says, in the same chapter: “no one benefits in a world where these things happen.” not the districts. not the capitol. not the victors. no one.

the entire arc of the hunger games is really just about katniss catching up to what peeta has known from the start. katniss overcoming all the manipulation from those around her, all the glitz and glamour, all the artificial social and class divides to see what peeta has seen clearly from the start: love.

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thoughtkick
“There comes a day when you realise turning the page is the best feeling in the world, because you realise there’s so much more to the book than the page you were stuck on.”

Zayn Malik

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In traditional Irish folktales, the elves only understand/respect Gaelic: the English language revolts them, so don’t expect to be winning any of those famous riddle contests or song tournaments in English. I’ve idly considered making one of those memes where it’s like [THE IRISH] *brofist* [THE JEWS] and the point of agreement is “our language is magic,” but the joke would take too much explaining to be funny. A lot of Irish Gaelic is structured around speech and the power of language. There isn’t, for example, a word for “yes” or “no.” In order to answer a direct yes/no question, you have to use a form of the verb that was used to ask the question. So basically, if the question is–say–”did you murder your wife” then there is no way to simply say “Yes, Your Honor” or “No, Your Honor.” Your minimum required effort involves using the verb that was invoked in the question: “I murdered,” or “I didn’t murder.” Of course you can just as easily, in just as few syllables and maybe fewer, change the verb. “I was framed,” maybe. Which is to say that the most basic speech acts in Irish involve constructing a narrative, assenting to others’ narratives or challenging them, and most crucially elaborating on the narratives that have already been established. 

(I chose murder just to be a colorful example, but actually I need to go back to my language reference books and check because I bet this interacts interestingly with the tendency in Irish for the narrator never to be the subject of her own story. You’re always the object, in Irish: you can’t drop a plate, for instance, the plate drops itself at you. You’re not thirsty but a powerful thirst is on you. You didn’t murder that woman but she very well might have gotten murdered in your general vicinity.) You see this lots of other places in the language too. For instance there’s also no word for “hello” or “goodbye.” If you want to greet somebody your required minimum is to cough up a formulaic blessing: Dia duit, God be with you. Here’s the thing. The second person can’t just be like “yup, uh huh. dia duit.” No. The stakes have been raised. The second person’s required minimum answer is now Dia’s muire duit, God and Mary be with you. If a third person joins they have to invoke St. Patrick on top of the two already mentioned. I’m not kidding. At four people you do hit a limit where you’re allowed to just say “God be with all here,” but in the very traditional country pubs it’s an insult to cross the threshold without saying at least that to cover everyone inside. Actually worse than an insult; basically a curse. That’s the burden you bear when you start speaking a magic language.

That puts a lot of conversations I’ve had with rural Irish people into a far better context. Because even when speaking English they will speak in this structure, knowing that context makes so much more sense now.

The way Irish structures the speaker as *positional* is also deeply insightful. Not just because the speaker is the object of a narrative- though that is unique and fascinating too- but also because that narrative happens in a conceptual *space* around speaker and subjects. Tá brón orm, sorrow is on me. If I’m missing my coat it’s apart from me; my accomplishments are beneath me; my careers and skills are in me; if I’m to do something, it’s on me to do that. If I welcome you to my home, I’m putting the welcome in front of you.

We distinguish between temporary and permanent and habitual forms of being, even in English. The only other place I know that does this is AAVE. Marcus be playing the drums; aye lads, he surely does be playing them.

You can’t say please or thank you or I love you; those are powerful ideas, and you must put a little effort into articulating them. Le do thoil, with you will. Go raibh maith agat; very roughly “a good is at you.” (Good on you, mate; good going!) I love you, Christ if there’s not dozens of ways to say it, but none simple. The simplest I know translates most closely to “my heart is at you.”

Great addition!  A lot of people are also chiming in to say that the Irish language is called Gaeilge, not Gaelic. I am 43 and American, and when I studied Irish in school the class was literally called “Irish Gaelic” (though the teacher just called it Irish and that’s usually how I think of it too). So like, I hear you all that “Irish Gaelic” is wrong, but it is the way I was taught twenty-five years ago. Aithním go raibh dearmad orm, I find that a mistake was on me.

Please to me is “Má’s é do thoil é” it’s what I got taught as a kid and it’s the one I use more often than Le do thoill. It literally means “if it is your will” too.

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Eternal Flame Falls sounds like the coolest concept for a fantasy book. A path you follow down into a ravine until you find an ever-burning flame inside of a waterfall? That’s fuckin metal! But it’s not in a fantasy book it’s like an hour away from my house I can literally go see it any time! I remember it like once a month and lose my shit over it every time

Look at this. Tell me this isn’t the basis for a cool religion in an epic fantasy novel.

OP whats it called? Do you know how it works??

It’s called Eternal Flame Falls, in Orchard Park in western New York. 400 feet below the surface is a 400-million-year old shale formation that contains natural gas, and the grotto contains a leak where that gas is escaping.  The flame can and does go out, but the gas can be re-lit with a lighter like a gas stove. It’s super, super cool from both an aesthetic and a geologic perspective!

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