disaster and destruction

look, girls like us are magnets for ruin. see the sky collapse on us each morning. see the light leave our bodies as we remember we aren’t beautiful. don’t you know? girls like us look prettiest in pieces.

here, here are the hands: look how still they are, look how simple (ignore the trembling) (ignore the bloody knuckles)

here, here is the mouth: that’s right, stitch it shut (doesn’t matter if it hurts) (doesn’t matter if there are things you want to say)

look, girls like us are ¾ disaster. see how we bleed and bruise and burn. see what a pretty sound it makes.

—  unnatural disaster || s.o.
I realized heartbreak wasn’t poetic when my sister was driving her car 90mph, her hands clenching the steering wheel and her mumbling “I can’t believe I was so stupid.” because no matter how hard I tried, I couldn’t turn her broken heart into anything more than a mosaic. because when this boy had to talk in front of the class, his eyes watered when he mentioned her name and he shrugged his shoulders and said “sometimes things just don’t work out.” and he still loved her. because when it happened to me I pictured me going 90mph on the highway, and mumbling about how I still loved him but instead I threw something at the wall and I wrote about it. I wrote about how much it hurt and tried to make my ribs cracking with all the weight of my heavy heart sound poetic but it’s not. nothing is beautiful or poetic about the way your heart feels when someone you loved leaves, or doesn’t stay, or says “I’m sorry, it just has to be this way.” and there’s nothing poetic about driving so fast you’re convinced you’re gonna crash into the bridge, but you don’t. and it’s accidentally taking a breath under water even though you know it’ll get in your lungs but you just couldn’t come up for air and it’s not beautiful, it just makes your lungs fucking burn. heartbreak is going to open your mouth and nothing comes out but a few broken pieces of your heart and you swallow it back down in hopes of no one noticing your heart coming up from the ocean waves forming inside your stomach and with just one more look from him, you know you’ll turn into a hurricane and it’s dangerous. it’s not beautiful. it turns people into natural disasters that destruct anything in their paths. it makes hearts so broken you can barely see the flame that sparked it up in the first place, because the ocean inside of them washed it away, and you can’t love him anymore when he’s a flame and you’re the ocean
—  I know heartbreak isn’t poetic, but writing sure does take some of the pain away

Link to Twitter thread on Haiti

“Haiti was one of the riches colonies int he world. In 1789, Haiti produced 75% of the world’s sugar and was the leading producer of cotton.

The island is the source of roughly 1/5 of France’s wealth. France turned Haiti into a slave colony and started massive deforestation.

When the French were driven out in 1804, this was a frightening shock to the world—Haiti became the first free, black, former slave country.

Haiti was immediately punished for this liberation: France imposed an extreme indemnity on Haiti to enter the international economy.

Haiti didn’t finish paying until after WWII. The United States imposed yet a harsher sentence—they refused to recognize Haiti until 1862.

Interestingly, 1862 was the same year the US recognized Liberia, and for the same reason: it was the year of the Emancipation Proclamation.

Unsure with what to do with a massive population of freed Black people, the most popular idea was to ship them off to Haiti and Liberia.

That plan was dropped after the South was given authority to institute a system that was, in many ways, worse than slavery: convict leasing.

The first US prison boom resulted from convict leasing, where millions of mostly Black men were arrested & thrown in mines & cotton fields.

In the 1870s, the US took over from France in torturing Haiti. In the late 19th century there were dozens of military interventions.

The worst, led by Woodrow Wilson (Nobel Laureate), was in 1915, when the US military brutally attacked Haiti and the Dominican Republic.

It was bad in DR, but worse in Haiti because they were “n*****s,  not spics.” Wilson re-instituted slavery in Haiti & killed ~15,000 people.

The US marines drove out the Haitian parliament at gun-point because they wouldn’t accept the US version of a new Haitian Constitution.

The US Constitution, written by FDR, included provisions for US corporations to buy up Haitian land-“progressive legislation” it was called.

The only way to develop Haiti was to allow US corporations to buy it; since Haitians couldn’t understand, Parliament had to be disbanded.

The Haitan people–“n*****s speaking French” as William Jennings Bryan referred to them–didn’t want the US Constitution.

The marines then *did* hold a referendum: 5% of the population voted, and the US Constitution won 99.99% of the vote.

Most of the population was driven off, and the US left both countries—Haiti/DR—in the hands of brutal militaries, trained by the US marines.

In the 1980s, the atrocities escalated again: the World Bank/USAID were created and determined to make Haiti “the Taiwan of the Caribbean.”

The proposal included policies that were the exact *opposite* of the ones pursued by Taiwan.

Haiti—under threat of force—followed the advice of the World Bank, which was to drive the population from the countryside into the cities.

The World Bank plan required they gut spending on education, social programs, and infrastructure, because economics explains that’s a waste.

There were political developments: an "election” in 1986. Baby Doc, the 2nd of the Duvaliers, was elected after winning 99.98% of the vote.

Ronald Reagan praised “Democratic progress” in Haiti, and subsequently increased aid to the military junta.

Nobody was paying attention, but behind all of the terror and monstrosities, the Haitians were engaging in remarkable grassroots activism.

In 1990, Haitians committed a major crime, which required serious punishment: there was a free election, & the Haitians voted the wrong way.

If you want to know what happens when you vote the wrong way in a free and open election, ask the people in Gaza.

Amazingly, Jean-Bertrand Aristide, a populist priest and a strong proponent of liberation theology, won the election with 2/3 of the vote.

The United States immediately shifted all military aid to the business-led opposition to lay the basis for overthrowing the government.

Aristide was quite successful–it looked, for a while, that Haiti might not only become free and democratic, but fall out of US hands.

The military coup took place 7 months after Aristide’s election. In response, the Organization of American States imposed an embargo.

The US technically joined the embargo, but within a few weeks, Bush 41 modified the terms, allowing US corporations to violate the embargo.

Bush (+ Clinton) issued Presidential Directives blocking oil shipments to the military, but both secretly permitted Texaco Oil to send oil.

In 1994, Clinton did send in the marines and allowed Aristide to return, but under very harsh conditions:

Aristide must accept the program of the defeated candidate in the 1990 election–neoliberal policies that destroyed Haitian agriculture.

Well there was another election in 2000, and Aristide won handily. The United States, under George W. Bush, blocked all aid to Haiti.

Haiti had to pay interest on the aid it wasn’t getting.

Meanwhile, the country was being hit by natural disasters, magnified by the destruction of the land and society over the past 200 years.

In 2004, Haiti’s two main torturers (France & the US) invaded, kidnapped Aristide, exiled him to Central Africa & re-imposed the military.

And now we’re reaching the present moment. In January 2010, a major earthquake hit Haiti and killed ~300,000 people.

Aristide submitted a request to France to provide aid to Haiti to help after the indemnity they imposed; they put together a govt committee.

Headed by Régis Debray, a liberal French politician, the committee determined that there was no merit in the request.

After more than 200 years of terror and torture, it is time for the United States and France to pay *substantial* reparations to Haiti.”

Jonathan had always possessed a strong immune system; it was rare he got sick and even more rare to get so ill he could barely move—but today disaster struck in the form of a terrible cold. Coughing, shaking, a fever… He’d never felt so shitty (but that was what everyone said when they were bedridden).

Truthfully, the thing that hurt the most was the isolation. He was not a social person; preferring small crowds, and the company of those with which he was comfortable, but not being able to hang out with Will, or have a proper conversation with his mother after work (he wasn’t even able to go to work), sucked.

The worst part, though, was not seeing Steve and Nancy.

It was nearly noon on a Monday, three days after the beginning of this god-awful illness, and by this time he’d exhausted all of his mixtapes, thrown up twice, and napped for two hours straight. He’d woken up with a headache and ripped his headphones off, body cold, covered in sweat. I’m dying, he’d decided.

Keep reading

What happens next

When tragedies like this happen, the State relies on Compassionate Progressive™ sentiment to impulsively call for tighter, broader central regulation—generally for strict control over a specific facet of our lives [disaster relief, firearms, mass destruction, famine]). This impulse riles up a swath of citizens, and makes them susceptible to State expansion that they might otherwise oppose in moments of calm.

Of course, nothing can change too quickly, or you would upset the status quo, which can lead to unwanted revolution. The State doesn’t want to rock the boat, but it can incrementally shift the status quo over time. In order to sustain itself, it must continue to grow and to do that it needs financial and civil support.

Sure the State might not take away guns tomorrow, but it could very easily exploit this event to implement tighter control on our movement, and on our perceived rights. Just look at the TSA, which many Americans excuse as a ‘given’ inconvenience despite its gross corruption and institutional ineptitude.

What do I mean by ‘perceived rights’? I’m talking about rights inherent to our humanity, for which the legitimacy depends upon our perception. Those who support the right to bear arms do so because they perceive a necessity of personal ownership. Even some gun control advocates will pay it lip service.

Gun control does not (and will not) have to be about confiscating weapons, but rather about shifting our collective perception on what is and is not appropriate with respect to firearms. 2A hardliners may want to disagree with me here, but stick with me.

The debate around the right to bear arms and the role of the State in regulating that right will continue for the week as it always does, and as usual it will die down; the State is not going to outright goosestep down the streets and confiscate en masse. Instead, the media will gently shift the narrative to other, less invasive means to monitor and control people; theoretically band-aids to prevent seemingly unpredictable future tragedies.

After 9/11, Congress signed the USA PATRIOT Act; most members never read the bill. The State used this foot in the door to expand the NSA, FBI, CIA and create the TSA; it also created the Department of Homeland Security, under which it were consolidated the Real ID and Immigration and Customs Enforcement operations (that’s movement and trade in layman’s terms). The State absolutely will tuck this tragedy into its arsenal to influence and advocate for additional security measures. Look today at sporting events, major metro stations, concerts. Now it will be casino, hotels, festivals. The fourth estate will happily wag its tail in exchange for influence on Capitol Hill.

It’s not just plausible, it’s reality.

But you can’t sell something so mundane through the energy of raw compassion. In fact, for most who voice this sentiment such a move would not be enough. However, the State would not upset its balance and would not immediately threaten our inherent rights. Instead, the State generally relies on the fears of Conservative Traditionalists™ to support the enforcement of this new, but still familiar, status quo. In this way, the perception of the right’s integrity remains in tact while in practice, those rights are diminished.

A penchant for the status quo is a crucial element of conservative ideologies—conserve is in the name. (Note, I am not talking about a left-right dichotomy). Just as this American sentiment helps to legitimize the ever-growing police state in the above-referenced facets of our lives, it would uphold future expansion too. If you aren’t convinced, then ask yourselves the following question.

How many more incidents of cops shooting peaceful—but armed—citizens would it take to convince you that people will absolutely defend this incremental growth in security (as they always have)? Police are already trigger-happy, and often presume whatever you’re holding is a threat. People defend it. They support it, and advocate it. Through this sentiment, the State will have its foundation to push the status quo just a little bit closer toward totalitarianism.

The second amendment is meant to guarantee our uninhibited right to bear arms, and yet we find ourselves living in a country where you are more and more likely to die for exercising that right (or for being perceived as exercising that right). Too often, those defending the former contrarily support the latter as well. In this way, the right to bear arms is perceived by the public at large as illegitimate if that right purportedly threatens a law enforcement official. This will invariably happen when some poor American walks into a hotel a security checkpoint with a gun, a knife, an oddly-shaped cell phone, an obscured wallet and the police claim they ‘feared for their life’ and kill them.

The State doesn’t have to take your guns away. It just has to convince you that there’s no problem when an agent of the State imperils that inalienable right by aggressing you. By influencing our collective perception on what is and is not acceptable (regarding the exercise of our rights), the State can shift the status quo to sustain its perpetual growth.

flamingsnowflakeproductions  asked:

Omygosh your style is so cute! How about some Honey /boom largo? (with a fashion pod if you want!)

I guess…. you could say………… they’re a hot mess?

Someone once told me that heartbreak turns people into natural disasters, that it makes people destruct everything and everyone in their path. I’ve honestly never understood the intensity that heartbreak can have, until you. Until you broke my heart into so many pieces that I couldn’t quite come to grips with what life had to offer anymore, until I lost myself begging you to love me, until I seen no end to the self hatred and crying on the bathroom floor at 4am. You’ve made me feel things I wouldn’t wish on my worst enemy. You made me feel a level of sadness that doesn’t get spoken about these days. You broke me. I gave my everything to you and you broke me.
—  yet all i want is happiness for you

what is it with me that when I have emotional problems I always turn to extremely specific Rincewind ventfic. why am I like this.

some fantasy/supernatural!au i want to do for r76

I’m really fixated on this idea about the Immortal Soldier, a powerful being commonly seen during epic battles or times of war, he can be your greatest ally or your worst enemy. But there are legends around him saying that he is also an ill omen - that whenever he appears, catastrophe is sure to happen - may they be natural disasters or destruction made by human means or even pandemics - he is a harbinger of death.

but that is far from the truth…

It is not where the Immortal Soldier goes, death surely follows - but rather he goes where Death is surely to be there. He travels endlessly, following Death - immortality being a blessing and a curse. He is not immortal by his own means but because Death refuses to reap his soul.

And the battles he fights in or the towns, cities he travels to - the reasons why he is there is not that he enjoys to watch Death do his work, but the Immortal Soldier does what he can to help the living - reduce as much damage as he can… because he knows that once the spell is broken and the man that is now the vessel of Death finds out how much devastation he has done, it will break him.

[edited: 5/22/17 - Titled this fic We’ll hold each other soon, in the blackest of rooms - Prelude is now up as, well as on AO3 <— read it here for a cleaner version]

“Suddenly, I realized that the cat was not the monster. The laser pointer that directed the cat was the real threat. Wherever that red dot went, disaster and destruction followed.

And in that moment of discovery, I also realized that my own father was like the cat… his evil venom was his red dot, and, like the cat – it led him to destruction. He himself wasn’t the villain. It’s the red that makes him evil.

So who is the real villain? The one that caused all of this? The one who showed the red dot first and kept pushing away the good man and encouraging the evil?

Me. I, Lloyd Garmadon, am the villain of Ninjago.”

Remember The Basic Tools of Story Telling

This is a guide I made and often reference whenever I am working on a new story and so I felt like sharing it. Most of you probably know all of this already as it is pretty basic, but I myself have still found it to be surprisingly helpful whenever I am struggling on parts of a plot I am working on. Looking back on these tools can often provide answers or fill in blanks, by forcing you to see ‘the whole picture’ of your story. They can give you direction and sometimes you’ll find that’s all you really need to get back into the writing groove once more.

So now that, that is out of the way, here we go!

Let’s start with a visual to get the ball rolling, because pictures help your brain comprehend things in a different way than words can!

Down below here we have the…

Plot Pyramid

Look familiar? Well it should! Think back to the days of Junior High and what your English teacher was telling you, because I can assure you probably saw this at least once in a classroom. (if you were paying attention that is)

This is the infamous plot pyramid and it is basically a visual structure of your basic everyday story, sequenced out in order, to aid your brain.

Now not every story looks exactly like this one, as many often have subplots and such, which can make the pyramid have more than one peak, but this here is the basic outline of what one looks like and it can be amazingly helpful when trying to create a good story!

(Of course as a kid you probably had no idea this would ever be helpful)

Now let’s go over each part of the plot pyramid that I labeled in order of how they should be in your story and define what they are and what they mean. I am going to do them in stages to hopefully make it easy.

This list, is the order of go.

  1. Exposition
  2. Rising Action
  3. Climax
  4. Falling Action
  5. Resolution
  6. Denouement

Stage 1: Exposition

  • - This contains your setting. The time and place of your overall story should be revealed here in order to give your reader understanding.
  • - Describe the environment some and set a scene to give your reader a visual, so that they may place the characters in the appropriate world.
  • - Is your story taking place in the modern day? Is it in the past? Are the characters in a rural area? Are they in the city? The artic, the jungle? Space?
  • - Often times a large part of the genre is revealed here as it should be. Will this be a sci-fi story? Western? Mystery?
  • - Groundwork for the world and its history should be established early on and should be straight forward. Keeping the reader in the dark too long can be frustrating and make them not want to continue as they are too confused.
  • - Crucial Character introduction. Your protagonists should be introduced here, and there could be more than one. Too many main characters could be confusing though, so be sure to really highlight on only a select few more than the rest, in order to give your story a focused direction and give these characters the proper attention and development they rightly deserve. You don’t want your main protagonist to be unlikable or overly mysterious. You want them to interesting though, so some mystery is still okay and it is important that the readers like them to some degree as the story will be largely following them. It can be difficult for a reader to stay behind and want to keep reading about a character they just can’t stand.
  • - Develop the protagonist some, lead into their backstory a little, their personality. You don’t have to reveal it all this early on, but you definitely want touch on it at least a little so that your reader may form an attachment and understanding of them. It makes the character relatable. Being able to identify with a character or understanding why they do certain things can help make future plot points make sense and feel more whole. It leaves the reader feeling more comfortable and helps them embrace the story better.
  • - It will also further enforce whether your protagonist(s) is a dynamic or static character. A dynamic character is a character who goes through a significant inner change throughout the plot of your story, whereas a static character more of less stays the same. It is important for the reader to know the main characters initially, before they can notice whether they are changing or not throughout your story.

Stage 2: Rising Action

  • - The conflict comes into play here.
  • - There can be more than one problem to solve, so long as there is one main conflict for each major protagonist. Any other conflicts are supposed to be subplot devices and should still ultimately end up being relevant to the overall plot in order to achieve a proper weaving storyline.
  • - Here are the different types of Conflicts listed below,

Man vs Man

Man vs Nature

Man vs Society

Man vs Self

Now lets go over each one.

Man Vs Man

  • o A villain or antagonist for your protagonist, in the form of a person or a being that is man like.

Man Vs Nature

  • o Surviving the environment or a natural disaster. Weather, wild animals, destruction of a structure, etc.

Man Vs Society

  • o Protagonist is up against a group of people who have opposing views from their own ideals. Race, Religion, war & peace. Social change if often a result. The protagonist is often out casted, shunned and/or ridiculed.

Man Vs Self

  • o Protagonist is dealing with inner turmoil, psychologically. It could be that they are just at war with their own feelings. It could be that they are dealing with mental trauma from a horrific past event. It could also be that they are just a self-loathing character. They could have a mental condition, or they could be trying to get over their inner fears.

There should be at least one or more of these conflicts in a decent plot, because no conflict would mean no tension and no tension is boring! Your rising action phase is normally where the majority of your story’s events are going to be taking place as it consists of the characters dealing and/or beginning to prepare for the oncoming problem, up until the highest point of action. Any other problems they may run into on the way to the highest point of action shouldn’t be the main conflict, as that should be saved for the climax, but they should somehow relate to the main conflict. These subplot devices are meant to keep the story interesting on its way to the peak.

Stage 3: Climax

  • - This is the highest point of action in the story, the turning point. The conflict is at its most apparent and the characters now have to deal with it front and center.
  • - There can be several points of conflict as previously mentioned, but one will stand supreme above all of the rest as the central problem for the main protagonists to deal with.

Stage 4: Falling Action

  • - The conflict has almost all, but played out and reached its climatic ending and now the characters must deal with the aftermath one step at a time, up until the conclusion of the story.
  • - It could be that they are somehow still falling away from the highest point of action, still trying to escape it, while feeling its affects.
  • - The effects of the climax could end up being positive, negative or both depending on the genre of story you are going for. Tragedy, romance, horror, etc. Normally this will aid in the author’s deciding factor.
  • - This phase is normally much shorter than the rising action phase, but it doesn’t have to be. The reason it normally is, is because your story, in theory, has already had its most exciting moment. So, the story shouldn’t seem unnecessarily drawn out, because that could lead to the reader losing interest.

Stage 5: Resolution

  • - The conflict has reached its conclusion and is solved. The falling action phase has now ended as the characters have been dealing with its affects.
  • - This part of the story is basically your ending, but there might still be some loose ends for your characters to deal with.

Stage 6: Denouement

  • - This is the very end, where everything is wrapped up in a neat little bow. All questions that the author intended to answer, should be revealed.
  • - The epilogue, the story should end here in a way that gives the reader closure for all of the events that transpired during the plot.
  • - However, it can be somewhat open ended to hint at more to come, like a sequel, or just to allow the reader to make their own assumptions in some regards.

That about does it for the 6 different stages of the pyramid which should greatly aid you when formulating a plot for your overall story.