March 8, 1917 - 100,000 Workers on Strike in Petrograd, Citizens Join Munitions Makers to Demand Food and Better Pay
Pictured - The Red Wheel starts to turn.
Strikes that began at the Putilov munitions works in Petrograd on March had multiplied enormously within a week. On March 8, up to 100,000 demonstrates were in the city, marching and waving flags as they demanded more food, better pay, and effective government. The Tsar had boarded a train out of the city the day before, bound for army headquarters at Mogilev. He wrote to his wife that he was bored and missing his half-hour game of patience every evening, adding that “I shall take up dominoes again my spare time.” In his diary he wrote that “In all my spare time I am reading a French book on Julius Caesar’s conquest of Gaul.” The Tsar had become isolated from the changes happening in his kingdom.
Claire sipped her coffee, squinting across the breakfast table at her middle daughter. Eight-year-old Julia turned the corner from the kitchen, set the platter of piping hot bannocks on the table, and slid into her seat beside fifteen-year-old William - whose face was buried in a book about the Roman conquest of Britain.
“Why not, Mama?” Brianna licked her lips, clearly trying to dismiss the question. “I’ve got this new blouse and -”
“But it’ll be so bright and sunny today,” seventeen-year-old Faith insisted, pushing her scrambled eggs around on her plate. “Ye should bring the sunscreen instead. Canna have ye looking like a lobster again.”
“Dinna tell yer wee sister what to do,” Jamie admonished gently from his seat beside Claire, glancing down at the scribbles on the ledger beside his plate. “She already has a mother.”
“Wee?” Julia laughed. “Da, dinna be daft - ye ken Bree has been taller than Faith since I was small!”
“Ye still *are* small, *mo nighean oir*,” Jamie smiled, ruffling Julia’s blonde curls. “And ye didna answer yer Mama’s question, Bree - why are ye wearing the scarf?”
Brianna huffed, but said nothing.
“Does it have to do wi’ Roger MacKenzie?” William asked around a mouthful of bannock, still engrossed in his book. “I saw the two of ye after school yesterday, and I was surprised when he wasna staying here at the house. We’ve got plenty of rooms.”
“Roger is here? Why didn’t you tell us?” Claire’s brows raised in surprise. Brianna and Roger had known each other since primary school - and had been the best of friends since then. She and Jamie had always hoped that it would eventually blossom to more between them -
“He just drove up for the day,” Brianna sighed. “He had to be back in Glasgow last night because he has an exam this morning. That’s why he didn’t tell you he was coming -”
“But what does that have to do wi’ yer scarf?” Julia interrupted.
Jamie and Claire exchanged a long glance while Brianna’s face flushed bright red.
Faith and William wisely kept their mouths shut.
“I suppose she just felt like it,” Jamie said carefully, smiling indulgently at his youngest. Wanting to keep her that much more innocent for as long as he could.
Claire turned back to her breakfast with a small smile. “You may want to wear it a bit higher next time, Bree. Wouldn’t want people to get the wrong idea.”
Hello, I have a ligitimamate question about the anarcho- part of your communism. I'm wondering, when you eventually do get to a state of government what's to keep the world from returning to a state of natural chaos? Wouldn't people naturally tend to take from one another like, if my community produced enough for us, what's to keep someone outside from taking all our shit because they've got more guns? I'm trying to find where I fall and that's one of my concerns about any anarcho system.
One of the current objections to Communism and Socialism altogether, is that the idea is so old, and yet it could never be realized. Schemes of ideal States haunted the thinkers of Ancient Greece; later on, the early christians joined in communist groups; centuries later, large communist brotherhoods, came into existence during the Reform movement.
Then, the same ideals were revived during the great English and French Revolutions; and finally, quite lately, in 1848, a revolution, inspired to a great extent with Socialist ideals took place in France. “And yet, you see,” we are told, “how far away is still the realization of your schemes. Don’t you think that there is some fundamental error in your understand of human nature and its needs?”
At first sight this objection seems very serious. However, the moment we consider human history more attentively, it loses its strength. We see, first, that hundreds of millions of men have succeeded in maintaining amongst themselves, in their village communities,for many hundreds of years, one of the main elements of Socialism–the common ownership of the chef instruments of production, the lands, and the apportionment of the same according to the labour capacities of the different families; and we learn that if the communal possessions of the land has been destroyed in Western Europe, it was not from within, but from without, by the governments which created land monopoly in the favor of the nobility and the middle classes.
We learn, moreover, that the medieval cities succeeded in maintaining in their midst for several centuries, in succession a certain socialized organization of production and trade; that these centuries were periods of a rapid intellectual industrial, and artistic profess; and that the decay of these communal institutions came mainly from the incapacity of men of combining the village with the city, the peasant with the citizen, so as jointly to oppose the growth of the military states, which destroyed the free cities.
This started out as a gifset (which I’ll post soon), but turned into a meta about how Dean, Sam, Castiel and Crowley represent each four of the Horsemen Of The Apocalypse. Dean is Famine, Sam is Death, Castiel is War and Crowley is Pestilence.
The first horsemen that is introduced in the show is War, so I’ll talk about Castiel first.
Castiel + War
We know Cas is an impressive soldier, who can go into the grasps of hell. Whilst not necessarily the cause for conflict, he takes alot of pride in getting himself involved in fighting for causes- whether its Season Five against Lucifer, Season Six against Raphael, Season Nine against Metatron and other angels, Season Eleven against The Darkness. Castiel is a fighter. Would I label him as aggressive? Not necessarily, but he can be. Especially near the end of Season Six. When he becomes ‘God’ that episode is centered around Castiel’s righteousness in trying to right wrongs.
His attitude becomes quite hardened, even if he maintains a personal softness. He personifies War because even if he dislikes conflict as stated in Season Seven, he’ll still play a role in it.
The Horsemen War placed an emphasis on getting humanity involved in conflict and war. Castiel, an angel involves himself in that. As war is brutal and gross, Castiel does not relish in it. He becomes a warrior and a knight, and a force to be reckoned with. War is for Castiel.
Dean Winchester + Famine
The show places an emphasis on hunger being for everything- sex, food, love. By establishing everyone as ‘empty’ and needing to fill it up. To me, this is perfectly Dean. Not only does he physically consume alot, but he struggles with feelings of doubt, self hatred and loathing, and overall emptiness. Famine reads Dean’s character in a cynical way- as if Dean’s problems with depression equate to ‘hunger’
That’s one deep, dark nothing you got there, Dean. Can’t fill it, can you? Not with food or drink. Not even with sex…
Oh, you can smirk and joke and lie to your brother, lie to yourself, but not to me! I can see inside you, Dean. I can see how broken you are, how defeated. You can’t win, and you know it. But you just keep fighting. Just… keep going through the motions. You’re not hungry, Dean, because inside, you’re already…dead.
Famine equates hunger with Dean’s strong feelings of being defeated. Dean is always hungry for something. Whether its validation for his thoughts, the basics of food and alcohol, love and friendship, or even vengeance. Famne declares Dean ‘not hungry’ because he’s dead, therefore can’t feel hunger. But Dean’s hunger for everything is rather deep and complex, and means the lust-like desire to hunt. Famine fits well for Dean.
Crowley + Pestilence
With a creative, dark sense of humour, this one was the most obvious for me. The first horsemen (in the Book Of Revelations)- called ‘Conquest’ (I don’t even have to explain how well that fits Crowley- he loves power, being in control and winning)
Disease gets a bad rap, don’t you think? For being filthy. Chaotic. Uh, but, really, that just describes people who get sick. Disease itself… Very…Pure…Single-minded. Bacteria have one purpose –divide and conquer. That’s why, in the end…It always wins.
But onto the ‘disease’ side of Crowley. The side that doesn’t simply kill you, but makes you suffer. Crowley tortures countless people. Some for a reason (like the Alphas in Season Six) and some out of disgust and spite (Meg in Season Eight). Like diseases and infections, you aren’t simply dying. You are in alot of pain. It’s nightmarish and gross. ‘It always wins’ appeals strongly to Crowley’s desire to win and to rule, but also to weaken his enemies. Disease is creative, which Crowley is. It also weakens the person who has it (kinda what Crowley is trying to do with Lucifer- the ‘vessel’ prison puts the person in pain.
So, on top of the conquering natuer of Crowley, and the turbulant, tragic nature of disease… Pestilence fits well.
Sam Winchester + Death
On a surface level, you could say that because Sam’s life has been wrought with death- ranging from his mother, Jessica, etc. But that’s not the only reason why I picked Death for Sam. Sam is also marked for death, countless seasons in a row. He’s the one, not Dean who’d die if the Trials are completed in Season Eight. He’s the one who Death wants Dean to kill in the season 10 finale. Every once in a while, the show deals that as a consequence of actions, Sam might have to die.
Alot of Sam’s arc is shaped around death- from Jess’ death, to dying in Season Two and being brought back. Although its not his fault that death occurs, it is a powerful motif in his arc. Sam has also wrestled with suicidal ideation. Jen Titus’ lyrics for ‘Oh Death’ in the show are very interesting,
When God is gone and the Devil takes hold, who will have mercy on your soul
Oh, Death, оh Death, oh Death,
No wealth, no ruin, no silver, no gold Nothing satisfies me but your soul
Oh, Death, Well I am Death, none can excel, I’ll open the door to heaven or hell.
Oh, Death, оh Death, my name is Death and the end ïs here…
This plays into Sam who Lucifer was going to take over, who’d open the door to the Apocalypse and bring the end of the world. Sam’s also had his soul- which represents life and goodness, absolutely torn apart. For similar reasons why Dean is famine, Death fits Sam perfectly.
I enjoyed writing this, and I hope it was clear what I mean. Exploring the ‘darkness’ of characters fascinates me deeply, and I see that alot in Supernatural.
hey, can you recommend some anarchist books for someone who has never actually read any? what are the basic ones everyone should read?
Kropotkin’s Conquest of Bread
Emma Goldman’s Anarchism and Other Essays
Alexander Berkman’s The ABC’s of Anarchism
Peter Gelderloos’s Anarchy Works
Anarchism and Its Aspirations (idk the author)
You can find every one of these online (and more) for free.
There is also an Anarchist FAQ page you can find on google (which is rather long). (Make sure you the find one that is explicitly anti-capitalist bc there is a bastardized Anarchist FAQ made by pro-capitalists who named it after the original FAQ to purposefully confuse newbies).
There are also some respectable youtubers like libertarian socialist rants or bad mouse productions.
Plus there are some anarchists on here who post some pretty good discourse from time to time. Perhaps you can learn general stuff based on what they post. Class-struggle-anarchism is a really good one, check em out.
Your right. I should support Diverse books & not Secret Empire. Bane Conquest is out right? Because I'll gladly support that over mediocre garbage that paranoid fear-mongering finger-pointers lies to themselves is good *coughChampionscough*
You know that Bane: Conquest is written by a paranoid, fear-mongering finger-pointing homophobe and outright liar that gladly shows up to tell lies at a show hosted by an alt-right (a.k.a. neo-nazi) member, right?
There is a strange binary you’re setting up here. There is a ton of diverse books at both companies right now, it’s not just Bane and Champions. Don’t like Champions? You have Ms. Marvel, Nova, Spider-Man, Totally Awesome Hulk, the Ultimates, America, Black Panther, Black Panther: World of Wakanda, Black Panther & the Crew, Spider-Gwen, Gwenpool, Squirrel Girl, Unstoppable Wasp, U.S.Avengers, All-New Wolverine, Royals, Elektra* - books of various degrees of tone, style and quality. And at DC you have Detective Comics, Batwoman, Batgirl, Batgirl & the Birds of Prey, Gotham Academy: Second Semester, Harley Quinn, DC Comics Bombshells, Wonder Woman, Odyssey of the Amazons, Superwoman, Supergirl, New Super-Man, Super Sons, Cyborg, Green Lanterns, Justice League, Justice League of America, Shade: the Changing Girl, Doom Patrol, Mother Panic, Apollo & Midnighter, Wild Storm, Raven, Teen Titans and a handful of books with white guys and diverse supporting characters (Batman, All-Star Batman, Flash Green Arrow, Deathstroke). You can choose from so many titles man.
* - for those surprised, I’d rather have a person support a book where the villain is Arcade than a book written by Chuck “lost his marbles” Dixon.
Matilda of Flanders was wife of William the Conqueror and, as such, Queen consort of the Kingdom of England.William had fallen in love with Matilda when he saw her for the first time at the French court. He was said to be so passionately enamored of her that he would do anything to obtain her, whether it means by using force. The legend says that when William made a proposal Matilda thought it far beneath her to marry him he dragged her off her horse by her long braids, and threw her down in the mud-covered street in front of her flabbergasted attendants and he rode away. Rather surprisingly Matilda agreed to proposal after that supposed incident and the couple married in 1051-52, despite being related in prohibited by the church degrees of consanguinity. The papal dispensation upholding the legality of this marriage was received only in 1059.
Despite its often turbulent nature, William and Matilda’s marriage had been one of the most successful partnerships in medieval Europe. Matilda had been instrumental to her husband’s success. His mainstay for more than thirty years, she had been one of his most valued advisers, had proved a wise and capable ruler during his long absences in England, and had borne him many children to secure his dynasty. It was her bloodline that had enabled him to pursue so vigorous a claim to the English throne in the first place, and her family connections had helped him to retain both this kingdom and the duchy of Normandy for himself and his heirs. William was absolutely faithful to Matilda and put a great trust in her. Matilda often signed important documents together with her husband. She was well educated, competent ruler with formidable character well beloved both in Normandy and England.
In the early hours of November 2 1083, “growing apprehensive because her illness persisted, she confessed her sins with bitter tears and, after fully accomplishing all that Christian custom requires and being fortified by the saving sacrament, she died.” William stayed with her throughout. He was consumed with grief at the death of the woman whom he confessed to love “as my own soul,” and was said to have wept profusely for many days afterward. According to Malmesbury, William eschewed all other women for the remainder of his days. “For when she died, four years before him, he … showed by many days of the deepest mourning how much he missed the love of her whom he had lost. Indeed from that time forward, if we believe what we are told, he abandoned pleasure of every kind.” The duke subsequently fell into a profound depression, from which he never truly recovered, and was, according to one historian, “a mourner till the day of his death.” The various bequests that he made for the soul of his dead wife reveal the sincerity of his grief.
Pictured: William the Conqueror and Matilda of Flanders, illustration to the book “Rite to Conquest” by Judith Tarr