weaving as metaphor

anonymous asked:

What's your favorite thing about Taylor?

how her exceedingly kind, empathetic and incredibly selfless disposition seeps into every single area of her life, how she weaves intense thoughts, metaphors and emotions into her songs and pens some of the most thoughtful introspection, how she’s an extraordinarily talented artist who has simultaneously created some of the most anthemic bops and poetic ballads, the way she absolutely lights up with genuine enthusiasm when she converses with others, the way she’s fiercely passionate and so determined when it comes to her artistry, how she exudes resilience, courage and strength under varying circumstances, the way she openly imparts endless wisdom to all of us, whether that’s through her clean speeches or through leaving positive, encouraging and uplifting comments on fans photos and posts, and how she’s gone above and beyond to invite fans even further into her life, whether that was inviting them into all of her homes or surprising them, as that’s such a remarkable, powerful testament to her character xx

how do i love you–
in a eulogy or story,
in prose or poetry.
in a sonnet i could love you,
or through syllables in a haiku.
i could write you a love letter,
tapping on the refrain of love forever.
we’ll dance with the feet of romance,
through a villanelle i could chance.
i could weave similes and metaphors.
how do i love you–
i could love you as i do.
with the simplest word written,
from a heart that’s damaged but true.
—  sonnet II: how do i love you, m.a

“I always wondered why the symbol “ゆ” (said “yu”) was on the door to the bath house. I asked my Japanese teacher, and he wasn’t too sure so I did a little research. The symbol is used on the entrance to Japanese bath houses. The word “yu” is translated to “hot water”. So, makes sense to be on a bath house, yes? Then I did more reading. During the Edo period, these public baths became popular for men because of women who started working at these communal baths, washing men and selling sex. The woman were known as 湯女, or “yuna”. This directly translates to “hot water woman”. So basically, they were brothels. Guess what the woman who ran this bath house would be called? Yubaba. Yubaba is the name of the woman who runs the bath house in Spirited Away. If you watch Spirited Away in Japanese, the female workers are referred to as yuna. Chihiro was forced to change her name to Sen. Kinda like how strippers get names like “Candy”. No-Face keeps offering Chihiro money. He “wants her”. THEN I read interviews with Miyazaki. This was all put in intentionally. As we all know. Miyazaki’s stories are weaved with different themes and metaphors. He said he was tackling the issue of the sex industry rapidly growing in Japan, and that children being exposed to it at such early ages is a problem.


Not my post, but thought I should share >w<

Original: http://cering.tumblr.com/post/560013869/interesting-fact-about

My Analysis On Nicki Minaj's Style

Nicki Minaj is a black female rapper who embodies femininity and masculinity at the same time. The pink outfits, girly attire, and colorful wigs and weaves are all metaphors of Nicki challenging society’s perception of black womanhood. Her being a “Barbie” is her speaking to a generation where black girls and women have never grown up to believe they were “barbies.” Barbies where only for white girls with pale skin while black girls only dreamed of being the blond barbie.

   In a world where white women with blond hair dominate beauty, Nicki comes in and appropriates white womanhood by putting on the outfits and wigs. At the same time, Nicki embodies masculinity by saying, “Yes, I am a woman. I’m sexy, feminine, and appeasing to the male gaze, but I’ll still blow your heads off.” The lyrics and her style of rapping says it all. Nicki reclaims the femininity that has been denied from black women for centuries.

   Nicki is not afraid to show she’ll bust a cap in a niggas ass if he disrespects her. Nicki is not afraid to stand up to women who doubt her and put her down. As imperfect as she can be, she gets the struggle of being a black woman. She gets the gender roles and misogyny that black women everywhere have succumbed to one time or another. Nicki is far from perfect or un-problematic, but Nicki’s creativity is right on the money. Nicki is a black feminist/womanist because her music and style combats misogynoir and gender roles. Although not always politically correct, Nicki is actually a good source for feminism/womanism and black female sexual liberation. Aside from other acts like Lil’ Kim and Queen Latifa, Nicki Minaj is our modern day black hip-hop feminist.

if it all ends in ashes and broken glass
make up some other story of why
we burned down and shattered

go on, tell all the pretty lies you’ve been
keeping at the back of your throat
weave them sweater metaphors so
they don’t shiver on your tongue
so you don’t stutter and grind your teeth
so you don’t have to worry about your friends
finding out the truth about what you did

if it all ends in ashes and broken glass
make sure you chew them silently
so nobody notices and nobody hears
the truth about what you did

—  mouth full of lies

how old were you when you first discovered your heartbeat? when you opened your rib cage to reveal the carnage? how old were you when the vultures circled the roadkill of your wrists? when the sun kissed fire into your eyes? when you shriveled up and died?

the epidemic got to me before you did. i peeled every layer of skin back for the mirror. there are rubies underneath. sealed into the flesh. did you notice this when you took the meat cleaver to my skull?

when you said ‘never’ i assumed you meant in a week. instead it happened in a day. a flash of lightning. a carton of blueberries. eating dark chocolate on your back porch. you never told me you liked them bitter. you spat out the sweetness of my skin and your saliva burned a hole in the pavement. summer was always my least favorite time of year. now i can’t even stomach winter.

i forgot how to weave metaphors into tapestries to hang in museums. you have that power over me. the only beautiful thing about you is your frame. i carved it into the statue of David before you could say no. you hate the vain. thats why you hate me. i never tire of looking at what youve made of me. i never tire of painting myself into depictions of the Birth of Venus. you only ever called me Venus between the sheets.

if you saw me on the street, would you remember me? would you remember the fly trap curls luring you in? a weak man and a pink skinned temptress playing doctor on the bedroom floor. would you remember the gray cotton panties you ignored? the blue bra you threw out the window? would you remember the thicket of hair? the violins singing harmonies in the background? would you? would you? would you?

—  The Eve of New Year’s Eve pt. 1 (S.L.)

anonymous asked:

Jehan being very affectionate with his friends. Very. It's like my favorite headcannon rn and I wanted to share. :)

They know their shit when it comes to comfort people!

  • Jehan finds the littlest things and magnify them into forces of natures, weaves them into grand metaphors of life that make you reflect on the importance and value of human existence
  • “See that flower sticking out of the asphalt? It’s you. Against all the odds, you managed to grow there and look beautiful in spite of an environment that was hostile to you. I’m so proud of you you little concrete flower”
  • They also make the most poetic compliments, about the colour of their friends’ eyes. Always oddly specific “You have the hands of a harpist, they’re so pretty and lithe!”
  • They have a whole list of cute baby animal vines , when everything else has failed.
  • “Listen, the world is being mean to you right now, but look at that bun. That bun is whishing you a good day. You whatever you have to do to get through today and that bun and I will be proud of you”
  • Adorable nicknames. They may or may not call Enjolras “Capellini”, because French people call those “Angel Hair”

He wanted to tell him. He wanted to tell him, “Your dad used to make corny metaphor’s all the time. Whatever game he was into at the time was always the key factor. If he was into Tetris it was about how when you start you have no idea what pieces you are going to get so you just have to deal with what you’re dealt. If it was monopoly it was about thinking ahead and making investments in things that matter to you. If it was mah jong it would be how sometimes you have to look at things from a different perspective to know how everything fit together.”

He wanted to tell him about how his father would weave these metaphors and spend a good half an hour working to connect every part. 

But Sirius couldn’t do it.

He could tell Harry a million things about James; how he walked, how he talked, how he organized his socks… But Sirius couldn’t tell him this. Because everything else about James belonged to a seventeen year old boy. But this… this one detail… belonged to a man that was destined to be a father and never got the chance to be one. 

And that was the one thing Sirius chose to forget. 

Review - Hild by Nicola Griffith

If you like historical epics with a leisurely pace and detailed world building, and your only complaint is that none of those books have queer protagonists, then Hild is for you. Hild is a Lambda Literary Award finalist this year for Bisexual Fiction. It’s  a fictional account of the early life of St Hild of Whitby, a Catholic Saint responsible for spreading Christianity in Great Britain. The setting is beautifully medieval, replete with historical and culture details, and based very roughly on actual historical people.

Hild follows the main character  through her pagan childhood and conversion to Christianity at 13, up until the age of about 19. In Griffith’s telling, Hild is raised by a politically ambitious mother to influence an indecisive king. It is a precarious position to be in, as any wrong move could result in their deaths.  As she gets older, Hild starts to learn the craft of prophesy, observing the world and people around her, figuring out people’s motivations and desires. She not only tells the king what he want to hear, she draws logical conclusions about situations and accurately predicts what is about to happen. In fact, this part of the story appealed to me for many of the same reasons that the original Sherlock Holmes stories did: the protagonist appears to perform a miracle by observing a series of minute details and stringing them together into a series of logical inductions. I wasn’t surprised to learn that Nicola Griffith’s other writings include the Aud Torvingen mystery series.

Hild’s attention to details aids her  growing awareness of politics when the overking dies and her Uncle Edwin stands a chance at the throne. Hild befriends an enemy, her Irish prisoner-of-war tutor Fursey, who teaches her the new and still uncommon skills of reading and writing, so that Hild can correspond with informants. Fursey becomes Hild’s advisor and eventually her spy in the court of her sister’s husband Æthelric.

Great Britain’s gradual conversion to Christianity is a major theme in the book, and is shown as being more political than religious. King Edwin marries a Christian woman, and Edwin allows his daughter and a few of his men be baptized. In short order, Paulinus the Crow, the pope’s representative in Great Britain, gathers more power. This is a story where everyone converts to Christianity (Hild is a Christian saint, after all), but it is not a story about Christianity, per se. Hild sees the wind change, and converts because it is politically a good idea, but her thoughts on the matter are cynical. When Paulinus speaks of the power of the Christ god, she thinks it is a bunch of “Fine promises, exactly what you wanted from a god.”(331) The religion may be Christian, but the language and culture is still very much pagan. When Paulinus arranges for Coifi, the priest of Woden, to publicly proclaim the Christ god greater than Woden, the endorsement is not religious. Coifi promises, “The Christ god will make us richer than the Franks! I tell you truly. It is our wyrd,” (fate) (332).

Griffith presents the middle ages as a grim world. After surviving the Battle of Bebbanburg by hacking into the arm of an attacking soldier, Hild shows signs of what today we would call post-traumatic stress disorder. But despite the grim aspects of the story, Griffith does not fall into popular misogynistic storytelling tropes of stories with medieval settings. It is not uncommon for stories of the middle ages to be filled with either constant rape, or noble women placed on pristine pedestals and treated as ideals instead of real people.

Instead, the women in Hild are presented with a rich internal and external life, with their own spheres of political influence. Griffith drives home the idea that women have a place in this world through metaphors based around women’s experiences. Hild imagines the political world as a loom, different people and actions making up the weft and weave. Her goal is to pick apart the near invisible strands that make up the whole picture. In Greek stories, women’s magic was symbolized through women’s weaving – manipulating small pieces of string to create a whole fabric. Griffith does the same, frequently using weft and weave metaphors to show Hild coming to understand the motives of the soldiers and priests around her, and then manipulating them in small ways to ensure the safety of her family and gain some level of power within a world ruled by her Uncle and the Church.

Hild spends much of the book a child, but as she grows, the introduction of her sexuality feels natural. Premarital sex is common for both the men and women around Hild, and her mother advises her to take a lover who is not politically important, because they will overshadow her and she will lose her influence. Eventually Hild takes her slave girl to bed, and avoids a forbidden relationship with  her childhood companion (and probable half-brother) Cian.

Hild will appeal to readers who enjoy a slow, methodical build and tense political strife. A glossary and author’s note in the back explains unfamiliar language and pronunciation. A family tree in the front of the book helps readers keep the family relationships organized, but I occasionally found myself wishing for a dramatis personae just to keep straight all the characters and their political allegiances. Despite its 500+ pages, the conclusion had an unfinished cliffhanger ending, preparing us for the next book in the series, which Griffith has promised that she is already writing. We can probably expect an epic historical trilogy to unfold over the next few years.

 ~ Ellie

the one pearlmethyst fic I would love to write but probably never will because I can’t work out like the…timing on it and also idk how well I can sell cheesy-hopeless-romantic!amethyst (even though I love that) but

it’d be Pearl & Ame just chilling on a rainy day and get to joshing each other back and forth and at one point Pearl is like well what do you wanna do then & Ame pulls her into her arms and says imma tell you a story

Pearl’s like ok and Amethyst starts her story with “Once upon a time there was a brave knight under a wicked spell” and Pearl turns just about TEAL immediately and is like “no don’t” b/c she thinks Amethyst is just gonna tease her but she’s like “no listen” and weaves this elaborate metaphor about her life and the obedience that was instilled in her that she rebelled against by learning to fight and how important Rose was to all of that but also how much strength it took for Pearl to do the things she did…the whole point is that Pearl always thought of Rose as the hero of her story and Ame’s saying no…no, you are. 

And as she finishes talking Pearl says, all teary-eyed, “so how does the story end?” and Amethyst responds “I don’t know yet. As far as evil spells go, this is a real hard one to break. But our knight is pretty brave, and pretty strong…I’m betting on her.”

And Pearl just smiles, and pauses, and then says, “I’m thinking a true love’s kiss wouldn’t hurt.”