the village of providence


everybody lives AU | AKATSUKI
• setting — the Last

Akatsuki becomes a mercenary group for hire, as they did in Road to Ninja. 
This is more appropriately named the “everybody comes back to life and somehow things work out AU”… but as promised, 10 Akatsuki members in the timeline of The Last! Designing is fun (esp the village flak jackets) (・∀・)

See more extensive character/AU details below the cut!:

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Queers hanging out in public were once considered a staple of West Village street culture. Yet within the climate of the Giuliani/Bloomberg “quality of life” crusade, the presence of gender insubordinate young Black and Latino queer youth, as opposed to white men with moustaches, is often viewed as a problem. […]

The crackdown is part of a campaign designed to privatize, sanitize, and control public spaces such as the piers throughout New York City. It began in 1994 as a cornerstone of Mayor Rudy Giuliani’s pledge to clean up New York City. Existing “quality of life” legislation falls under Article 240, Title N, Offenses Against Public Order, Public Sensibilities, and the Right to Privacy. Such “offenses” include “rioting, unlawful assembly, criminal anarchy, disorderly conduct, harassment, loitering, public intoxication, and criminal nuisance in a public space” (McClean, 2002). [… In 1995] the New York City Council passed a zoning law intended to restrict and shut down adult-use spaces such as strip clubs, bookstores, video stores, and movie houses. Mayor Giuliani hoped to shut down almost every adult business that dealt with sexual materials or entertainment.

When quasi-private interior spaces targeted by the zoning law were shut down, people with nowhere else to go moved outside. But visible signs of public sexual culture were further targeted with the police carrying out undercover sting operations, resulting in stepped-up arrests of men charged with indecent exposure, soliciting sex, and other “lewd” acts. Some were based on entrapment, while others were wrongful arrests. During one three-day sting by the Port Authority police in 1997, ninety men were arrested in the men’s bathroom in the PATH station concourse of the World Trade Center (Schindler, 1997).

Adonis elaborated: “If two heterosexuals were in the park making out and the police walked by, they wouldn’t say anything. If two homosexuals were doing things, they would say something.” Many of the “quality of life” initiatives appeared to specifically target queers. Selective enforcement of a Prohibition-era cabaret law, zoning ordinances, a ban on dancing, and fire codes were used to produce a constant flow of legal assaults narrowing the types of clubs and bars functioning in Manhattan. Before summer of 1997 some seventeen gay businesses, nine theaters, and eight clubs—including five in close proximity on Fourteenth Street—were closed for violations of the state health code banning oral, anal, or vaginal sex on business premises. That summer, fifty queer businesses faced some fourteen hundred inspections (Schindler, 1997). Many clubs could not endure the legal barrage and were forced to close their doors.

One such space was the Two Potato, a bar at the corner of Christopher and Greenwich Streets, close to the piers. […] L.P. and several others I interviewed recalled the Two Potato as a “legendary” gathering place for queer and transgender people of color. Like the West Village in general, the Two Potato provided a refuge when the AIDS epidemic hit. “At night people could spread out to Fourteenth Street and over to Two Potato on the water and just drink and wild out and have sex, and feel like we were still normal,” L.P. recalled. Yet the feeling of safety engendered within the queer spaces of the West Village was placed in jeopardy by phobias accompanying the epidemic. As L.P. explained, “We’d have to do a lot of fighting because there was a lot of prejudice.”

The pattern is simple enough. Moral guardians use fears about the AIDS crisis to justify restricting access to spaces such as the piers and Two Potato, supposedly in the name of community health and “the children.” What unfolds is a general “not in my backyard” thinking stirred up by the “quality of life” campaign. The result is simple. “He [Giuliani] used the excuse of AIDS. He was saying that [public sex] was a way to spread the virus, but responsible adults who knew about it used condoms. They were consenting adults,” Adonis explained.


Yet as the AIDS era wore on, anxieties about the epidemic coincided with countless other cultural phobias and inequalities. L.P. explained that just getting off the train at Fourteenth Street could be an ordeal. “If you got off the train and you looked gay, you might get beat up by a group of kids. ‘Faggot, we don’t want you in New York.’ And the police were no help. The cops would stand there and watch because they were in agreement that this was the gay man’s disease and that they didn’t want to get any bodily fluids on them or get involved. Let the faggot get what he deserves.” For L.P., navigating from the Bronx to the Village “was like going through a gauntlet.” Between the antivagrancy laws, a social purity crusade described as a “quality of life” campaign, and AIDS hysteria, L.P.—like many other queer youth—engaged in a struggle against what amounted to a panic over queer space.


In August 2001, after years of “quality of life” complaints, the Two Potato’s liquor license came up for review prior to renewal, and the bar was closed (McLean, 2002). For L.P. and countless others, the impact of the club’s closure and the subsequent erection of fences at the piers was immediate. “It made it very hard for us to function,” L.P. recalled. “You couldn’t hang out by the water anymore. They were doing construction on the highway so you couldn’t really go down there.”


Sylvia Rivera struggled for over thirty years to force the city to accept and protect the right of transgender people to walk or work in public space. In many ways, the youth who continue to struggle for queer spaces are working from the same vantage point. Queer space is about creating room for the spectacle of difference as opposed to assimilating sameness. As long as autonomous zones pop up, the possibility remains.


Benjamin Shepard, “Sylvia and Sylvia’s Children: A Battle for a Queer Public Space,” in That’s Revolting!: Queer Strategies for Resisting Assimilation (2008), ed. Mattilda Bernstein Sycamore

some context people don’t realize is their inheritance when they panic over lgbt sexuality

August 2017 prompts

Write a short story, poem or anything that inspires you based on one of these prompts and tag it with #inkstay.
Make it clear somewhere in the post that it is written for one of the August prompts if you want your work to appear in the magazine.

Prompts of the month
1# - How does one steal stars?
2# - Describe a summer child.
3# - Write about the longest day of the year.
4# - Four different girls cut their own hair short for four different reasons.
5# - What is both beautiful and horrible.
6# - You’re in a jungle of books, what kind of stories do you encounter?
7# - There’s a house with a mirror in every room.
8# - Write about people who embody ideals.
9# - Write a poem about an article in your local newspaper.
10# - The village witch left, who provides the village with magic now?

Word prompts
1# - charm
2# - drunk, fuel
3# - root, cadaver, demon
4# - black
5# - rabbit, speed
6# - teeth, arrow, grim
7# - gutless
8# - cynical, treason
9# - dangerous, crash, gross
10# - gossip, chamber, distinct, nineteen

How Lin-Manuel Miranda's Oscar-Nominated Moana Track Evolved into Disney's Most Unique Ballad

“That’s what I relate to most in Moana — that yearning,” Miranda tells PEOPLE. “For me, that’s wanting to write musicals or make movies. For Moana, that’s longing to set sail across the ocean and provide for her village. She loves her culture, she loves the role she plays; she’s grown to accept it and be proud of it. And yet there’s that pull.”

Writing a song that encompassed those feelings was satisfying for Miranda.

“To me that’s much more complicated than, ‘I hate it here and I want to get out,’ ” he says. “To say, ‘I love it here, I love my parents, but why can’t I stop walking to the ocean and fantasizing about getting out of here?’ And questioning that instinct? It’s even more confusing. And that’s a valid story too.  It’s internal, and I think internal is interesting.”

Some of Miranda’s collaborators early-on were cast members from Hamilton, who helped by lending their voices to demos in-between rehearsals. ”

I had the great luxury of when I was writing these songs, I was in a building with incredible singers,” says Miranda — who roped friends like Phillipa Soo (Eliza) Christopher Jackson (George Washington) and Renée Elise Goldsberry (Angelica) into recording.

“So I have Phillipa doing a lot of drafts of Disney songs. I’ve got Marcy Harriell, who played Vanessa in In the Heights, singing some,” Miranda says. “There’s even a version of “Where You Are” with Chris and Renée playing the parents — who, by the way, played Simba and Nala together in The Lion King on Broadway. The Disney connection runs deep!”


Wolf of Spring Ch. 2

Chapter 2: “I didn’t think you would come back, lassie.”

Tamlin could rarely distinguish truth from reality. Sometimes, there are days when the two converge together, leaving him more confused than ever. Today  would be one of them. Then, there’s the matter of the women residing in his court, vying for his attention to marry him. Would he ever find a suitable woman to marry, let alone love?

Previous Chapter | Next Chapter

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Tadmamet Mosque, part of Morocco’s Green Mosque project, is the first in the country built from scratch to be entirely solar powered (on land donated by Taouli Kebira, shown in the second photo). The mosque’s solar panels produce enough energy that they also provide electricity to other people in the village, power streetlights, and plans are being made to build a solar powered irrigation system.

Prices for solar power systems are falling, but they’re still prohibitively high for many people in Morocco. But with over 51,000 mosques standing in Morocco, already serving as community centres, perhaps more will follow the example of Tadmamet.


Revere, Missouri
Population: 79

“Founded on October 22, 1887 by the Santa Fe Railroad, Revere was ‘probably named in honor of Paul Revere.’ During the period prior to 1900, Revere flourished as an intermediate stop for the railroad.

Revere was a town into the 2000s, but it became a village after a change in state law: a 2009 law provided for the conversion of all towns with fewer than five hundred residents into villages. On July 26, 2011 the United States Postal Service announced plans to consider closing the Revere post office as part of a nationwide restructuring plan. On May 9, 2012 it was announced that a new strategy would preserve the nation’s smallest post offices, reversing the earlier plan.”
Behind the Scenes of 'Beauty and the Beast'
The film’s stars and creators share memories of shooting in a French village on a stage outside London

Before production began, Emma Watson worked closely with Bill Condon and Dan Stevens to polish the script, adding what she calls “detail and depth and fullness and wholeness to the scenes.” She also focused on fine-tuning Belle’s character, expanding beyond what little was established in the 1991 film. Says Watson: “There was never very much information or detail at the beginning of the story as to why Belle didn’t fit in, other than she liked books.” Lots and lots of books, like the ones she’s holding here as she takes direction from Condon in the library. Later in the movie we also learn where Belle and her father lived before moving to the “little town full of little people.” It’s a city that holds special meaning for Watson. “l sing a song called ‘Paris of My Childhood,’ which was odd for me to sing because I was born in Paris and my childhood was in Paris,” she says. “It’s a sweet melody, a really lovely song.”

For the “poor provincial town” that Belle longs to escape, the crew built a real French village on the Shepperton back lot, providing a dramatic contrast between this cozy setting and the imposing castle nearby. Greenwood says her team combed French towns looking for a place to shoot, and though they found candidates in Conques and near Paris, when it came time to discuss bringing cast and crew to these actual villages, they realized it would be easier to create one from scratch. “As much as I thought it should be real, how could you say, 'No, I don’t want to build a French village on the back lot’? So we built it,” Greenwood explains. “That was great because we could then hybrid all the things we’d seen and put all the best elements into our village.” Including a wandering French rooster. Cocorico!

Kevin Kline’s wayward Maurice, Belle’s father, finds himself lost in the woods near the Beast’s castle on his way to sell his music boxes at the market. If he looks safe here, he won’t be for long. “I spent so much time getting pushed around,” Kline says with a laugh. “I noticed it after a couple of weeks, and I said to Bill, 'I’m on the floor again.’ [Maurice] is sort of the fall guy, so I get roughed up a lot!” As fans of the fairy tale will remember, Belle’s papa eventually reaches the Beast’s castle, a majestic but creepy estate Kline describes as “disquieting” to see in person. “It wouldn’t be my first choice if I weren’t stuck in a snowstorm and being pursued by these ravenous wolves,” he quips. Production designer Sarah Greenwood says she and her team emphasized the castle’s magic and grandeur in the grounds and exteriors nearby: “The whole landscape became part of the enchantment.”

It’s easy to become blasé when you’re an actor used to working on lavish productions. But the Beauty and the Beast cast never tired of their surroundings. “I remember the first time Emma Thompson and I saw the ballroom set and our jaws dropped because it’s just so gorgeous,” says Gugu Mbatha-Raw, who plays Plumette. The majestic ballroom was the perfect setting for the final number, when the Beast and all the household objects return to their human form. “Just breathing it in, from the costumes to the flowers to the music, and everybody dancing and swirling around in unison, there was a real magic to it.” The room also evolves with the story. “In the prologue, before he gets transformed into the Beast, it’s almost as opulent as Versailles,” set decorator Katie Spencer says. “Then it’s an echo of what happens to him, and then it comes back for the big celebration at the end.”

Filming Beauty and the Beast can be, well, a beast — at least for Luke Evans and Josh Gad, whose extra-macho Gaston and less-than-macho Le Fou shared bombastic scenes that sometimes led to mildly painful accidents. “We slapped hands so hard, [Josh] burst a blood vessel in his thumb,” Evans (right, with Gad and producer David Hoberman) recalls, laughing. “We had to stop rehearsals, get the medic in. He thought his finger was going to drop off, but I think he’ll survive. We just slapped hands hard, but obviously we just caught our thumbs at some point, and he’s a delicate flower.” But if they’re sounding too similar to their characters here, don’t worry: At least Gad can confirm that his hair in the film is completely fake. “If I had hair this good, I would not be doing Beauty and the Beast right now,” he deadpans. “I would be modeling.”

In this scene, Audra McDonald’s Madame de Garderobe sings for the prince just before he’s transformed into a hairy horned creature. De Garderobe craves attention, but McDonald herself responded a bit more modestly when she learned she’d won the role. “I was just shocked I was asked to be involved, to the point that when I was flying over there, I was like, 'Do they really want me to play her?’” she says. “I was pretty much in disbelief until they put the costume on me and shoved me out on-set.” Which then just made her even more speechless, of course. “When I walked on-set, it felt like I was walking into a dream.” Stanley Tucci, who plays de Garderobe’s maestro and husband, Cadenza, was also humbled by the splendor. “The scope of the set was enormous. They had these candelabras, these chandeliers coming from the ceiling with real candles. It was just stunning,” he says.

Sir Ian McKellen couldn’t wait to slip on that wig and mustache, especially since it meant working with a director he knows well. “I’ve done two films now with Bill Condon, and we’re always looking for a third,” the actor says. “It was absolutely typical of Bill that he wanted to have a few friends with him, so I was very, very thrilled to suddenly be in my first Disney movie.” Though most of McKellen’s work involved voicing his character Cogsworth, the actor says his favorite moment was finally meeting the cast in person for the final celebration. “There was one absolutely glorious day when went out and joined all the actors in doing the final scene, when all the characters in the castle come back to life and become real people,” he says. “So I did feel I was in the thick of it for at least a day, and singing and dancing was an absolute joy.”

Eyes on Africa - Lagos, Nigeria - Makoko Floating Schools

Makoko, Nigeria

Makoko is a fishing village located in the Lagos Lagoon. Due to the weakness of the nearby soil and its proximity to water, much of Makoko rests on structures constructed on stilts above Lagos Lagoon. Traditionally this area has been self governing so schools are funded and provided by the village. 

The ingenious adaptation of building a structure that floats came from growing concerns with climate change and rising water levels. This adds to its versatility not just from an environmental standpoint but from a political and practical standpoint as well. The area of Makoko is consider a poor area and one of the slums of the city. The necessity to create a school that is not only low cost and sustainable but that also mobilizes as needed to serve the children of the village is significant. Additionally recent land reclamation efforts and commercial developments in the area have reclaimed much of the lagoon from the residents of Makoko. Their homes on stilts must be deconstructed and reassembled elsewhere, while the school’s maneuverability eliminates this process.  

Built in 2013 with locally sourced wood and electrically powered with solar panels, the floating construct is designed to house about 100 students and even has a playground and green space. It is entirely sustainable due to the application of solar cells to the roof and incorporating a rainwater catchment system. The structure is also naturally ventilated and aerated. The barrels used to help the structure float are also used as water reservoirs from the catchment system. The floating schools are an ingenious design that serves the needs of the community in a cost effective and eco-friendly way.

Beauty and the Beast Headcanon

My new BATB headcanon is after the spell is broken, Belle invites Père Robert to visit the castle library (He and Belle geek out over how cool and absolutely massive the library is when he first visits) and let’s him borrow any of the books he would like as a way to return the favor for all the times he let her borrow his books. When Belle introduces him to Adam, Adam teases her and says “So this is the man who lent you Romeo and Juliet?” And just as Belle starts to worry Adam shakes Père Robert’s hand and thanks him for being such a good friend to Belle and for supporting her love of reading. Père Robert soon becomes a mainstay of the castle library and he and Belle start a book club for the castle residents. Also he, Belle, and Adam start a school for the village children, with a focus on providing a proper education for the girls of the village. And of course he officiates Belle and Adam’s wedding and it is beautiful.

Glitter & Gold

Bucky Barnes x Reader

Summary: Ancient Mythology AU. There is a limited number of encounters between gods and mortals.

Word Account: 5.424 (holy shit)

Warnings: mild mention of non-con, blink and you missed it. That’s all, I think.

A/N: This is my contribution to @whotheeffisbucky‘s challenge, because apparently I only write for writing challenges. And yeah, I created my own mythology, sue me. Ao3 link here.

I give my eternal thanks to @brightlycoloredteacups who was my beta with this one, and who also is a sweetness and an actual angel.

I think is painfully obvious that english isn’t my first language, so if you see any mistakes in the narration is because of that. Please let me know what do you think! The credit of the gif goes for it’s respective owner.

The days like these were the longest, when the sun shone high in the sky of Ballynoe and the breeze had gone far to relieve the suffering of someone else. Those who could stay at home on a day like this were lucky, protected from the heat and the hard work. But you weren’t one of those people, so you sighed, rolled up the sleeves of your dirty dress, and got to work.

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Going off the grid: Why more people are choosing to live life unplugged

For people who want to get away from today’s consumerist society, living off-grid can be an attractive option.

Imagine living off the land, producing your own food and energy and getting away from the consumption economy that drives so many of our decisions. For more and more people, off-grid living has become the way to go. Although statistics on Americans who choose to take this route are hard to come by, trends suggest that the number is increasing. Some people do it to be self-reliant or more in touch with nature. Many go off-grid to step away from society. Still others do it because it is the most financially viable option available to them.

“Going off the grid is not a game,” says Nick Rosen, founder of the Off-Grid website and author of “Off the Grid: Inside the Movement for More Space, Less Government, and True Independence in Modern America” (Penguin Books). “It is real life and a real choice for real people.”

Rosen says people go off the grid for a variety of reasons, and they vary how deeply they go off-grid. “You can’t get off all of the grids all the time,” he says. “It’s a question of which grids you choose to get off of and in what way and for how long.” Some people live off the grid part of the year for leisure purposes, taking a few months off from their jobs so they can live in a more relaxed manner. Others get themselves off the public electrical or water systems but still participate in what Rosen calls the “car grid” or the “supermarket grid” or “bank grid.”

Off-grid is green
Book cover for Off the Grid by Nick RosenAlthough a desire to go green isn’t usually the primary driver for people going off-grid, the lifestyle has many environmental benefits. For one thing, most off-grid homes or communities are in places where nature plays an important part of their everyday lives. “You become much more aware of the sun and the wind because you need it to power yourself,” Rosen says. For another, people who are living off-grid do not tend to fill their lives with the same amount of stuff as your average consumer. “We’re all consuming too much. One of the big motivations for off-grid living is a weariness of the consumer society. It’s not necessarily anti-consumer, but post-consumer.”

Off-grid homes also eschew the American tendency toward overly large residences. “We’re over-housing ourselves,” Rosen says. “That’s been very big feature of American society since the ‘50s: The overly large house with the big heating and cooling bills, storing vast amounts of unnecessary possessions.” Although off-grid housing varies in size and scope and energy needs, Rosen estimates that the average off-grid residence uses about 20 percent of the energy consumed by a typical American home.

Another green factor is a lowered reliance on transportation. Although people living off the grid still own vehicles, they use them much less frequently. “You may only need it once a week or once a month,” Rosen says.

Other motivations: Fear and finances
Some off-grid people do it to get away. “Perhaps the biggest motivation at the moment is a loss of trust in the government and the ability of social networks to look after us,” Rosen says. These are people who feel as if society no longer provides the sense of safety that they require.

For others, going off-grid is an economic necessity brought about by hard times. “A lot of the people I met when I was traveling around the States writing my book were people who had to hand back the keys to their properties and find a new lifestyle. In one case they bought some land on eBay and moved themselves into a trailer. And they find themselves living a more ecological lifestyle just by the fact that they’re generating their own electricity and growing their own food, but they were motivated by financial matters rather than by more pure desire to tread more lightly on the planet.”

How much do you really need?
Rosen says most families could go off the grid with as little as a half an acre, “as long as it’s the right half-acre.” Ideal locations would have some woodland, an area for agriculture, enough light for solar power and a good source of water, either a well or a stream. “The era of 40 acres and a mule has been replaced by the era of a half an acre and a laptop and a solar panel,” he says.

But even a half an acre can be a lot of work — too much for most people, Rosen says. “You’re giving yourself a lot to do if you’re running your own power plant, dealing with your own water supply, disposing of your own waste and pulling your own food.”

Instead of going it alone, many people form off-grid communities. “The best way to get off-grid is to go off with others in a group of families, so each have half an acre and share resources and skills,” Rosen says. “One is tending livestock and one is growing vegetables, while a third is looking after the power supply for everybody else.”

The next generation?
Going off the grid today doesn’t mean reinventing the wheel. “The existence of the Internet that has made living off the grid a real choice and a real possibility for so many people,” Rosen says. Websites like his own provide lessons and plans and advice for off-grid living, as well as a sense of community for people who might otherwise be physically isolated from each other.

In addition, some off-the-grid communities are ready for new people to join them. “There’s a huge generation of 1970s back-to-the-land movement people who are now getting pretty old and they’re sitting on these huge tracks of land that can’t be broken up,” Rosen says. These communities are looking for young people to buy their way in. “The idea of land trusts is being used as a way these older people can get some new residents to help look after them and then work on the land or take over part of the land as the older generation dies out.”

Rosen says his own ambition is to create an off-grid village of 300 or so homes in his native England, provided he can find a local zoning board willing to allow it. “I think there’s a huge demand for off-grid living that can’t be satisfied because the places where you’d want to live off the grid are the places you can’t get permission to do so,” he says.

Written by: John Platt

anonymous asked:

Where did you get that horse?

Go west of Highland Stable. The stable is located in the Faron province, which is southwest of the Necluda providence (the providence where Kakariko Village and the Dueling Peaks stable is). Go west from that stable until you reach this desert like area that has some thinly spread out trees with thick trunks. The Big Horse will be in the middle of a circle of regular sized horses. Also, it will be more difficult that usual to tame, so pack up some stealthy gear and elixirs to keep coming at it. The area you find it in is surrounded by some strong monsters, so be careful riding the horse back to the stable to register it.

Yay! A little bit of happiness in this chapter, albeit after a lot of pain.
So I mentioned in a previous fic a group called Voctave, who do incredible acapella work (They seriously sound like angels.) One of their songs really sums up Loki’s mindset for this fic but it’s not out on YouTube. If you’re interested in hearing it, check them out on Spotify; the song is called ‘Being Alive’ and it’s great. Anyway, enjoy!

Prompt[s]: You cruel, cruel author….

That was brutal. I mean, f**k you Loki, grow the f*** up…


‘The Tower’ (Part 14)

Part 13

Many a week had passed since the day you’d left The Tower behind you. Many a lonely night in a bed that now felt foreign and strange. Many a day spent in the company of those who you had no vested interest in.

Jarle was unsurprisingly glad to hear that your adventures were over. He called for you almost every day, insisting that you get out of the house when you’d have much preferred to stew in front of the fire.
“There are plenty of adventures to be had here,” he assured you as you walked hand in hand around the marketplace. Everything felt a little… numb, to be honest. You had no gifts to search for, no food to collect, and no clothes to sew. What was the point of the marketplace again?

“I’ve finally got a hold of a sizeable pile of blueprinting paper for you,” Jarle said as he perused the jewellery stand. You weren’t paying attention, much more dedicated to moping around. How had Loki – a man so cruel and petty and unkind – gotten this much of a hold on you? After all, the mystery had been solved. You knew who he was, why he’d been imprisoned (to some degree), and why he felt such bitter resentment towards the outside world.

Jarle paid for his purchase and returned to your side. He noticed your daydreaming and sighed.
“I… I don’t know what happened,” he said calmly, “nor why your little escapades have so abruptly ended, but if it is something upsetting and you should wish to discuss it, I will gladly listen. You can say as much or as little as you like.”

You turned to Jarle and flashed him an appreciative smile.
“Thank you, Jarle, but it is best that I simply try to forget.”
“Perhaps busying one’s mind will assist with that.”

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In Northern Italy, silently resting in the area between Bergamo and Milan, is an old industrial village with a peculiar graveyard. The village was founded by Cristoforo Benigno Crespi, a textile manufacturer, and is an exceptionally well-preserved example of a “model village” built for factory workers during the 19th and 20th centuries. Crespi provided the headstones for free to the people who lived within his village. The big ziggurat is actually where the tombs of the Crespi family lay. High walls flank both sides of the building, curving around the graveyard as if offering a paternalistic embrace; a hug from the Italian industrialist to all of his employees beyond death. On the heavy bronze doors of the mausoleum, a quote from Victimae paschali laudes reads: “Mors et vita duello conflixere mirando: mors mortua est” (which loosely translates to “Death and life contended in a spectacular battle: death was defeated”). 📸: Photo by Luca Casartelli

anonymous asked:

Hello! How about a scenario with link? Perhaps him and his s/o are cooking and link ends up adding the wrong ingredient?

I do hope this is fine 💜

- Aya

Spicy Confusion

The sky was painted a shade of light blue, clouds of various shapes and sizes decorated the once plain canvas as flocks of birds flew with ease. The sun shone brightly, its warm rays providing light and warmth for the villagers of Hateno Village to indulge. However, the chilling air seemed to have been able to pierce through the warm light and kiss each and every inch of exposed skin there was, forcing people to wear multiple layers of clothing to defend themselves from the cold. The red tint in the tips of their nose and ears - sadly - proved that it was ineffective.

Kids were forced to stay inside their homes instead to play and shopkeepers avoided leaving the doors and windows open to prevent the cold air from getting inside. Farmers had to bear with its deadly kisses as they took care of their crops and mothers rushed to finish their tasks. Despite being summer already, it seemed that the temperature did not want to cooperate with it.

Behind the house and model houses of Bolson Construction stands the home of a young couple. The pot nearby accepted the blazing heat from the burning piles of wood below, cooking the meal prepared by both Link and his lover. The simmering liquid which cooked the sliced meat slowly vaporized into thin smoke, and the aroma embraced the two young adults as they talked to one another. The dish was simple to make, Prime Gourmet Curry. It was enough for the stomachs of those who ate it to feel warmth spread throughout their bodies, and it was surely something everyone had to eat sooner or later.

The chatter between the two was disrupted by a pair of rushing footsteps nearing them, and both of them turned their heads to see an ecstatic Amira. The mother of two faced [name], a large grin plastered on her face. She intertwined her fingers together and pleaded, “Oh, dear! May I borrow you for a second? I really want to show you something I made.” The couple looked at each other before shrugging, [name] stood up and patted their clothes down. They turned their head to face Link and asked, “Can you put the Goron Spice for me?”

Link stood up and nodded as a reply, refraining from something with someone else around. They gratefully smiled, placing their lips upon his cheek for a second before joining Amira. “I’ll be back soon, don’t worry!” They exclaimed, and he watched their figures getting smaller until they were no longer there. The knight stretched, popping a few bones to release the tension from his shoulders.

He walked inside his home, breathing in the welcoming scent of wood of the space enclosed by four walls. Nearing the shelves where the Goron Spice resides in, he eyed the multiple containers; each held different kinds of spices and elixirs. Everything looked the same except the colours of the liquid inside. His lover decided to transfer each and every one of them in the same kind of jar, admitting that it was quite uncomfortable for them to see so many different containers in one spot. It was not difficult to differentiate them from each other, thanks to the help of the pieces of paper taped in each container. Link made the mistake of not paying any attention to what he was reaching for, confident that his instincts were right with its choice of jar.

He left his house and neared the pot, popped the cork open and poured the adequate amount of spice in–

Oh dear, was that purple swirling around inside the pot?

Link’s baby blue eyes widened, finally realizing the mistake he has done. He soon regretted ever trusting his instincts, and should have checked if what he got was the correct one or not. He held the jar up and read the label taped onto it.

It was not Goron Spice, but Monster Extract.

A look of disbelief and annoyance overtook his features, and Link could not help but breathe out a deep sigh. What should he say once [name] gets back?

He decided to wait instead, the food still looked edible enough to eat. Maybe they can even turn them into meaty rice balls instead.

“Link, what’s that smell?” Not even before a minute after they made the mistake did he hear their voice. He turned and watched as they neared the cooking pot with confusion. Eyeing the food before them, they crossed their arms and asked, “What did you do?”

“I… accidentally added Monster Extract instead of Goron Spice?” Link responded in a questioning tone, scratching his nape with his free hand as embarrassment flooded his cheeks, turning them into a shade of pink. He looked at the ground and waited for them to react. Instead, what he only received was a soft slap on the back of his head, causing him to gasp in surprise.

“How many times I have told you to check before confirming that it’s the right one?” They asked, although they knew they didn’t need an answer for that. Link chuckled under his breath, muttering an apology as he smiled. [name] shook their head and patted his shoulder.

“Don’t worry, we can still eat it. Come on, it’s almost done,” they said, getting inside to get the utensils needed. “It’s your turn to wash the dishes after this for your mistake!” They exclaimed. Link shook his head and followed after, shouting back an “Okay!”

There are places in Wales I don’t go:
Reservoirs that are the subconscious
Of a people, troubled far down
With gravestones, chapels, villages even;
The serenity of their expression
Revolts me, it is a pose
For strangers, a watercolour’s appeal
To the mass, instead of the poem’s
Harsher conditions. There are the hills,
Too; gardens gone under the scum
Of the forests; and the smashed faces
Of the farms with the stone trickle
Of their tears down the hills’ side.

Where can I go, then, from the smell
Of decay, from the putrefying of a dead
Nation? I have walked the shore
For an hour and seen the English
Scavenging among the remains
Of our culture, covering the sand
Like the tide and, with the roughness
Of the tide, elbowing our language
Into the grave that we have dug for it.


‘Reservoirs,’ R.S Thomas

I can’t express how important this is to us in Wales. 50 years ago a village in Snowdonia was flooded in order to provide water to Liverpool. This meant removing the inhabitants from a place they called home. They lost their homes, their chapel, their school, even their dead, as the cemetery was also emerged in water. 

Despite fierce opposition, protests, and even pointing out the fact there were plenty of other uninhabited places that a dam could be placed, they still went ahead and drowned an entire village. Even though the city of Liverpool apologised, it will never fill the void they have left us with.