card catalogues

Tarot Deck Storage

So, like many tarot readers, you’ve fallen prey to the decklust bug.
The decks, they are many.
Your shelf space is lacking.
What to do?


Did you know that those old card catalogue drawers are a perfect fit for most standard sized decks? 

Larger decks can fit too….

Deckbags…



Available for a steal at an antiques market or yard sale (if you’re lucky).
You too can embrace your inner librarian, and save your decks from a dusty shelf, or hazardous heap of deck bags.

They come in all sorts of sizes:

and different materials, too:

… even better, they make an excellent surface for a tiny altar…. not shown ; )


Be warned, the empty space encourages new decks to arrive and fill the gaps!!

Upcycling FTW

Originally posted by dddribbble


This is an abbreviated version of my first post about upcycling.

Jacket

Early 1890s; Altered 1940s

This jacket originally belonged to the costume historian Doris Langley Moore, whose collection formed the basis of the Museum of Costume in Bath, now the Fashion Museum. It is accompanied by the original catalogue card, stating that it was designed by Worth in the 1890s and given, in the Second World War, to the ballerina Margot Fonteyn; she had it altered by Mathilda Etches, and subsequently returned it to Doris Langley Moore. John Bright acquired the jacket from Doris Langley Moore’s estate, and felt she had kept it for sentimental reasons as it had been neither part of the Bath bequest nor previously sold on.

Both Fonteyn and the couturier Mathilda Etches were friends of Doris Langley Moore, modelling garments for her book The Woman in Fashion of 1949, which was dedicated ‘to Margot Fonteyn friend to the collection and the collector’. Fonteyn appears in a wedding dress of circa 1877 and an afternoon dress of circa 1901, and Etches in a tea gown of circa 1900, and a dress and evening coat of 1913. Fonteyn’s brother Felix took the photographs for the book.

Self-taught, Mathilda Etches opened her dressmaking business in the 1930s, encompassing the worlds of fashion, stage and screen. During the shortages of the Second World War she became adept at reusing and remodelling garments, and it was this reputation that probably prompted her regular client Margot Fonteyn to commission the alteration of the jacket.

Langley Moore’s assertion that ‘apart from the neck it was unaltered’ is incorrect, as, in addition, the body and sleeves have been relined, and the sleeves slightly shortened. The photograph mentioned on the index card was probably that taken by the fashionable portraitist Paul Tanqueray in 1943, now in the National Portrait Gallery, and to be seen on its website. It is clear from this photograph that the gathered sleeve heads were altered subsequently, possibly in the early 1950s, to produce the smoother shoulder line of the present garment.

The John Bright Collection

Appendix A: About The Librarians

I Know Too Much about how libraries and librarians work. This resulted in complicated headcanons about job roles and org charts, trying to figure out how the behind-the-scenes of all the accumulating bits of canon and fanon would work. Hope it’s okay to share this here.

Crossposted to AO3

*

Libraries contain vast amounts of information that create possibilities, and stories, that have an immense amount of narrative weight and power. They are basically one giant liminal space, but one that exists for the people that use it. And it’s the people that work in the library that create that connection.

The Fair Folk have opinions about librarians. There’s a certain amount of idealism involved that would make them vulnerable, but so much of what they know and do is dangerous. They are accorded a certain not-inconsiderable amount of respect and caution, let’s say, and leave it at that.

There are two kinds of librarians at Elsewhere University, two sides to the same coin. There are the librarians who have an employee ID number, and a title on their nametag. They have lunch breaks, vacation time, and salt and iron in their pockets and stashed in odd corners in their desk drawers and offices, just like the rest of the staff and faculty. And then there are The Other Librarians. The other librarians can be found on floors ten through twenty-three. Officially, there are nine floors to the library. (This does not include the rooftop garden that is not accessible by stairwell or elevator.) The sub-basements are officially recognized. The tunnels are not.

The other librarians also have officially-issued library nametags. All they say is “librarian.” Some of the other librarians may have been human once. They may have officially retired. They may have learned too much, or willingly given up something that held them tethered to mundane cares outside of The Library, or made a bargain for something the library needed.

There are stories of a cataloguer, best of his generation, who reached a point where he could recite chapter and verse of the standards, never misjudged a subject heading or used the wrong cutter number. The arcanest of arcane inscriptions held still for him while he captured the true author and all relevant cross-references. There was not a text he could not read, or element of biliographic control that he could not master. The years went by, and the standards changed, Anglo American Cataloging Rules superceded the Rules for Descriptive Cataloging, ISBNs were introduced, AACR became AACR2, and a switch from cards to computer records loomed large. He knew so much, but was afraid so little of it would still be relevant. He made a deal.

He wasn’t the first. There are still cards appearing in the card catalogue today written in copperplate Library Hand script, as proscribed by Melville Dewey, with a pen and an inkwell.

There are still memories on the lower floors of a reference librarian who could find anything. There are people on staff who worked side-by-side with her on late night reference desk shifts, and tell stories of how she had an infinite command of Boolean logic to wring every penny out of the paid-by-the-second online search services. There was not an annotated bibliography or index that she didn’t have at her fingertips, and she could walk a student though the reference interview from “I need a book, I guess” to “help me find three print sources for my introduction to pre-confederate Canadian literature mid-term paper” in twenty seconds with a smile. Rumour has it that she bargained away the memory of every childhood pet she ever had to get internet access in the library for undergraduates. Officially, she retired in the late nineties. But in the Deep Library, there are those who can coax the dial-up modem into connecting to a Dialog subscription that the university hasn’t paid for in two decades, and bring back an answer in seconds every time.

There are fading echoes of the year that the entire cataloguing department and half the reference librarians vanished in the stacks in the early 1940’s. The university was smaller then, and the protections that were needed to balance a tumultuous time in world history took a terrible toll. It was said that if you stood in certain parts of the stacks, you could hear the air raid sirens, and watch the collection grow as refugee books were taken in. There were dark whispers that some of the staff disappeared into the library in a trade for safety for family members or one of the other desperate bargains made in wartime, but some were promoted to the upper floors without warning because the library didn’t want to lose their valuable talents to conscription or worse.

If the Library needs you, it will take you. If you are lucky, it will be on your terms, at a time of your choosing. In most cases, a masters’ degree in library and information sciences from a nationally-certified graduate program is required, though in some rare cases, an equivalent combination of education and experience may be considered.

Most undergraduates and visitors (both the mundane kind that come from outside the campus, and the Visitors), and some university support staff, will leave with a vague impression of any of the librarians as an ominous yet helpful shape, and an overwhelming sense of sameness. This is a type of protective camouflage that the library generates, and it extends to cover all the librarians, the one that leave at the end of the day, and the ones that do not. They cannot all be the same. It is, of course, impossible to run a library without a wide and varied pool of skill sets and personalities, all of which contribute to the, shall we say, unique personalities, egos, interdepartmental rivalries, feuds, and alliances that are the lifeblood of an academic library.

This protection waxes and wanes depending on the year. During the spring and summer semesters following the Chemistry Majors’ Revolt, anyone remotely associated with any of the science departments would find themselves on the doorstep of the library with a ringing in their ears like the sudden absence of a loud noise, holding the books or other information they’d gone to the library to find, with no memory of how it got there. An entire spring-semester introductory chemistry class knows the structure of an APA-style bibliography inside and out, but could not tell you when or where they learned it.

In more recent times, sufficiently motivated undergrads, graduate students, and faculty will have little trouble differentiating one librarian from another, if they are on floors one through nine. (They must, of course, be referred to by job title as they do not have names.)

There are operational needs that must be met. It’s hard to plead your case as to why the library really should keep that critical music theory database for your graduate level seminar course that currently costs as much as all of the journal subscriptions for the art history department combined when you’re not sure if you’re talking to the subject liaison librarian for fine arts, the head of interlibrary loans, or an eldritch creature with no face but a really excellent recall for geopolitical boundaries in medieval Africa, and a working knowledge of twelve dead languages, seven of which were never spoken by a human tongue.

(Interlibrary Loans and Fine Arts–the subject librarian, not the department–have been in the midst of a prolonged feud for the past decade over a hiring committee disagreement regarding practicum student placements and a botched exorcism. It is rivalled only by the cold war between Interlibrary Loans and Cataloguing over supply budgets that’s been running since the late nineties. Confusing one for the other would be unhelpful, to say the least.)

The Other Librarians generally do not encroach on their colleagues’ responsibilities. They are still librarians with all of the professional ethics that entails, and are generally orderly and rule-abiding, unless a fundamental principle of librarianship is at risk. (Do not speak of internet filtering within the library walls if you wish to leave with all of your fingers intact.)

The Deep Library should be approached with utmost caution, regardless. Some people in the profession say, your library should have something in it to offend everyone. EU’s library would agree to that statement, with some extensive additions, explanatory footnotes, and cautionary appendices. Respect the Library.

[x]

one thing I think (older) people really fail to understand is that technology has made things easier, but expectations have increased as a result.

when my dad wrote his doctoral dissertation, he did it by hand. he didn’t even have his own typewriter. editing meant crossing out words and rewriting pages and occasionally literally cutting paragraphs apart and gluing them back in a different order. and any articles or books he needed to cite, any existing research he needed to find? that meant a trip to the library, it meant searching the card catalogue for hours, possibly waiting weeks for a copy to come in if his campus didn’t have some obscure journal.

but you know what? his dissertation was never expected to reach the level of perfection mine will be held to. in fact, committees requiring revisions after dissertations were successfully defended just wasn’t done in the ‘60s. why? because it was too much bloody work to ask a student to rewrite a chapter because someone disagreed with a couple of sentences on page 72. now minor revisions are almost guaranteed for most students. also, examiners in the ‘60s suffered from the same lack of total, instant access to published articles that students dealt with, making them much less likely than they are today to suddenly say, “hey, I did a quick search and I found this paper published on the other side of the world last month that contradicts what you said in chapter 3″.

technology is making it easier to meet the same academic and professional standards, sure - but the standards aren’t the same. everything is supposed to be more polished, more complete, more thorough than it used to be, because now it can be.

mostly, I’m pointing this out because it’s not until recently I started thinking about it myself, and I think it’s kind of fascinating. but like, as a sidenote, maybe also stop talking about how easy students have it these days.

wetsammywinchester  asked:

#why is it so satisfying to see him doing things with his hands. I KNOW. I KNOW. Competency kink. With Dean, it's watching him do things, be hands on, the hellhound glasses, the weapons, the car. With Sam, it's watching him research, speaking dead languages, talking lore. Not that I don't love them both doing ALL of these things, but my competency kink seems to run to specific things for each of them.

^ Yes, all of this. It’s funny–I do like it when Dean’s researching, because it’s not like he’s just the muscle. And Sam’s obviously competent, too, but there’s just not the same weird pleasure when you watch him fix something at that motel that there is when he’s absent-mindedly laying down lore he memorized ten years ago.

Originally posted by deanschevyimpala

Delicious. Just the fact that he’s got those gloves on. The grease on his jeans.

Originally posted by frozen-delight

Why is him just getting something out of a card catalogue hot? Because he knew exactly which drawer to look in, and this is where he’s a master.

Originally posted by frozen-delight

And here we see them both playing to their strengths. Even if Dean is getting those wood shavings anywhere but the trashcan.

September Soon

Does it matter
which eyes see
when you look out?
.
And if in your mind
all is faded sepia tones
in a daguerrotype reality
can you not simply take it
from the curio cabinet to claim?
..
Perhaps bleakness
binds our shuttered minds
turned away from a dwindling summer
like Numantines high upon those city walls
seeing the approach of the inevitable
resigned to a last return home
to set them afire,

If there was no solace
within this long summer
shall we take the Sun to court
to demand emotional redress
for the bitter melanchy inflicted
by that stellar worthies failure
to acknowledge the validity
of expectation raised loftily
by those aware of root causes?
….
Or maybe what I think of
as a sort of refuge in audacity
is only a tarpaper shotgun shack
sitting by the cinders and coal dust
along some old railroad embankment,
a poor man’s ludicrous parody of Hopper
occupied by this emotional pauper
who kept his dreams duly stored
in a worn out card catalogue
seldom ever opened
but still…
.
.
but still…

hack horror writer gothic

You have never met another human being who is not a lapsed Catholic. Several of them have seen incontrovertible proof of direct intervention by God or Satan.

You can’t ask your priest about this, because every member of the clergy in your county is harboring a dark secret. It turns out they’re either a vampire or a werewolf every single time. The one who turned out to be a mostly conventional serial killer was also a vampire. None of them bear less than a passing resemblance to Gregory Peck.

You have met seven different people who all claim to be Adam Frankenstein. In at least four cases, you uncovered conclusive evidence they were correct. The blonde girl at Pickman Model and Hobby has dated two of them, and you’re not certain she’s aware they’re different people.

You once drove twice the full length of Maine and were still half an hour from the border. You were interrupted by a haunted doll before you could investigate. You have no recollection of ever finding a road on a map that leaves Maine.

Every woman you know under 55 looks exactly like your ex-wife. You have never been married.

You can’t remember any woman you know ever having mentioned a female member of her family, but every man you know has an abusive mother and vague memories of their father dying when they were a child. These stories often remind you of your own abusive mother, and your father’s death when you were a child.

Every single building at the college you went to has burned down exactly once and was rebuilt identically to its previous appearance.

The biggest library in your town doesn’t have a single computer, but it also doesn’t have a card catalogue. The librarians seem to know the location of every book. The only music they have is classic rock and every video is a VHS.

Every place you’ve ever lived is half an hour from Bangor, which looks unsettlingly like Vancouver.

You turned 32 in 2015. You fought in Vietnam.

Library Services at Elsewhere University: A Guide and Compendium
(Crossposted to A03

Part One: Student Services

Welcome to the Elsewhere University Library. This guide endeavours to provide students with a general outline of library services, facilities, and safety precautions. More comprehensive help, including study guides for planning your research, finding books and journal articles, evaluating and citing sources, and safely navigating the library both with and without a map, compass, or bread crumb trail can be found online on the library’s website, in print at the first floor reference desk, and translated into Norse runes and carved into the foundation of the condemned building in the west quadrant of the campus.

Instructors wishing to book a tour and orientation for incoming classes can make arrangements directly with the subject librarian assigned to their department. Basic research skills and bibliographic instruction for classes is a core services provided to all faculty. Advanced research support may be obtained with proof of approved interdepartmental charge. Payment will be extracted at the campus health centre, or during one of the library’s monthly fundraising blood drives. A pound of flesh is no longer accepted in payment, as the exchange rate is currently exorbitant. Requests from the biology department will be assessed on a case by case basis until the overdue accounts resulting from the escaped blood scandal last fall are resolved.

Borrowing privileges for undergraduates and non-academic staff include a semester-long loan period with no renewals, and a maximum of three interlibrary loans per course per year. The length of the semester is determined by time passing within the registrar’s office, and no exceptions will be made for the west quadrant of the campus, philosophy majors, or those born on a Tuesday. Library staff, and RAs and custodial staff assigned to Brigadoon Hall are eligible for an exemption, however. Please ensure that circulation staff are advised of your status upon yearly renewal of your library card, and keep in mind that time passes differently within the library.

Graduate students and faculty are eligible for a year-long loan period, and unlimited interlibrary loans. Additional charges for interlibrary loan material may be passed on to the borrower. Library staff will do their best to ensure that you are aware of the procedures and policies of the lending institute, however, can take no responsibility for additional fees and fines accrued. Arrangements for payment must be made directly with the lending institute. We do not have the liability insurance required to send your first-born, existential sense of dread, or the memory of the colour of next spring’s tulips via interoffice mail or interagency courier. Please note that while all graduate theses are archived in the library collection, borrowing privileges for theses that have not yet been written are limited to faculty only.

Overdue fines may be waived at the discretion of the library staff for just cause. Fees for lost items must be paid by the end of the semester or late charges will continue to accrue. Nonpayment of fees and fines may result in withholding of your final transcript, degree, sense of smell, or sense of self. Barter for tangible, nonmonetary items will not be accepted as payment, with the exception of plastic beads. Intangible items may be accepted on a case by case basis. Baked goods are always appreciated, but will have no effect on the balance of your account. (Donations of plastic beads will be accepted at the circulation desk, and will be donated to the library’s current community support program, who is welcome to join us in the library foyer, coffee shop, and first floor classroom space, but we would appreciate it if it refrains from attempting to use the elevators to reach the rooftop garden.)

Keep reading

6

Now you see it, now you see it again Pt 16: beret chic

La casquette, c'est bon pour les ouvriers, le chapeau, c'est pas pratique, tandis que le béret, c'est simple, c'est chic, c'est coquet !

(Caps are fine for workmen, hats are impractical, but the beret is simple, chic and stylish.)

So said French cinematographer, Pierre Prévert (1906 - 1988) of the beret. 

Imagine the beret and many might see a cliché, that of the national French accessory, beret-wearers on bicycles armed with baguettes or smocked artists. But the beret has a broader history, dating back centuries to Flemish artists, to the military around the world, and of some of their adversaries. Who cannot think of the iconic portrait of Argentinian revolutionary Che Guevara without visualising his beret?

Phryne’s beret is a classic French basque style, jet black woven silk with heavy ridging and stem which she wears throughout Series 1 and 2, day and night, sleuthing and socialising. 

In an interview published in the SMH (December 2013), in response to a question about her favourite outfits from the show, Essie Davis revealed her coveting of Miss Fisher’s cat burglar ensemble:

Black top, black pants, black shoes, a black beret and a black velvet jacket and my Smith and Wesson pearl-handled pistol…”

[I didn’t realise how many times Phryne wears this beret, so this is incredibly long... and only recommended for the persistent or those suffering from insomnia.]

Season 1 Episode 5

In Raisins and Almonds the beret accessorises Phryne’s day wear and evening escapades. In what (I believe) is its first appearance, Phryne decides to return to the scene of a murder, a bookshop/library, to ascertain whether evidence lurks in the lending card catalogue.  Under the cover of darkness and in her black pants, jacket, beret and boots she finds a clue  - a frequently borrowed volume of Hansard.

But before she can search further she’s interrupted by someone else after the same volume, who runs off with it, armed and firing. Undaunted, Phryne gives chase across the rooftops, and the term cat burglar reaches its full significance as she crouches feline-like, ready to spring onto her opponent.

The black beret not only completes the camouflage for this late night break-in but reflects the traits that define Phryne’s character  - the stylish, fearless, revolutionary.

The beret returns by day  - as accessory to a classic black and white panelled coat.

And she wears it in a significant moment in the Ep with Jack. During her justification for Miss Lee’s innocence, there is a telling exchange which foreshadows a later one, Jack revealing for the first time something of his personal life, his estrangement from his wife and the impact of the war on their relationship.

Phryne: She wouldn’t have killed him, Jack. She loved him. They were having an affair. 

Jack: He was married. 

Phryne: It happens.

Moving on to S1 Ep6Ruddy Gore, Phryne is introduced to Lin, and, in homage to a developing relationship with the Chinese importer of silk, her outfits reflect the chinoiserie which inspired some of the fashion in the 1920s. 

In a scene which begins in Jack’s office ( P: Did you miss me?/J: I never get a chance to miss you. It feels as if you’re in my office every second day) then follows with a return to the scene of the crime, the black beret complements a black and white silk chinoise jacket:

Jack is conflicted - he senses a growing attraction to Phryne as they collaborate more closely on the case, despite a restrained start. Lin acts as catalyst to some clarification of his feelings for Phryne.

Season 1 Episode 9

And in Queen of the Flowers, the beret completes a new outfit, another beautiful black and white floral silk chinoise bridge coat; there’s growing complement too in the relationship between Phryne and Jack in the investigation which sees exploitation of young girls by those closest to them. Both Phryne and Jack share a strong sense of social justice  - both agitators in their own domains.

Season 1 Episode 10

Murder by Miss Adventure sees the beret providing the finishing touch to an outfit of black silk pants and sheer beaded chiffon top with an antique autumnal-toned embroidered jacket.  She needs a stunning outfit given that in it she must not only investigate, 

but confront past and present demons, 

and … flirt with Jack.

Season 2 Episode 1

Season 2 provides the catwalk for the beret to accompany Phryne on other assignations as it extends the cover of darkness.

As Phryne agilely scales the exterior walls of The Imperial Club (Murder Most Scandalous), being confronted by, then confronting Madame Lyon, the cat burglar outfit again provides concealment.  The mission involves attempting to find a box, locked in a strong room at The Imperial, containing incriminating evidence of Melbourne’s elite who frequent the gentleman’s club.

In Dead Man’s Chest (S2, Ep3), Phryne and Jack meet by moonlight at high tide by the wharf to see if they can witness connections between fishermen, murder and sly grog.

Jack: What took you so long? 

Phryne: (sighing) I was as quiet as a mouse. 

Jack: A mouse who wears French perfume. 

Phryne: I’ll wear less next time. 

Jack: Is that the boat? 

Phryne: Yes, they’re tying up now… Let’s go and find a mouse hole. 

The gallant Jack insists on escorting P home… after they both make a splash, literally.

Jack: It’s only right that I escort you home. 

Phryne: If you insist. 

Being suspended while in black beret seems to be a recurring motif for Phryne. In Murder à la Mode (S2, Ep5), she suspects that there is a link between a moonlighting seamstress and a murdered fashion house patron, so instigates some moonlighting of her own, a solo nocturnal inspection of the workroom. 

But she’s too late to prevent another murder, of the very seamstress herself, and our Miss Fisher must make a quick escape when she realises the murderer is still on the premises.

Jack: Is that who I think it is? 

Collins: Afraid so, sir. 

Phryne: Oh. Evening! 

Back at the station and back on solid ground, the investigation continues with Phryne’s contribution of evidence by the ummm… yard:

a bolt of fabric, a blood-spattered iron and “this orient pearl”.

Night wear accessory becomes day wear accessory, as Jack’s concern about Phryne’s guilt “of breaking into the salon, and the theft of one bolt of peacock and floral print cotton worth one hundred pounds” fades to insignificance. They work as a team both at the salon and in the interview room. 

Jack in fact is happy to let Phryne interrogate Renée Fleuri, while he has a bit of a lean.

Now you may think S2 Ep6 Marked for Murder is all about the scarf.  But no, there’s the ubiquitous beret competing for accessory acclaim in an episode where some hats are lucky! And there’s something about roses too.

In many people’s favourite episode S2 Ep11 Dead Air, the beret re-emerges teemed with the black and white panelled coat again - when you’re onto a good thing, stick to it.

(unless you’re under attack) 

And where would a conclusion be without our Jack, pistol (and hat) at the ready?

And finally… (yes yes, this is coming to an end)

Season 2 Episode12

Unnatural Habits provides one habit that isn’t unnatural  - wearing the beret for some scaling and sleuthing, this time a ship’s bow.  And what a stunning millinery moment it is:

And later, another nocturnal navigation of the Pandarus’ hold where young girls are being  held captive prior to trafficking:

Fiendish Fletcher almost brings the beret undone:

Luckily the valiant, the intrepid, the fearless, yes DI Jack Lightning Robinson defies orders to save the day (the night actually). 

At the station Phryne and the beret witness Jack’s consoling of his ex and Phryne can only contemplate what is, and what might be, 

before leaving, framed in a shot not dissimilar to that of Jack’s profile (in Ruddy Gore) as Lin escorts Phryne to dinner:

Season 3 Episode 3

Murder and Mozzarella provides further opportunity for stylish sleuthing.  The episode deals with restaurants and recipes, romance amidst rivalries, and Phryne and Jack must play their parts. Phryne investigates using the break-in with crochet hook method, in classic black including beret.

If only it was Jack rather than Guido who found her fascinating.

The black beret has lived in some interesting times.  May there be many more.

I love how aggressively millenial Ezekiel Jones is.

He’s cocky and incredibly shallow and self centred at first glance.

He lives on his phone. He “doesn’t read” books, but he avidly consumes a lot of visual media from sci-fi to horror to Shakespeare adaptations (and someone write me a media student Ezekiel who’s done a thesis on Shakespearean adaptations around the world’s cinema and TV through time because I actually believe he’s done this in my soul). His normal language contains references tropes and cliches. He loves social media. He doesn’t know who to use a card catalogue but sit him down in front of a computer with solid internet access, and he’ll probably find the required information faster anyway. He’s fucking uploaded his DNA retina identification to the main server instead of bending over backwards for cool heists, and tell me if that isn’t the most millenial fucking approach to being a thief ever. Also in the alternate universe where he’s the Librarian he outsourced information gathering and processing to the rest of the world, and again, fucking incredibly millenial thing to do, because honestly it’s smart (more heads working at once, and making so much knowledge available for free and using resources at your disposal) but from an older generation’s perspective it would look weird and lazy.

But under that he’s kind. He’s insecure and covers it up with brash arrogance. And at the same time, you can make out that skill-wise he’s way overqualified for a lot of things.

He’s our generation. He’s the mid adopter of technology from when it rapidly evolved and continued evolving and he’s jumped headfirst into the flow with no regrets like all of us. While some of the crochety older generations deride our usage of it.

Ezekiel Jones is aggressively millenial. He’s the guy in the poem about livetweeting the apocalypse who’ll frantically tell the world that yes he was here, and he was loved, and he loved, and send kind messages out to scared strangers about how it’ll be all right.

incognitajones  asked:

For the character meme: Faramir

FAVE

OTP: Faramir/Aragorn. I know and I love Faramir/Éowyn too, but… /sigh

BROTP: In the book, Faramir and Gandalf! For all that I have Reservations about how Gandalf relates to Gondor in general and the Húrinionath in particular, I’ve always loved everything about their relationship. Gandalf told Faramir his real Maia name!!! Faramir all but guessed Isildur took the Ring from Gandalf’s card catalogue searches!! GANDALF CARRIES FARAMIR’S DYING BODY AJKDFAZDFJPK

Headcanon-wise, I’m also super fascinated by Faramir and Arwen’s relationship, given how fey he is and the kind of weird situation where he is the regent during Aragorn’s many absences but she’s the queen and they must have formed some sort of relationship, I think? And I imagine a good one. (Also, I imagine there’s a certain amount of fellow-feeling about embodying the sort of twilight-of-my-people thing and loving someone who will inevitably age and die before them.)

OT3: Mm, I don’t have a specific one. I’m chill with both Faramir/Aragorn/Arwen and Éowyn/Faramir/Aragorn, though with the latter I favour Faramir/Aragorn+Faramir/Éowyn rather than Aragorn/Éowyn (for a certain level of irony, lol). 

NOTP: Faramir/Boromir, Faramir/Denethor, etc. A friend of mine who didn’t realize the exact connection between the Houses of Húrin and Dol Amroth once suggested Faramir/Imrahil and my brain just about melted. 

3

Mostly gone, but not forgotten is the card catalogue. Although the Peabody Institute uses an online database for library materials the card catalogue in the research room next to the archives still serves a purpose. For many years the librarians would look through the local papers and type out on index cards the names, places and events that took place in Peabody. There is a wealth of genealogy information in these drawers along with forgotten history about Peabody.