Want to collaborate on a Google Doc with Nietzsche, Shakespeare, Dostoyevsky, Dickinson, Dickens and Poe? 

Click here. Start typing. Enjoy the hilarity. 

Ninja Update: Wanna see something fun? Mention Shakespeare in a sentence and see what happens. 

Poe kept writing distinctly into my sentences so I wrote ”Edgar, you’re not funny” aND HE BLATANTLY DELETED THE NOT I AM SO DONE WITH THIS ASDFKJL

OH GOD IF YOU TYPE “EDGAR ALLAN POE” POE ADDS A :( AFTER HIS NAME PRECIOUS BABY

Oh my God so I typed ‘Shakespeare’ and Shakespeare butted in and wrote ‘The lovely and handsome Shakespeare’ but Poe burst in saying ‘The dreadful and lonely Shakespeare’.

aND FYODOR DOSTOYVESKY ADDED ‘ I do not wish to make myself a laughing-stock before these idle listeners.”

I’M DONE.

Look what they did to All Star by Smash Mouth

“Somebody once hushedly told me the world is going to roll me. I ain’t the sharpest tool in the shed. She was looking kind of glocky with her finger and her thumb in the shape of a “L” on her forehead. Well, the years start voraciously coming and they don’t stop coming; fed to the rules and I hit the ground running. It didn’t make sense absolutely to live for fun. Thy brain gets smart but your head gets dumb. So much to do, so much to behold. So what’s wrong with taking the back busy thoroughfares? In everything one thing is impossible: rationality. You’ll never know if thou don’t go. “You’ll never shine if you don’t glow”, he growled incoherently. Hey presently, you’re an All Star. Get your game on; go play. Hey now, you’re a Rock Star. Get the show on; get laid. As well as all that glitters is gold, only shooting stars break the mold. ~All Star by Smash Estuary of opinion…”

Imagine putting your research paper in here and letting them go at it.

OH MY GOD I WAS WRITING AND EDGAR WOULDN’T STOP FIXING THINGS SO I WROTE “Edgar shut up I’m trying to write” and he changed it to “Edgar shut up I’m meagerly attempting to write” THIS FUCKING ASSHOLE

I typed in “Hello” and Shakesphere erased it and wrote “Begone with this rubbish.”

HOW R00d

I typed “party in the Usa” and Poe changed party to “ill-fated gathering”

I just used it to yell at Dickens about Tale of Two Cities, I am happy now

I typed in ‘hello other writers’ and Edgar Allen Poe changed it to ‘Hello secondary writers’

After I had been writing for a while Edgar suddenly deleted my last sentence and wrote “THE END.” rude son of a bitch

I have to try this.

Rebageled again but to add if the link above doesn’t work, try this one instead.

I’m trying this later

Rebageling

@deaths-presence @nebula-starlight

[Image description: a picture of an untitled, blank Google doc, with a caption that reads “See what it’s like to collaborate with famous storytellers.” End description.]

I put in the first two paragraphs of my latest fanfic, and look what they did!

Keep reading

Women have more power and agency in Shakespeare’s comedies than in his tragedies, and usually there are more of them with more speaking time, so I’m pretty sure what Shakespeare’s saying is “men ruin everything” because everyone fucking dies when men are in charge but when women are in charge you get married and live happily ever after

I think you’re reading too far into things, kiddo. Take a break from your women’s studies major and get some fresh air.

Right. Well, I’m a historian, so allow me to elaborate.

One of the most important aspects of the Puritan/Protestant revolution (in the 1590’s in particular) was the foregrounding of marriage as the most appropriate way of life. It often comes as a surprise when people learn this, but Puritans took an absolutely positive view of sexuality within the context of marriage. Clergy were encouraged to lead by example and marry and have children, as opposed to Catholic clergy who prized virginity above all else. Through his comedies, Shakespeare was promoting this new way of life which had never been promoted before. The dogma, thanks to the church, had always been “durr hburr women are evil sex is bad celibacy is your ticket to salvation.” All that changed in Shakespeare’s time, and thanks to him we get a view of the world where marriage, women, and sexuality are in fact the key to salvation. 

The difference between the structure of a comedy and a tragedy is that the former is cyclical, and the latter a downward curve. Comedies weren’t stupid fun about the lighter side of life. The definition of a comedy was not a funny play. They were plays that began in turmoil and ended in reconciliation and renewal. They showed the audience the path to salvation, with the comic ending of a happy marriage leaving the promise of societal regeneration intact. Meanwhile, in the tragedies, there is no such promise of regeneration or salvation. The characters destroy themselves. The world in which they live is not sustainable. It leads to a dead end, with no promise of new life.

And so, in comedies, the women are the movers and shakers. They get things done. They move the machinery of the plot along. In tragedies, though women have an important part to play, they are often morally bankrupt as compared to the women of comedies, or if they are morally sound, they are disenfranchised and ignored, and refused the chance to contribute to the society in which they live. Let’s look at some examples.

In Romeo and Juliet, the play ends in tragedy because no-one listens to Juliet. Her father and Paris both insist they know what’s right for her, and they refuse to listen to her pleas for clemency. Juliet begs them – screams, cries, manipulates, tells them outright I cannot marry, just wait a week before you make me marry Paris, just a week, please and they ignore her, and force her into increasingly desperate straits, until at last the two young lovers kill themselves. The message? This violent, hate-filled patriarchal world is unsustainable. The promise of regeneration is cut down with the deaths of these children. Compare to Othello. This is the most horrifying and intimate tragedy of all, with the climax taking place in a bedroom as a husband smothers his young wife. The tragedy here could easily have been averted if Othello had listened to Desdemona and Emilia instead of Iago. The message? This society, built on racism and misogyny and martial, masculine honour, is unsustainable, and cannot regenerate itself. The very horror of it lies in the murder of two wives. 

How about Hamlet? Ophelia is a disempowered character, but if Hamlet had listened to her, and not mistreated her, and if her father hadn’t controlled every aspect of her life, then perhaps she wouldn’t have committed suicide. The final scene of carnage is prompted by Laertes and Hamlet furiously grappling over her corpse. When Ophelia dies, any chance of reconciliation dies with her. The world collapses in on itself. This society is unsustainable. King Lear – we all know that this is prompted by Cordelia’s silence, her unwillingness to bend the knee and flatter in the face of tyranny. It is Lear’s disproportionate response to this that sets off the tragedy, and we get a play that is about entropy, aging and the destruction of the social order.  

There are exceptions to the rule. I’m sure a lot of you are crying out “but Lady Macbeth!” and it’s a good point. However, in terms of raw power, neither Lady Macbeth nor the witches are as powerful as they appear. The only power they possess is the ability to influence Macbeth; but ultimately it is Macbeth’s own ambition that prompts him to murder Duncan, and it is he who escalates the situation while Lady Macbeth suffers a breakdown. In this case you have women who are allowed to influence the play, but do so for the worse; they fail to be the good moral compasses needed. Goneril, Regan and Gertrude are similarly comparable; they possess a measure of power, but do not use it for good, and again society cannot renew itself.

Now we come to the comedies, where women do have the most control over the plot. The most powerful example is Rosalind in As You Like It. She pulls the strings in every avenue of the plot, and it is thanks to her control that reconciliation is achieved at the end, and all end up happily married. Much Ado About Nothing pivots around a woman’s anger over the abuse of her innocent cousin. If the men were left in charge in this play, no-one would be married at the end, and it would certainly end in tragedy. But Beatrice stands up and rails against men for their cruel conduct towards women and says that famous, spine-tingling line - oh God, that I were a man! I would eat his heart in the marketplace. And Benedick, her suitor, listens to her. He realises that his misogynistic view of the world is wrong and he takes steps to change it. He challenges his male friends for their conduct, parts company with the prince, and by doing this he wins his lady’s hand. The entire happy ending is dependent on the men realising that they must trust, love and respect women. Now it is a society that it worthy of being perpetuated. Regeneration and salvation lies in equality between the sexes and the love husbands and wives cherish for each other. The Merry Wives of Windsor - here we have men learning to trust and respect their wives, Flastaff learning his lesson for trying to seduce married women, and a daughter tricking everyone so she can marry the man she truly loves. A Midsummer Night’s Dream? The turmoil begins because three men are trying to force Hermia to marry someone she does not love, and Helena has been cruelly mistreated. At the end, happiness and harmony comes when the women are allowed to marry the men of their choosing, and it is these marriages that are blessed by the fairies.

What of the romances? In The Tempest, Prospero holds the power, but it is Miranda who is the key to salvation and a happy ending. Without his daughter, it is likely Prospero would have turned into a murderous revenger. The Winter’s Tale sees Leontes destroy himself through his own jealousy. The king becomes a vicious tyrant because he is cruel to his own wife and children, and this breach of faith in suspecting his wife of adultery almost brings ruin to his entire kingdom. Only by obeying the sensible Emilia does Leontes have a chance of achieving redemption, and the pure trust and love that exists between Perdita and Florizel redeems the mistakes of the old generation and leads to a happy ending. Cymbeline? Imogen is wronged, and it is through her love and forgiveness that redemption is achieved at the end. In all of these plays, without the influence of the women there is no happy ending.

The message is clear. Without a woman’s consent and co-operation in living together and bringing up a family, there is turmoil. Equality between the sexes and trust between husbands and wives alone will bring happiness and harmony, not only to the family unit, but to society as a whole. The Taming of the Shrew rears its ugly head as a counter-example, for here a happy ending is dependent on a woman’s absolute subservience and obedience even in the face of abuse. But this is one of Shakespeare’s early plays (and a rip-off of an older comedy called The Taming of a Shrew) and it is interesting to look at how the reception of this play changed as values evolved in this society. 

As early as 1611 The Shrew was adapted by the writer John Fletcher in a play called The Woman’s Prize, or The Tamer Tamed. It is both a sequel and an imitation, and it chronicles Petruchio’s search for a second wife after his disastrous marriage with Katherine (whose taming had been temporary) ended with her death. In Fletcher’s version, the men are outfoxed by the women and Petruchio is ‘tamed’ by his new wife. It ends with a rather uplifting epilogue that claims the play aimed:

The Taming of the Shrew and The Tamer Tamed were staged back to back in 1633, and it was recorded that although Shakespeare’s Shrew was “liked”, Fletcher’s Tamer Tamed was “very well liked.” You heard it here folks; as early as 1633 audiences found Shakespeare’s message of total female submission uncomfortable, and they preferred John Fletcher’s interpretation and his message of equality between the sexes.

So yes. The message we can take away from Shakespeare is that a world in which women are powerless and cannot or do not contribute positively to society and family is unsustainable. Men, given the power and left to their own devices, will destroy themselves. But if men and women can work together and live in harmony, then the whole community has a chance at salvation, renewal and happiness.  

“Why I Wrote ‘The Yellow Wallpaper’“ by Charlotte Perkins Gilman. (via of-a-toast-and-tea)

Famous Poems Rewritten as Limericks

The Raven

There once was a girl named Lenore And a bird and a bust and a door And a guy with depression And a whole lot of questions And the bird always says “Nevermore.”

Footprints in the Sand There was a man who, at low tide Would walk with the Lord by his side Jesus said “Now look back; You’ll see one set of tracks. That’s when you got a piggy-back ride.”

Response to ‘This Is Just To Say’ This note on the fridge is to say That those ripe plums that you put away Well, I ate them last night They tasted all right Plus I slept with your sister. M’kay?

Stopping by the Woods on a Snowy Evening There once was a horse-riding chap Who took a trip in a cold snap He stopped in the snow But he soon had to go: He was miles away from a nap.

Do Not Go Gentle Into That Good Night There was an old father of Dylan Who was seriously, mortally illin’ “I want,” Dylan said “You to bitch till you’re dead. “I’ll be pissed if you kick it while chillin’.”

I Wandered Lonely As a Cloud There once was a poet named Will Who tramped his way over a hill And was speechless for hours Over some stupid flowers This was years before TV, but still.

THE ONE FOR DO NOT GO GENTLE IM CRYING

A chap from a faraway land Said two big stone legs (topless) stand An inscription fine Reads “this shit’s all mine” But all there’s to see is the sand.

OMFG,

Fuck you, Steinbeck. (via theangelofbucephalon)

Steinbeck based his book on reports made by Sanora Babb (leaked to him by her boss, Tom Collins, to whom Grapes of Wrath is dedicated). Sanora Babb was planning to write her own book, but Steinbeck published before she did. Babb was told that the market could not bear another on the same subject. Her book, ‘Whose Names are Unknown’, was finally published in 2004. I haven’t read either book yet, but am now definitely going to be reading ‘Whose Names are Unknown’ soon. Babb’s novel is described as showing how by re-creating rudimentary democratic practices the refugees restructure their lives as a unified community, resisting violent discrimination. In ‘Whose Names are Unknown’, we hear the whole powerful story from the point of view of a woman who had actual experience with both the origin and the destination of the migrants.

Sanora Babb was a member of the US Communist Party in the 1930s and 40s, dropped out of the party due to the authoritarian structure and in-fighting.

(via jinerviet)

here are some sources, in case you were looking for them

(via corvus-cornix)

I just can’t get away from Hamlet without calling your attention to a line that is a particular favorite of mine (and of P.G. Wodehouse’s Bertie Wooster).

“Fretful porpentine” just flows off of the tongue.

(P.S. - It’s a porcupine.)

I keep seeing stuff about Lord of the Flies going around

Obviously, the individual experiences of the people making the posts - re: teachers, lessons, the way they were forced to study the book - aren’t up for debate

but like, I feel that people might not have the whole...

Mary Shelley: Are you Harriet Westbrook? If so, consider fighting Percy instead. If not, why on Earth would you want to fight Mary Shelley?

Bram Stoker: Go for it; the guy was sickly all his life. Just try not to catch his latest batch of terminal illnesses.

Edgar...

Literature in the Harry Potter World

INFOGRAPHIC: How to tell you’re reading a Gothic novel (via The Guardian)

Ha this rules.

Nyctophobia Series — H.P. Lovecraft

The great-great-great grandchildren of Dickens take a selfie with him on his 202nd birthday.

this is a very important thing that everyone needs to see.

Somerset Maugham, born on this day in 1874, in Books and You. Complement with Nabokov on what makes a good reader.  (via explore-blog)