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emabatis · 3 months

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A WIP Intro: Ruth, Windows, and Wishes

I suppose I should put all the basics of this project that I've been calling "The icy wip," into one post. I've got a title now! Ruth, Windows, Wishes! I may or may not change it.

Every night, after Mother’s footsteps faded down the hall, Dahlia knelt in front of her water stained window and prayed that her daddy would never get better. This practice was to make sure he did get better, because Dahlia had discovered through vigorous trial-and-error that whatever she prayed for would never come true.

Summary: It’s been months since Dahlia’s daddy went to the faraway hospital, and she has several thoughts about it. She also has thoughts on more pressing topics, like the how words feel in her mouth, which ice cream flavor to get, and why her favorite enigmatic grocery clerk is following her when she should be propped up in the funeral parlor’s window. Answering these questions will either take her on a journey of self-discovery or leave her horribly confused. Probably a bit of both.

I'm a bit murky about assigning genres and demographics to my work, especially if it's unfinished. For example, categorizing it as "paranormal" puts emphasis on Ruth's ghostliness, which I think is one of the least important things about her. However, in acquiescence to their utility as marketing tools, I'll say the genre is "weird, literary, coming-of-age, historical, paranormal" with its demographic being "middle grade-ish maybe"

Third person limited, past tense

Inspirations: Jostein Gaarder's "Sophie's World," Norton Juster's "The Phantom Tollbooth," Lewis Carroll's "Alice in Wonderland," William Faulkner's "As I lay Dying," James Burke's "Connections" Episode 4 "Faith in Numbers"

Characters:

Dahlia - The main character. Naive, quiet. Isn't good at reading, and has many thoughts about words. And windows. And Ruth.

Emilie - Dahlia's talkative friend. Almost a parody of politeness.

Anderson - Emilie's - and by extension Dahlia's - babysitter. Believes in doing the opposite of what he wants to do in the name of free will.

Ruth - The unfortunate grocery clerk. Surly, enigmatic, dreams of being a weaver, but never gets past embroidery.

Also there's Clue - the content Sisyphus, Nettie - the suspicious ice cream scooper, the solipsists - a pair of solipsists, and Dan - who believes the world is just as it should be.

Status: First draft is halfway done!

The tag for this will remain "#the icy wip" until I'm really settled on a title.

#my fiction #the icy wip #wip intro #writeblr #writing #writers on tumblr #writing community

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amayasnep · 2 months

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A bit of history about Comet Halley

There is perhaps no other comet in history that has so captivated humanity as Comet Halley. A familiar visitor to the night skies for millennia, whose brilliance and seeming regularity within the lifespan of a human made it a prime target for us to project a piece of ourselves upon it.

For some, the comet was looked upon as an omen.

The apparition of Comet Halley in 1066 was seen as an omen among the English. Only a few months later, Harold II of England lost to William the Conqueror at Battle of Hastings, marking the beginning of the Norman Conquest of England.

The comet was recorded in the Bayeux Tapestry, an absolutely amazing 11th century embroidery detailing the Norman Conquest.

For others, the comet was a sign of divine favour.

The apparition of Comet Halley in 1456 was witnessed by Zara Yaqob (1399–1468), Emperor of Ethiopia. Yaqob believed the "miraculous light" to be a sign of God's favour after having ordered the execution by stoning of a group of heretics 38 days earlier. In response, he ordered a church be built on the site of the execution. Around it, a new capital city would be built: Debre Birhan (ደብረ ብርሃን; lit. "city of light").

Debre Birhan would remain the capital of the Empire of Ethiopia until the 1470s, when Yaqob's son Baeda Maryam I diminished its importance by keeping the royal court in constant movement throughout the realm for various reasons.

For Mark Twain, it was something else entirely.

Perhaps the most famous story involving Comet Halley was the self-prediction and subsequent passing of Mark Twain (Samuel Clemens) a day after perihelion during its 1910 apparition.

In 1909, Twain said the following:

I came in with Halley's Comet in 1835. It is coming again next year, and I expect to go out with it. It will be the greatest disappointment of my life if I don't go out with Halley's Comet. The Almighty has said, no doubt: "Now here are these two unaccountable freaks; they came in together, they must go out together".

Twain lived a full life and he knew his time was near. He didn’t fear death any more than he feared his non-existence before he was born.

It’s clear Twain saw a part of himself in Comet Halley. As someone who’s been doing astronomy all my life, I sometimes see a part of myself in the stars.

Although his heart attack a day after the comet’s closest approach was a chance event, we can’t help but try to find some deeper meaning in all of this. Was Mark Twain’s birth and passing under Comet Halley count as a blessing or an omen? Did he know he was going to have a heart attack? Was it the will of God to take him then?

I think a better question would be to consider how quick we are to consider such things to be inherently “good” or “bad”, rather than letting the comet be a comet.

And then there’s Rabbi Yehoshua. 🍞

Rabbi Yehoshua (d. 131 CE), a leading tanna at Yavne following the destruction of the Second Temple, is credited with having made the first reference to Comet Halley's periodicity in literary history. The comet was witnessed by R. Yehoshua and R. Gamliel in 66 CE, the only apparition to have occurred during their lifetimes. The story can be found in Horayot 10a:19 of the Talmud.

The Gemara notes: This is similar to that incident where Rabban Gamliel and Rabbi Yehoshua were traveling together on a ship. Rabban Gamliel had sufficient bread for the journey. Rabbi Yehoshua also had sufficient bread, and additionally he had flour. The journey lasted longer than expected, and Rabban Gamliel’s bread was finished. He relied on Rabbi Yehoshua’s flour for nourishment. Rabban Gamliel said to Rabbi Yehoshua: Did you know from the outset that we would have so substantial a delay? Is that the reason that you brought flour with you? Rabbi Yehoshua said to Rabban Gamliel: There is one star that rises once in seventy years and misleads sailors at sea, causing their journeys to be extended. And I said: Perhaps that star will rise during our journey and mislead us.

As it turns out, R. Yehoshua was right. He not only predicted the comet’s inevitable reappearance, but actively prepared for it. It shows both his wealth of knowledge and his great leadership skills.

Science!

This is when the fun begins.

In his 1540 book Astronomicum Caesareum, German cosmographer Petrus Apianus described the appearance of a comet in 1531. He noted that the tail of the comet always pointed away from the direction of the Sun, and created a detailed diagram showcasing this relationship. This would prove invaluable to future astronomers.

English astronomer Edmond Halley (1656–1742) was the first to scientifically examine the comet and its apparitions. By studying existing data on the 1531, 1607, and 1682 comets, he came to the conclusion these were the same comet. He presented his findings in 1696 and collaborated with Isaac Newton and Johannes Kepler to develop a model for the rules behind the motion of celestial bodies.

In a 1695 letter to Isaac Newton, Edmond Halley writes:

I must entreat you to procure for me of Mr Flamsteed what he has observed of the Comett of 1682 particularly in the month of September, for I am more and more confirmed that we have seen that Comett now three times, since yͤ Yeare 1531, he will not deny it you, though I know he will me.

Edmond Halley predicted the comet would return in 1759, a prediction which he never lived to see fulfilled but which was remarkably accurate (Johann Palitzsch first sighted the comet on 25 December 1758). He also made other scientific predictions, such as the Solar eclipse of May 3, 1715, and made countless contributions to the field of science and especially astronomy.

Side-note

In 1695, Edmond Halley was the first person to suggest that Noah’s Flood may have been the result of a comet impacting the Earth. He was promptly censored by the Royal Society for making such an absurd claim. Given the time period, this was probably on religious grounds.

Then, 303 years later, the American disaster movies Deep Impact and Armageddon were released within months of each other, the former of which depicts a cheesy “biblical” flood induced by a comet striking the Earth. Thanks Halley!

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Closing thoughts

Comets are cool. I like comets :3

Update 26 Feb 2024: I’m making a part four!

Prev | Start | Next

#Halley's Comet #comet #astronomy #astrophotography #science #art #art history #history #talmud #talmud posting #Ethiopia #Zara Yaqob #Rabbi Yehoshua #Rabban Gamliel #Mark Twain #Edmond Halley

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bookclub4m · 6 months

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15 Crafts and Crafting books by BIPOC Authors

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

Weaving in the Peruvian Highlands: Dreaming Patterns, Weaving Memories by Nilda Callañaupa Alvarez

The Embroidered Garden: Stitching through the Seasons of a Flower Garden by Kazuko Aoki

asowacikanisa: A Guide to Small Metis Bags by Amy Briley and Gregory Scofield

Knitting for Radical Self-Care: A Modern Guide by Brandi Cheyenne Harper

This Long Thread: Women of Color on Craft, Community, and Connection by Jen Hewett

Print, Pattern, Sew: Block-Printing Basics + Simple Sewing Projects for an Inspired Wardrobe by Jen Hewett

Embroidered Animals: Wild and Woolly Creatures to Stitch and Sew by Yumiko Higuchi

Super Easy Amigurumi: Crochet Cute Animals by Mitsuki Hoshi

Mini Knitted Woodland by Sachiyo Ishii

The Art of Mi'kmaw Basketry by edited by shalan joudry and Holly Brown Bear

Embroidery: A Modern Guide to Botanical Embroidery by Arounna Khounnoraj

Visible Mending: A Modern Guide to Darning, Stitching and Patching the Clothes You Love by Arounna Khounnoraj

The Tunisian Crochet Handbook: A Beginner's Guide by Toni Lipsey

Literary Yarns: Crochet Projects Inspired by Classic Books by Cindy Wang

The Auntie Sewing Squad Guide to Mask Making, Radical Care, and Racial Justice by Kristina Wong

#genres #booklists #crafts #crafting #non-fiction

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wadeeah · 2 years

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FA222 - Project 1:

First topic : Exhibition events

The Technical Fabric Committee of Beni Jamra Village organized its first events and social and cultural events with the aim of discovering young people's talents and creativity and working to develop them through a package of workshops and lectures provided by specialists in several fields.

The event was launched in the lounge of the Bani Jamra Cultural and Sports Club (26 September 2016), where 12 folk and literary art were revived for the over-16s.

The member of the textile art committee, Fatima Abdelmohsen, said: They started preparing for this event about a year before the event. The idea was launched with the aim of encouraging artists to continue to develop their talents and enhance their artistic abilities. It seeks to mobilize all means of support for the continuation of artistic production in the village of Bani Jamra In addition to attracting the largest number of audiences from within and outside the village, to learn about the talents of the villagers.

As for the details of the event that began on Sunday and lasted until October 1, the event celebrated 12 art: (Drawing, Arabic line, photography, writing art, poetry, filmmaking, sculpture, handicrafts, including crochet, crochet, embroidery, origami, sewing, electronic design, makeup art and henna engraving, textile, woodwork).

The Commission confined a number of artists and artists to the village of Beni Jamra, numbering some 220 men and women, 95 of whom participated in the event with their work and talents.

The event held accompanying interactive sessions throughout the main event, including in the areas of photography, writing, poetry and filmmaking, with the participation of artists with extensive experience in these areas.

Abdelmohsen described the Committee as "an independent voluntary committee of the residents of the village of Bani Jamra on artistic and cultural affairs", noting that the Committee's first activity would be limited to the people of the village. But they seek to expand other activities, to spread interest and awareness of different arts, and to create and discover young people's talents and abilities.

@uob-funoon

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katriaraden · 1 year

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Are you working on anything fun right now?

Uhh okay, I'm actually all over the place and working on so many things at the same time while feeling I'm not doing anything at all :') First things first, I'm tentatively preparing for a shop update and reopening. So far I've offered only prints and stickers but this time around there will be washi tapes and I'm working on tote bags, apparel and some neat originals. I'm thinking gouache, acrylics and embroidery maybe. I'm also working on my portfolio. It is my goal to start seeking literary representation by the end of the year and I've convinced myself I need to seriously rework my portfolio and start from scratch basically. Even though I have a few published books already. It's a whole thing. And lastly, I have a lot of plans for future projects like books, comics and games but I *am* struggling with my art at the moment and the direction I'd like to take. Ultimately I want my art to become more story driven, but those artworks take much longer. I also want to expand and take risks with my art, start talking about more serious topics and process deep feelings, but I'm afraid it'll scare off most of my audience who might have come for cute cows and chickens. Which is totally understandable, do what makes you comfortable. I still worry about it a lot because my livelihood does at the moment depend on the success of my accounts.

BUT YEAH, lots of plans and lots of new and possibly exciting things to come.

#katria talks

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breeyn · 3 years

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I’ve been teasing you mercilessly for ages now, while I work on secret projects. They’re still all secret, but here is a tiny sneak from one of them. When I say tiny, I mean it - this is the biggest embroidery a my rt piece I’ve ever worked on - the full piece is 11x14 inches, and this is just one small bit of it. I collaborated with @dorywhynot and @entanglednow for the @enchantedomenszine - and preorders are now open!! I am constantly awed to be working with Dory, and getting to collaborate with Tangles, one of my very fave fic writers - it was all extremely happy-making. If you like creepy fae stories, this one is for you. All proceeds will be donated to Pride and Less Prejudice, and Hope In A Box, literary organizations for LGBTQ+ youth.

https://enchantedomenszine.bigcartel.com

#good omens #crowley #art #collaboration #dory whynot #entanglednow #fairy tale #good omens fic #good omens fanart #good omens zine #embroidery #cottagelife

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brooklynmuseum · 4 years

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Join us for a virtual tour of Judy Chicago’s The Dinner Party by Curator Carmen Hermo. An icon of twentieth-century art, a watershed moment in feminist art and thinking, and one of the most popular artworks in our collection, The Dinner Party celebrates the achievements of 1,038 women in Western culture, and sits at the heart of the Elizabeth A. Sackler Center for Feminist Art. It’s also a perpetually popular destination for intergenerational family visits. We wish all mothers and caretakers a Happy Mothers Day!

Judy Chicago’s monumental The Dinner Party was created between 1974–79. The artwork takes the form of a meticulously executed banquet table set for 39 individual women; each woman is honored with a hand-painted and formed ceramic plate, and an elaborate needlework runner. On the hand-cast Heritage Floor, the names of 999 other women stream out in relation to those at the table, visually representing women’s vast contributions in nearly every aspect of history.

Before entering the installation, you are greeted—and guided— by six woven tapestries, decorated with abstract imagery that evoke motifs on The Dinner Party. They convey Chicago’s vision for an equitable world, where women’s histories and perspectives are valued.

“And She Gathered All before Her,

And She made for them A Sign to See,

And Lo They saw a Vision…”

The Entry Banners are the first thing you see, but were the final objects made for The Dinner Party, woven at the San Francisco Tapestry Workshop in a feminist adaptation of Renaissance techniques.

Photo: Donald Woodman, ARS

Entering The Dinner Party’s purpose-built gallery (designed to protect fragile textiles on long-term view), the striking, iridescent ceramics of the plates and Heritage Floor catch the eye— it’s immediately conveyed that this massive artwork is meant to elevate and honor women’s histories.

Image courtesy Through the Flower Archive and Judy Chicago

Judy Chicago recalls that her education, from childhood to grad school in the 1960s, both purposefully and passively conveyed to her that women did not contribute to civilization. Part of the project of The Dinner Party was an immense research effort, to provide accurate information and context about women in history. In this image, Chicago and other workers research some 3,000 women, informing the final selection of 1,038 in the artwork.

Chicago wanted to re-write the history that she was taught: The Dinner Party subverts the dominant narrative of Western civilization by re-telling it through women’s achievements.

Each woman’s unique place setting shares these components:

A hand-painted ceramic plate, featuring Chicago’s vulvar “central core imagery”

An embroidered runner, with historically accurate needleworking techniques from that woman’s era

And a golden ceramic chalice, lustrous cutlery, and napkin as accents.

Here, “historically accurate needlework” meant that The Dinner Party studio workers actually skinned a deer themselves, in a nod to prehistoric living!

Each wing features 13 women. The 8th place setting is dedicated to Hatshepsut, who was a Pharaoh of Egypt some 3500 years ago, and known as one of Ancient Egypt's most successful leaders, establishing vast trade networks and commissioning hundreds of buildings and monuments during her prosperous, peaceful reign.

Judy Chicago valued accuracy as well as visual symbolic meaning. Brooklyn Museum curators and Egyptologists Ed Bleiberg ad Yekaterina Barbash translate the embroidered hieroglyphics for us:

That first row reads “Effective One, Living One, Favored One of the City (Thebes).”

On the second wing, a place is set for the writer, philosopher, and mystic nun Hildegarde of Bingen, a 12th century polymath renowned to this day for her musical and lyrical chant compositions.

Judy Chicago drew on medieval art’s clarity of form, which educated illiterate believers about the Bible. The Dinner Party helps inform viewers who may not know women’s historical contributions.

Every element of The Dinner Party conveys a distinct detail about the woman represented, or a symbolic reference to all women’s oppression and erasure.

If you were standing in front of Hildegarde’s place setting, you wouldn’t be able to see this amazing embroidery on the back of the runner depicting her visionary drawing. Instead, you can only see it by moving around the table, and reading “through” and “across” history, alluding to how we all must work to question and expand our collective stories.

Personally, my favorite moment is the stunning runner for astronomer Caroline Herschel. Judy Chicago’s design, executed with lyrical skill in crewel embroidery by ecclesiastical embroiderer Marjorie Biggs, gives a spinning sense of Herschel’s telescopic view of our universe.

Curatorial assistant, Jenee Daria describes this place setting:

“Mary Wollstonecraft authored ‘A Vindication of the Rights of Woman,’ 1792, considered the earliest and most important treatise advocating for equality and education for women. The butterfly and vulvar motif on Wollstonecraft's china-painted plate, and its multidimensionality, represent Wollstonecraft's will and intelligence which metaphorically undulate by the strength of such vibrant hues and the power of her testimony.”

“The embroidered runner incorporates meticulous needlework, petitpoint, embroidery, crochet, and stumpwork to create a visual narrative of Wollstonecraft's life and an embodiment of the limitations of her environment.” - Jenee Daria

Here, Wollstonecraft stands outside a schoolhouse where children are taught “The education of girls is a right not a privilege!” Her youngest, Mary Shelley, would go on to write the literary classic “Frankenstein.”

The 39th and final woman at The Dinner Party is artist Georgia O’Keeffe. The dramatic dimensionality of the plate symbolizes her artistic liberation, as well as her great success in the early 20th century amidst a hostile and male-dominated art world. Ending The Dinner Party with an artist with such a pivotal influence on feminist artists of her day, Judy Chicago emphasizes the importance of knowing one’s lineage.

Judy Chicago worked on The Dinner Party alone at first, and as the concept evolved into its truly epic scale, more than 400 collaborators worked to complete it, an undertaking that took five years. This detail is from one of three “Acknowledgement Panels” that traveled with The Dinner Party and are preserved at the Brooklyn Museum and available on our website.

Despite this, the scheduled museum tour was cancelled after a wave of dismissive reviews from art critics: some saw the work as “kitsch,” and even “pornographic” due to its vulvar motifs. This replicated the rejection women have faced across history, while proving how radical Chicago’s reclamation of vulvar forms really was— even for the presumably avant-garde art world.

Image caption: Brooklyn Museum Libraries and Archives

Here we see people lining up at Brooklyn Museum—we hosted The Dinner Party in 1980-81 thanks to local activism and fundraising efforts. It was so popular, it marked the first time we rolled out timed tickets!

In 2002, the Elizabeth A. Sackler Foundation gifted The Dinner Party to the Brooklyn Museum, establishing a plan for the Elizabeth A. Sackler Center for Feminist Art, which opened to the public in 2007. We are so lucky to have this epic and important work on permanent view at the heart of our feminist galleries, and hope we can soon welcome you back to explore it in person for years to come.

Want to know more? Access the Brooklyn Museum’s rich online resource guide here. Including detailed entries on all 1,038 women featured in the work!

Thank you for joining us on our tour of Judy Chicago’s The Dinner Party. Join us next week for another tour of our galleries!

Judy Chicago (American, born 1939). The Dinner Party, 1974–79. Ceramic, porcelain, textile installation. Brooklyn Museum; Gift of the Elizabeth A. Sackler Foundation, 2002.10. © Judy Chicago/Artists Rights Society, NY. (Photo: Donald Woodman/ARS, NY)

#virtual tours #judy chicago #the dinner party #virtualtours #art #art museums #art history #brooklyn museum #contemporary art #feminist art #feminism #feminist #artist #nyc

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kaesaaurelia · 3 years

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I’m teaching myself embroidery (I think I’ve mentioned this?) and it’s the first thing in a long time where I’ve tried it, not immediately been good at it, and tried again instead of deciding that as someone who was bad at it once, I am utterly unsuited for the task. (I mean, it took me over a year to try it again, but the point is: I did it.) Anyway now I’ve got a kind of ambitious project I want to try and I’m trying to teach myself all the skills I need for that to come out well and it’s been good but weird being like “here’s this easy beginner work I’m doing” and being proud of it even though there’s much more interesting, cool, absolutely magical looking stuff that I want to be doing.

it’s also super weird because previously when I’ve talked about learning to do complicated art stuff I’ve received feedback that was either “no you can’t do that it’s really hard” or “actually you should do this instead,” and I posted about wanting to maybe learn some stumpwork techniques fully expecting a “THAT IS VERY HARD” explanation, but then I remembered that actually, the person who gives me that specific feedback is my mother and everyone else is about ten times nicer.

and also, I would never say THAT IS VERY HARD DON’T DO THAT to a beginning writer, for example, even if it’s very hard, because you don’t learn to do new shit without trying it. there is no amount of very carefully practicing with straightforward close third person POV in your preferred tense, style, fandom, and setting that will fully prepare you for unreliable first person with a distinct style that isn’t your natural style, or trying to imitate a very literary style with a lot of historical background you don’t have. there is no amount of gen adventure fic that will make your first weird iddy smut fic unintimidating. some things you just have to try.

(meanwhile my mother is obsessed with getting me to do ribbon embroidery. that looks cool and all but it’s not what I want to do right now! maybe later! she says she can’t learn to do embroidery herself because she “lacks patience,” but she has infinite patience for trying to get me to divert course and do the thing she wishes she could do but is afraid of.)

#kaesa op #cw abuse #(not really venty but like... positive-venty #'oh it's actually really nice to not actively be being abused')#the thing I am kind of focused on now #is learning the stuff I need to know to design and stitch #some kaleidoscope-ish patterns that are angel/demon true forms #for my favorite GO characters ofc and also maybe for OCs #I had the terrible idea to have 3d snakes/tentacles sticking out of them #hence the stumpwork #but also this would be great because I could have a bunch of different snake heads #(or tentacles)#and not worry about the constraints of a symmetrical kaleidoscope pattern #that is a long way off though!#right now I am learning simple shading with long and short stitch #I also want to learn thread painting #and some other stumpwork techniques #and beading???#and also just regular non-embroidery sewing #(with a machine)

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mollyingramart · 3 years

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In keeping with the theme of preservation of flora, I have begun to look at Romanticism, both in art terms and literary terms.

According to the Tate, Romanticism is a

'Term in use by the early nineteenth century to describe the moment in art and literature distinguished by a new interest in human psychology, expression of personal feeling and interest in the natural world'.

There was an idealistic idea about the natural world which I think is prevalent in my previous art, which focuses on the wonders of flora and the beauty of preserving this life.

To continue my project along, I really want to focus on the symbolism of flowers and still the preservation, however using different techniques to portray this - artists such as Millais and the Ophelia Painting are really good inspiration. This will also allow me to focus on the symbolism of flowers within texts such as 'Hamlet' and how these can link to different garments. This can even be linked to fashion collections such as Alexander McQueen's Ophelia collection - I would like to further research this and begin to use stitch and embroidery to continue this project.

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cynicalrainbows · 4 years

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Inner Voice

So this is Chapter One of a fic written for @saria-malinas for the @six-gifts-exchanges.

Prompt was Kitty & fluff.

Admittedly, I tend towards the view that fluff can only be fluff is there’s some angst to make it soft so...perhaps not to everyone’s liking but hopefully enjoyable anyhow!

It’s a LOT longer than I intended but I’ve enjoyed writing it very much- it’s been a nice distraction!

TW for negative thought spirals and references to emotional abuse.

It begins with an interview- a Sunday interview, no less.

She doesn’t look forward to it- she’s exhausted.

An eight-show week is hard enough but having to sacrifice her one day off on the altar otherwise known as ‘Publicity’ will, she knows, leave her running on empty and the thought of having to immediately jump back into the old cycle on Monday morning- without the benefit of her usual recharge day- makes her feel like she’s having weights piled on her shoulders.

(She still agrees, of course.)

Sundays are usually a day to revel in doing things that would be impossible on show days.

Cathy stays up until a ridiculous hour writing on Saturday nights and then spends Sunday following patches of sunlight around the house in which to curl up with whatever she happens to be reading.

Kitty has taken to glancing at the titles and week by week, they’re never the same, there’s never a pattern: Middlemarch one week, The Girl With The Dragon Tattoo the next, Plato’s Republic, Sula, The Hunger Games, Trainspotting, Boswell’s History of Johnson, Finding Nemo: The Official Novelisation… Once, Cathy caught her looking and opened her mouth, but whether she meant to scold or welcome, Kitty never found out, escaping into the kitchen before Cathy had a chance to speak.

Catalina gets up early and goes to hear Mass and usually ends up back at the house around lunchtime. Kitty isn’t entirely sure where she goes- sometimes she comes back with a Starbucks cup (Green tea, always), sometimes with shopping bags, but more often, she comes back just as she left, empty handed.

She finds it difficult to imagine what Catalina might do to relax, honestly- she’s a queen in every sense, just as regal and composed and thus terrifying in the 21st century as Kitty imagines she must have been during the 16th.

Jane goes on walks to places that sell felt and buttons and ribbons, and then listens to the radio- in the garden when the weather is nice, in the living room when it isn’t- while flowers and birds and fruit bloom beneath her fingertips.

Whatever embroidery project she’s working on, she manages to make it look easy. Sometimes she even sews with her eyes shut, the better to take in whatever she’s listening to- sometimes music, but more often, it’s chapter books read by people with calm, slow voices, poetry that flows so easily it’s almost musical.

Once, back in the very early days, when all was spiky and uncomfortable, when they were all still raw from the fallout of their old lives and picking over the old rivalries, Anne had muttered that Jane listened to spoken books so much because she couldn’t read properly.

It was only the three of them in the room at the time- Kitty wasn’t sure if she was meant to have heard or not. She wasn’t even able to tell whether Anne was serious.

Jane had pretended not to pick up on it, only the slight pinkening of her ears betraying her...that, and the fact that she stopped listening to audiobooks in the communal areas, taking them instead to the privacy of her room.

Anne had apologised, in her own way (a stack of newly-purchased audiobooks left outside Jane’s door early one morning a week later, with a bar of Galaxy and a green post it note stuck to the top of the pile that Kitty read when she stumbled down the hall for water at 5am: ‘Sorry I was a total bitch. Love A x’) but Kitty has never been able to find the courage to bring the issue up with Jane herself.

Even if she was braver, she has no idea how she’d even begin to approach something so sensitive, but still, she wishes she could find the words to say that it’s ok, that she understands how it feels to struggle, that she’d never ever think less of Jane for it, that she still admires Jane’s ability to face all catastrophes calmly and without raising her voice and that, in her (admittedly limited experience), this ability is far rarer and far more precious than any amount of literary talent.

They’re words she’ll never be able to say, she knows, but sometimes, she wonders what would happen if she followed the woman into the garden, the kitchen and just sat herself down at Jane’s feet to listen along with her and watch her sew in quiet companionship…. The imagination never goes further than that- she won’t let it.

Imaginings left to run wild can be dangerous, she knows.

Anne’s day-off plans are as unpredictable as she is- sometimes she takes herself to the library and sometimes to the skate park, sometimes to a museum and sometimes to a bar, and she seems to relish all equally, at least as far as Kitty’s judgement goes.

Having never actually accompanied Anne on any of her trips, she bases her judgement on the level of enthusiasm in Anne’s voice when she makes her customary exit: a shouted ‘Bye, I’m going to the-’, followed by a slam of the door hard enough to make the whole house tremble (and twice loud enough to awaken a sun-warmed Cathy from one of her book-naps).

If Kitty is in the vicinity, Anne will sometimes look at her intently as she says her goodbyes making eye contact so intensely she forgets to blink. She cannot tell if it’s an invitation or an attempt to telepathically dissuade Kitty from asking to join her, and not being entirely certain (or even a little bit certain) of the former, she decides it’s the latter.

(It’s safer that way.)

She doesn’t hold the lack of any actual invitation against Anne though.

She wouldn’t invite herself anywhere either, and it’s not like she’s made any overtures of friendship to her ‘cousin’ in their new life.

(Honestly, she isn’t sure how she’d even begin.)

So….. she can’t complain.

Anna is the only queen she’s ever shared a Sunday with, the only queen she’s even close to feeling comfortable around. Anna’s the only one she knew before, the only one she has any right to lay claim to.

Not only did she know her, but they were friends- actual friends, acknowledged as such not only by Anna herself but by the historians too (even if their reporting of some events is unreliable at best and complete fabrication at worst).

Because of this, she makes sure to be extra careful about monitoring how long she imposes on Anna for, how much she forces her company upon her.

She never seeks her out, she always waits for Anna to come to her- and oddly, she finds she never has to wait too long before Anna’s checking in on her again, asking if she wants company, if she wants to walk to the shop, the park, if she wants to join Anna on an errand, on a run.

It’s the last one that means she never sees much of Anna on Sundays- Sunday is Anna’s day to do the sort of long runs that she enjoys, to spend as much time as the gym or pool or climbing wall as she’d like.

She can’t bring herself to let Anna go without the activities that mean so much to her by taking her up on Anna’s suggestion that they spend Sunday doing something different….and as she can’t swim, doesn’t enjoy running and doesn’t even know how you’d go about scaling a climbing wall, she declines all of Anna’s invitations to come with her and have a go herself.

(Anna doesn’t need her holding her back, spoiling her fun.)

Once or twice, admittedly, she finds herself thinking back to the Anna of their old life and the unending patience she showed with the maids-in-waiting (Kitty included) who struggled on horseback. She remembers Anna’s calm reassurance that she was doing ‘very well, for a beginner, liebling’, she remembers Anna’s beaming smile whenever any of them plucked up the courage to take their horse into a canter, her gentle words of praise. ‘That was wonderful, you looked so much more confident!’.

It makes her wonder, for a moment, if perhaps Anna isn’t just asking out of pity or duty but because she really would enjoy showing Kitty how to enjoy the swimming- or the running or the climbing- for its own sake.

But only for a moment.

Time and time again, she turns Anna down. Time and time again, Anna keeps asking, but Kitty knows she’s bound to stop soon.

(For some reason, she dreads it.)

This Sunday though, she doesn’t spend at home- alone or otherwise. Rather than her normal routine of sleeping in and enjoying the lack of interruption, she spends it getting up even earlier than usual, then taking a bus and another bus and then a train to the interview meeting point.

The interview room has greeny-blue industrial carpet with a cigarette burn by her foot that her eyes keep drifting to as she talks. Through the crooked blinds, the sun shines enticingly, teasing her as it pulls out the shadows longer and longer, as minute by minute her precious day off ticks away.

‘-and how would you describe the show?’

She takes a sip of the coffee that she accepted out of politeness- lukewarm and stale tasting.

‘It’s a chance for us to tell our side of the story- it’s a revision of the accepted version of events. Anyone who likes history, anyone who is into feminist narratives should see it.’

She tries to keep her voice enthusiastic- reporters, she knows, can be so quick to read an inflection as a ‘tone’, a muffled yawn as ‘arrogance’.

‘And focusing a little more on you- you were the fifth wife?’

‘That’s right.’

‘The second wife beheaded-’

A nod- professional, adult.

‘And by all accounts...the only wife actually at fault for the ending of the marriage?’

She’s taken back by the calm, smiling audacity.

‘Excuse me?’

‘All the other wives- their marriages ended because of rumours, back-biting, boredom, lust….and yet, yours was simple infidelity?’

She bites her lip.

Don’t cry. Don’t cry.

‘I think….that’s the sort of harmful narrative we try to confront in the show.’

‘But you would have stayed married, if it wasn’t for the affair?’

Breathe.

‘I think… Henry would have tired of me, one way or another. He would have been rid of me eventually, even without-’

‘But you were found guilty, weren’t you?’

‘I…. By the court, yes.’ She swallows hard. Her voice isn’t shaking, that’s a start.

‘And beheaded. At such a young age- you’re also the youngest wife.’

‘I am.’

‘How has that affected how you’re treated, do you think? Is it useful to you?’

‘Useful?’

‘Do you think that things are made easier for you because of it?’

‘How do you mean?’

‘Oh-’ The interviewer waves a hand laden with rings. ‘The stage persona you’ve adopted….the ‘babey’ persona, I believe fans are calling it? The faux-innocence? I think what we’re all interested in knowing is- how much of it is an act? How much of it is YOU and how much is just a way to get what you want?’

‘I’m- well….’ She’s struggling.

An act? It was a persona, of course it was- they’d all carefully chosen the ‘character’ they wanted to be onstage- but was there more to it than that too? Was she really just trying to manipulate the others by playing up her youth?

‘They’re all partly who we really are but I didn’t-’

It’s harder to keep her voice steady now- the second interviewer, silent until now, interrupts to suggest they all take a break and resume in half an hour.

As she’s getting up, she fumbles with her coat and nearly drops it.

‘It’s alright, you know.’

The first interviewer is still watching her, a mug of the horrible tasting coffee halfway to her mouth.

‘I- I’m sorry?’

‘You don’t need to keep the act up. We’re moving on like you wanted, no need for overkill.’

‘What?’

‘You could have just SAID you weren’t comfortable answering. No need to turn on the waterworks.’

The woman pulls a pack of cigarettes and a lighter from her bag and makes for the exit leading to the carpark: Kitty is left at the table, alone, confused, a little scared.

A voice in her head: ‘Manipulative whore- do you think I can’t see what you’re up to-’

She’d hoped she’d never have to hear that voice again.

#six #six the musical #six the musical fanfiction #six fanfiction #sixfic

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booksteacupandreviews · 2 years

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Literary Embroidery project #WeeklyWrapUp

How was your week? What are you planning to read this week? check out my reading and life update on my #bookBlog #BooksTeacpandReviews ⬇️

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#Book Blog #bookoholic #Books Teacup and Reviews #Books This Week #Eclectic Book Blog #eclectic reader #Indian Book Blogger #Last current next read #Literary Embroidery project #Reading week #Redemptor #Some of It Was Real #The Magic of Lemon Drop Pie #Week in Reading #weekly post #Weekly Update #weekly wrap up #weekly Wrapup

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eleanorjoneslife · 3 years

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William Morris

William Morris was a British textile designer, poet, novelist, translator and socialist activist associated with the British Arts and Crafts Movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre. The firm that he worked for profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co. During his lifetime, Morris produced items in a range of crafts, mainly those to do with furnishing, including over 600 designs for wall-paper, textiles, and embroideries, over 150 for stained glass windows, three typefaces, and around 650 borders and ornamentations. He insisted on the use of good quality raw materials, almost all natural dyes, and hand processing. He also got inspiration from the natural world first hand to gain a basis for his designs, and insisted on learning the techniques of production prior to producing a design.

His work is intense and busy, pattern detail and texture is every where I look, you can clearly see where he gets his influences from as he works mostly with florals, leaves and branches that intertwine together to create a patterned wallpaper design. the amount of detail that he puts into his designs is incredible, he shows the textures of the leaves and the veins running through them, add tiny dots in masses etc. Some of hides designs remind me of over grown gardens as the designs are tangled together, are placed in all different directions and on a large scale. His colour pallets are something that I think are really effective he keeps to a limited amount of colours that compliment ecahother nicely. He links to our project because of the links to nature and because he focused on wallpapers and interiors. I can gather inspiration form his work to add into mine for my wallpaper designs and find a way to incorporate this love of showing texture that he has.

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radarsteddybear · 4 years

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ON THE LEFT: Nellie, a young, recently-married woman who absolutely abhors pirates, as any decent person should. They cause so much damage and make the seas so much more dangerous for people like her husband, Jonathan, an officer in the Royal Navy. Nellie joins her husband on a day his ship is scheduled for a routine a safe patrol carrying a relatively small number of guest passengers—mostly potential recruits, with the odd family member—to show off the ship and her crew. Suddenly, the ship is attacked by pirates, and, well, Nellie isn’t about to take that sitting down. During the battle, Nellie sneaks onto the pirates’ ship, planning to blow it up, but instead, she is...caught.

ON THE RIGHT: the Captain of that pirate crew. She’s not happy to have a stowaway on her ship, but the “princess” will have to wait until the ship returns to port to leave it. Too bad they don’t dock very often. In the meantime, Nellie will have to earn her keep, same as anyone else on board. Maybe she’ll even learn a thing or two. Or maybe not; the Captain’s more than happy to settle for “keeping Nellie busy enough to keep her out of her hair.”

The story itself is about discovering that the boxes that society tries to put everyone in are arbitrary and stupid, and sometimes it's better to be an outcast on the fringes of society with people who love you as you are than trying to fit those boxes.

UNDER THE CUT: the Captain wearing an alternate outfit, some more photos, and some details about crocheting these characters.

Here is the Captain later in the story with a fancier coat. I won't tell you the details about it, because that's all spoilers :)

Way back in June, I had the bright idea to crochet my two newest OCs because I wanted to share them with the internet but I can't really draw. The patterns are variations of the amigurumi patterns found in the book Literary Yarns: Crochet Projects Inspired by Classic Books by Cindy Wang. Everything's crocheted except the safety eyes and the Captain's blue coat. The latter was knitted (which is not my strong suit), felted (my first time felting something!), and then embroidered (which was my second foray into embroidery, after attempting to embroider some detailing on a Hamlet amigurumi I made for my friend out of the same book and giving up).

The Captain's hat is removable, so here's what she (and her hair) looks like without it (with a bonus close-up of the embroidery)!

#crochet #the pirate story #pirates #my OCs #my stuff #my Captain #my Nellie #original post

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bookclub4m · 6 months

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Episode 185 - Crafts & Crafting

This episode we’re discussing the non-fiction genre of Crafts and Crafting! We talk about art vs craft, makerspaces vs crafting spaces, the challenges of trying new crafts, academic crafting, and more!

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | Jam Edwards

Things We Read (or tried to…)

Paper + Craft: 25 Charming Gifts, Accents, and Accessories to Make from Paper by Minhee Cho, Truman Cho, and Randi Brookman Harris

Re-Creative: 50 Projects for Turning Found Items Into Contemporary Design by Steve Dodds

Trash Origami: 25 Paper Folding Projects Reusing Everyday Materials by Michael G. LaFosse and Richard L. Alexander

Crafting Change: Handmade Activism, Past and Present by Jessica Vitkus

Hand Lettering: Creative Alphabets for Any Occasion by Thy Doan Graves

Mastering Hand-Lettering: Your Practical Guide to Creating and Styling the Alphabet by Mye De Leon

Creepy Cross-Stitch: 25 Spooky Projects to Haunt Your Halls by Lindsay Swearingen

A Crochet World of Creepy Creatures and Cryptids: 40 Amigurumi Patterns for Adorable Monsters, Mythical Beings and More by Rikki Gustafson

Chonky Amigurumi: How to Crochet Amazing Critters & Creatures with Chunky Yarn by Sarah Csiacsek

Simple Hand Sewing: 35 slow stitching and mindful mending projects by Laura Strutt

Boro & Sashiko, Harmonious Imperfection: The Art of Japanese Mending & Stitching by Shannon Mullett-Bowlsby and Jason Mullett-Bowlsby

Wilderness Knits for the Home by Linka Neumann

Other Media We Mentioned

Two Point Hospital (Wikipedia)

Two Point Campus (Wikipedia)

Links, Articles, and Things

Fuse beads (Wikipedia)

Jam’s Tiger Millionaire costume (and their trophy)

Tiger Millionaire (Steven Universe Wiki)

The cross stitch Matthew finished the night before recording

Bone folder (Wikipedia)

Fourth Doctor (the one with the scarf) (Wikipedia)

Creativebug (see if your library provides access)

Creepy halloween mask template

Granny square (Wikipedia)

Creepypasta (Wikipedia)

15 Crafts and Crafting books by BIPOC Authors

Weaving in the Peruvian Highlands: Dreaming Patterns, Weaving Memories by Nilda Callañaupa Alvarez

The Embroidered Garden: Stitching through the Seasons of a Flower Garden by Kazuko Aoki

asowacikanisa: A Guide to Small Metis Bags by Amy Briley and Gregory Scofield

Knitting for Radical Self-Care: A Modern Guide by Brandi Cheyenne Harper

This Long Thread: Women of Color on Craft, Community, and Connection by Jen Hewett

Print, Pattern, Sew: Block-Printing Basics + Simple Sewing Projects for an Inspired Wardrobe by Jen Hewett

Embroidered Animals: Wild and Woolly Creatures to Stitch and Sew by Yumiko Higuchi

Super Easy Amigurumi: Crochet Cute Animals by Mitsuki Hoshi

Mini Knitted Woodland by Sachiyo Ishii

The Art of Mi'kmaw Basketry by edited by shalan joudry and Holly Brown Bear

Embroidery: A Modern Guide to Botanical Embroidery by Arounna Khounnoraj

Visible Mending: A Modern Guide to Darning, Stitching and Patching the Clothes You Love by Arounna Khounnoraj

The Tunisian Crochet Handbook: A Beginner's Guide by Toni Lipsey

Literary Yarns: Crochet Projects Inspired by Classic Books by Cindy Wang

The Auntie Sewing Squad Guide to Mask Making, Radical Care, and Racial Justice by Kristina Wong

Give us feedback!

Fill out the form to ask for a recommendation or suggest a genre or title for us to read!

Check out our Tumblr, follow us on Instagram, join our Facebook Group, or send us an email!

Join us again on Tuesday, December 5th we’ll be talking about the genre of Suspense Fiction!

Then on Tuesday, December 19th it’s time for our Favourite Reads of 2023!

#genres #episodes #podcasts #non-fiction #crafts #crafting

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lebontonrp · 3 years

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MISS GEORGINA FLEET

INFO

age: 24. status: debutante. social ranking: 3. number of seasons including the current one: 1. family: the fleets of london. place in family: second born child and only daughter of mr. richard fleet. faceclaim: anya taylor - joy.

ABOUT

weaknesses: self - serving, guileful, compulsive liar, envious. strengths: enterprising, malleable, patient, sensible.

a hearty babe with the palest of hair, georgina abigail fleet was born on a particularly nippy november evening, with winds that howled as loudly as she had upon arriving into the world, if the gossiping midwife was to be believed. an unexpected but welcomed addition to the fleet household, she was to be but another piece in the grand plan that stirred within the ambitious mind of richard fleet, a budding businessman, and thus, she was raised accordingly. bellies had to be tied so that she might receive fine education and finer companionship, instructed in etiquette and ushered into pianoforte lessons that just so happened to be attended by the daughters of the heaviest pockets in london. while her mornings were then spent in the company of articulate young girls with silk ribbons and pristine - white socks, her evenings were filled with heavy labor ( or as heavy as her father would permit for his only daughter ), straining her eyes under the flickering candlelight as she read through the news reports in review for errors and then formed the types on presses, fingers stained with warm ink.

though she was given innocent reading material deemed appropriate for her age and gender, she was also exposed to the truths in the paper which she devoured greedily as she aided in the print house, squirreling the knowledge and building personal reports based off the news until she developed her own penchant for writing, however fanciful her attempts were. balanced between two worlds and forced to play imposter among better bred ladies, georgina soon fell into the joys of journalism and story - telling as a means to express her true self, bettering with practice much to the displeasure of her maid, who often wished for her to get her head out of the books and into the embroidery hoop. as the fleet newspaper gained more interest, leading to larger orders and more presses, her hours as little assistant to her father grew shorter and shorter until she was left in the company of the women in the house ─ the print houses were deemed inappropriate for a young woman of her caliber and her hands were now not allowed to feel the weight of labor for fear that she might develop callouses.

to reflect the success of the newspaper, georgina was soon sent to a preparatory school for girls, where she was expected to be molded into a proper lady, worthy of a great match upon her season’s debut. once afforded the freedoms of girlhood with only her mother and maid to mind her affronts, she was forced to settle into the quiet of the countryside though she often lamented on the lack of excitement in her letters back home. her only reprieve had been the weekly issues of the paper that came with an adoring note from home. though her interest in the outside world was seen as odd for a blossoming teen, she excelled in the studies of languages and household management, and her childhood lessons in the pianoforte were not for naught, making for a well - rounded young woman whose only vice was her fondness for the written word and the ink that was ever - present beneath her nails. easy - going in nature, georgina made fast friends with the other girls in school. her penchant for tight - lipped observation, seemingly disinterested in petty squabbles and fleeting rivalries yet enduringly patient to plights of a teary - eyed maiden meant that she became trusted confidante to many, betraying their secrets to the confines of her diary alone ─ while seemingly innocent in adolescence gossiping, what she now holds over a few of the ton’s ladies may unsettle some seats, though what she plans to do with these secrets remains to be seen.

returning to london at eighteen, as a fresh - faced graduate from preparatory school, she had been eager to find a place within the print house, hoping to resume dutiful assistance as she once did, and for a while, georgina had been indulged in her interests out of the affection in her father’s heart, allowed to write pieces for the gossip column and even a singular short story for the children under an anonymous moniker, so long as she promised to keep refining her appearance and personality in preparation for her first season. yet she had settled into a comfortable routine, growing confident in her literary abilities and, in response to this sudden surge of interest, it was advised that her ambitions be tempered, lest she invited ruin to the family. as her prime approached, sculpting her body into that of a woman and softening her features until she was as beautiful as her mother was rumored to be at her age, the young fleet daughter found herself slowly but certainly guided away from the inkwell and paper, pleas falling on shuttered ears.

though she has been prepared to enter the season from childhood, with an emphasize placed on a need to find a nobly bred husband to further elevate the fleet family in london society, georgina cannot help but feel like a fraud in soft silk, even as she plays to the games of courtship by instinct, feigning demure ignorance whilst concealing the bite of annoyance in her smile. with sensibility bred into her by necessity, she understands the sacrifices that have been made in her name, all so that she might reach higher than any fleet had before her, secured in the knowledge that while affection and wealth were fleeting elements, a noble title would always earn her respect from the masses. yet unlike in her childhood, when she had accepted the demands of her family without complain, rebelling only through the written word, the debutante finds herself growing resentful at what she must do to ensure the future of the family ─ while she is certain that her family loves her, she cannot help but feel used, especially if she is to be sold like cattle to the wealthiest titled bidder. falling into old habits of deception and trading secrets, georgina grows envious of her peers who are able to enter the season in pursuit of love without the qualms of wealth or status and, while she remains the very image of long - suffering duty, she cannot help but wonder if there is another path for her beyond the one that had been decided for her since birth.

though she had been young when the fleet newspaper was first founded, georgina remembers the struggles of her family vividly and these memories are the reason that she suffers through the preparations for her first season ─ much has been sacrificed so that she might have the best possible future and she feels as though she owes it to her family to do well. yet her exposure to the news and the power of the written word has opened her mind to endless possibilities. temporary indulgence in her literary pursuits only seems to have created a growing hunger for independence that her family now tries to stifle and while she stomachs their demands, playing the part of doe - eyed maiden whilst passing a promising smile to the right suitor, she cannot help but yearn for freedom ─ to live, to write and to love.

from the ages of nineteen to twenty one, she was permitted to write for the fleet newspaper under an alias. choosing the name ❛ george ❜, she has penned several pieces for the gossip column, remarking on fashions and real estate, betrothals and marriages, as well as pregnancies, with secrets learn through her circle of friends. she has also written a short story for children, published in the paper, which happened to be her last submission before her writings were halted by her family.

CONNECTIONS

connection 1 : ( preparatory school mates ) ─ from the ages of thirteen to eighteen, georgina was sent to a girl’s preparatory school in the countryside, where she made many easy friends and some close sister - like bonds. these would be young women, close to her age, who trusted her with their secrets as young girls are prone to do. while some may have kept correspondence with her after graduation, there are a few with more personal secrets that georgina was privy to knowing and these women would seek to keep her quiet, either through threat or bribery.

connection 2 : ( mentor or guardian ) ─ now that georgina is entering her first season in the ton, she is armed with uncertainties that she is careful not to display in public. however, there is one person, likely an older female who has been through several seasons herself or has already been married, that has taken the young fleet daughter under her wing. whether this is done as a favor to georgina’s father or because they have met and mingled prior to this or because they simply see promise in her, this person has made georgina into their little pet project for the season and, if she is not escorted by her own family, she is likely seen in the circles of this person.

… this character is penned by annie / @georginafleet

#rp #roleplay #anya taylor joy #anya taylor-joy #anya taylor joy fc #anya taylor-joy fc #bridgerton rp #upper class #lbt.all #taken #takenf #lbt.tf #fleet.t

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