Steve Harrington was wearing a Hellfire t-shirt.
It was far too tight on him, the name of the club stretched wide over his chest. The sleeves dug into his biceps, making them pop even more than they usually did, and that was before he crossed his arms.
Worse?
It was short.
Which meant the damn shirt was constantly riding up to give everyone a nice show of the smattering of hair that trailed down past the band of Harrington's jeans.
The same hair that Eddie was determinedly not looking at.
“Henderson, a moment?” He crooked a finger, a smile on his face that was more feral than welcoming.
Rather than cower or even acknowledge that Eddie was two seconds away from murder, Dustin just gave him a gummy grin, all too pleased with himself and his scheme.
“Sure Eddie. Steve, don't just stand there, go help set the booth up!” Dustin gestured to Hellfire’s sad little table, crammed all the way in the back of the gym.
Jeff and Gareth both reacted to the suggestion like a rabid squirrel had been set upon them, nervously inching towards the other side of the booth as Harrington sighed and--shockingly--did as he was told.
‘What,’ Eddie thought angrily, ‘in the everloving fuck.’
“Do you guys mind if I set this down on the table?” Eddie heard Harrington ask as he stormed away, Dustin on his heel.
They wandered just around the corner, out of sight and hopefully, out of the fallen king’s hearing range.
Eddie wasn't sure if Harrington would try and white knight the very much deserved dressing down he was about to give.
Didn’t want to chance it, considering the downright weird relationship he had with Hellfire's freshmen.
(While he’d heard many a tale at his table regarding King Steve since the newest recruits had joined Hellfire, most of them dissolved into arguments without ever really going anywhere.
Best anyone could figure out was that Dustin and Lucas had a bad case of hero worship, while Mike owned a begrudging amount of respect that hailed from a series of misadventures.
The very same misadventures that, despite all protests to the contrary, was clearly some sort of babysitting gig for Harrington.)
Either way, plenty of the King’s court would have loved to take this opportunity to fuck with Hellfire.
Given that Henderson was absolutely too old to require a babysitter at fourteen, Eddie would bet his lunch money that was what Steve was here to do.
Something the club couldn’t afford since they were forever and always two seconds away from being stripped of club status and banned from school grounds.
“I would love to know what went through that all A’s brain of yours when I said,” Eddie whirled on Dustin when they were firmly in the clear, voice low and furious. “no Henderson, do not invite King Steve to help, he is an invading force and would ruin our peaceful kingdom!?”
He clasped his hands behind his back before leaning into Dustin’s face. “Because clearly whatever you heard wasn’t that.”
To Eddie’s continued frustration and confusion, Dustin did not treat this like the threat it was.
None of the freshmen had ever truly treated Eddie like a threat--had somehow skipped that part of the usual onboarding ritual entirely.
Eddie, town freak and drug dealer, who had cultivated his looks and craziness to such a degree that most everyone steered clear, wasn’t used to it.
Everyone had been afraid of him at some point in this shitty school. Jeff, Gareth, hell even half the staff--and that the dorky trio of fourteen year old's clearly thought this all was play-acting made his eye twitch.
Even if it was--maybe, sometimes--welcome.
“I know what you said, but I’m telling you I’m right.” Dustin argued immediately, and oh God, he was using that tone again.
A hand went up into the space between them and Eddie groaned aloud, knowing what was coming.
“First,” Dustin ticked a finger up, “Hellfire really needs the money. Even thirty dollars would get us new figures, but more than that, if we don’t fundraise, we can’t go to Gen Con!”
Dustin's eyes bored into Eddie’s, full of fire and conviction
“Yes,” Eddie said through gritted teeth, “but--”
“Second!” Dustin cut him off, and God the little shit even threw him a look while he did it, like Eddie was the one being ridiculous here!
“We had to fight just to get our table! Principal Higgins was in algebra today practically begging the mathletes to show up, but then tried to tell us we couldn't be here? That’s messed up!”
As if denying them a spot to fundraise was the worst thing that asshole had ever done.
Eddie sighed, breath blasting out of his mouth like a dragon’s.
“Because people think we’re freaks and satanists, Henderson. You don’t typically invite freaks and satanists to the school’s annual Holiday Bazaar. Especially not when all the local moms are paying to hawk their bullshit crafts and tupperware!”
It was more than that of course. The Hawkins High Holiday Bazaar was a tradition spanning several years now. Starting in the gym and spilling clear into the parking lot, everyone from local artists to even some local shops came to host a small table for the day, thus growing the event from a small school fundraiser to a Hawkins' “must-do.”
Half the fucking town was here to sell, and the other half was here to shop, which meant Principle Higgins had wanted Hellfire banned from the fucking premise.
Eddie had been forced to pull out one of his trump cards he’d been saving--blackmail on Higgins that related to the man’s not--so--legal addiction to Percocet that he relied on Reefer Rick for.
(And bless Rick, that hadn’t been the only tidbit he’d shared with Eddie about Higgins. That information, however, Eddie needed just so the asshat wouldn’t give him the boot from school entirely.)
The only reason Eddie had pulled it out to secure their rightful spot, was because of Gen Con.
It was Hellfire's White Whale, their grand adventure, and this was going to be his year to take his friends on one last epic quest to make memories of a lifetime surrounded by people who understood them.
Come hell or high water, Eddie was going to Gen Con--but being able to fundraise by selling wares and baked goods at the stupid Holiday Bazaar would go a long way to help.
Even if he had to listen to the band repeatedly play ear-bleeding renditions of Christmas songs.
“All the clubs get to have a table, and we’re a club!” Dustin continued, like it was that simple. “But you know, I get it. We look scary.”
He gestured down to his own Hellfire shirt, before gesturing towards Eddie’s entire outfit.
Like Eddie didn't know what he looked like, let alone that he'd made this outfit specifically to scare people away from him.
(And maybe add some rockstar flair to this dinky little hick town.)
“You know who doesn’t look scary?”
Dustin held out his hands and swiveled his body like he was presenting a prize instead of gesturing in the vague direction of;
“Steve!”
Eddie’s left eye twitched.
‘You can't kill him, you need his character for the campaign.’ He told himself firmly, even if he envisioned strangling Dustin like a chicken.
Cartoon squawking and all.
“The King isn’t going to help us fundraise, Dustin.” Eddie said, in an effort to break down why Harrington couldn't be here. “He's just going to cause us problems that we can’t afford to have.”
So many problems, half of which Eddie couldn't think of because if he did, he'd start spiraling.
“Really? Because as you keep saying, Steve used to be the King. People love him, Eddie! Mom’s love him.”
Eddie had pulled himself black up to his proper height a while ago, and now rocked back on his heels while he ran a hand down his face.
There was no getting through to Henderson when he was like this.
Not unless Eddie really lost it, and it was practically club lore that he only lost it when someone missed an important game.
One cannot keep a herd of sheep if their flock is terrified of them, after all.
(“Perhaps you’re just a giant fucking softie.” Tiff, one of Hellfire’s graduating members, told him once. “Honestly dude, I bet you throw up stuffing.”
“Shut up Tiffany, your choker is on backwards again.” He'd spat back, completely offended and not at all trying to distract from how true that was.)
“We can’t be satanic if Steve’s the one selling cookies!” Dustin finished doggedly.
“We’re not even selling cookies--that’s not the point!”” Eddie shook his head, hair flying. He was not going to be sidetracked, he wasn’t!
“Harrington is going to end up siding with all the moms about how we’re all wasting time with D&D, if he even spends the whole time at the table. Is that what you want?”
He stuck out a ringed finger, poking at Dustin’s chest.
“Every single person who comes by our table has to be convinced D&D is a writing and math based game. Good for the mind and souls of growing, impressionable children. A game that got a bad rep because of a few silly images.”
A pitch he and Tiff had come up with during the third or fourth time they had to convince an adult that no, just because their shirts had a dragon on it, didn’t mean they were summoning demons in the drama room.
“Harrington can’t do that because Harrington doesn’t even know how to play!”
This Eddie punctuated by throwing his hands in the air.
Given the startled look of the mother-daughter duo passing him by, clearly was louder than he’d intended--but screw it!
He was right!
Hellfire was in a precarious position to both fundraise and do a little damage control among the slightly smarter members of this shithole small town, and Harrington rolling his eyes and gossiping about how stupid it was would hinder that.
“Okay, first of all, Steve’s played D&D with me and he didn’t even kill his character.” Dustin said it like he was unveiling a smoking gun and not lying through his ass--which Eddie would absolutely be calling him on the second he was done talking.
Because King Steve? Play D&D?
'Ha!'
“And he’s not gonna say shit because we--me, and Lucas and even Mike!--asked him to help, and he helps when its serious. I know you have some weird grudge with him, but I’m telling you Eddie he’s our golden ticket to Gen Con!”
“You’re killing me. You are standing here, acting as a friend, when you are bringing a-- a dark force into the midst our of mission--” Eddie hissed, because he was losing the fucking fight and he knew it.
Dustin Henderson was not a man easily swayed.
Had never been, even when the odds were stacked against him (and Grant and Gareth were howling in his ear.)
The set of his shoulders and the glint of the little shithead’s eye meant Eddie wouldn’t be able to use him to oust Harrington--if he even could get him out without the dick causing a massive scene anyway.
As always when outgunned, Eddie flipped to dramatics.
“Betrayed! By my own chosen heir no less!” He moaned, pressing the back of his hand over his eyes as Dustin scoffed.
"Don’t be so dramatic! Steve will help, I promise! Just don’t be a dick to him.”
Conversation apparently over, Dustin turned around to head back to the table
Snidely, he added over his shoulder: “Plus we’ve all caught on to the heir thing Eddie. You tell everyone that so they do what you want.”
The dick.
“You’re too fucking smart for your own good. I’m gonna start feeding you paint chips to bring that IQ down.” Eddie muttered angrily as Dustin went back to their little table.
He gave himself a moment to get his shit together and stomp a foot like a child when Dustin was around the corner and thus couldn’t witness it, before following his wayward sheep back.
Could only pray to any deity listening that Henderson’s meddling didn’t blow up in Hellfire’s face.
3K notes
·
View notes
None Of You Know What Haiku Are
I'm going to preface this by saying that i am not an expert in ANY form of poetry, just an enthusiast. Also, this post is... really long. Too long? Definitely too long. Whoops! I love poetry.
If you ask most English-speaking people (or haiku-bot) what a haiku is, they would probably say that it's a form of poetry that has 3 lines, with 5, and then 7, and then 5 syllables in them. That's certainly what I was taught in school when we did our scant poetry unit, but since... idk elementary school when I learned that, I've learned that that's actually a pretty inaccurate definition of haiku. And I think that inaccurate definition is a big part of why most people (myself included until relatively recently!) think that haiku are kind of... dumb? unimpressive? simple and boring? I mean, if you can just put any words with the right number of syllables into 3 lines, what makes it special?
Well, let me get into why the 5-7-5 understanding of haiku is wrong, and also what makes haiku so special (with examples)!
First of all, Japanese doesn't have syllables! There's a few different names for what phonetic units actually make up the language- In Japanese, they're called "On" (音), which translates to "sound", although English-language linguists often call it a "mora" (μ), which (quoting from Wikipedia here) "is a basic timing unit in the phonology of some spoken languages, equal to or shorter than a syllable." (x) "Oh" is one syllable, and also one mora, whereas "Oi" has one syllable, but two moras. "Ba" has one mora, "Baa" has two moras, etc. In English, we would say that a haiku is made up of three lines, with 5-7-5 syllables in them, 17 syllables total. In Japanese, that would be 17 sounds.
For an example of the difference, the word "haiku", in English, has 2 syllables (hai-ku), but in Japanese, はいく has 3 sounds (ha-i-ku). "Christmas" has 2 syllables, but in Japanese, "クリスマス" (ku-ri-su-ma-su) is 5 sounds! that's a while line on its own! Sometimes the syllables are the same as the sounds ("sushi" is two syllables, and すし is two sounds), but sometimes they're very different.
In addition, words in Japanese are frequently longer than their English equivalents. For example, the word "cuckoo" in Japanese is "ほととぎす" (hototogisu).
Now, I'm sure you're all very impressed at how I can use an English to Japanese dictionary (thank you, my mother is proud), but what does any of this matter? So two languages are different. How does that impact our understanding of haiku?
Well, if you think about the fact that Japanese words are frequently longer than English words, AND that Japanese counts sounds and not syllables, you can see how, "based purely on a 17-syllable counting method, a poet writing in English could easily slip in enough words for two haiku in Japanese” (quote from Grit, Grace, and Gold: Haiku Celebrating the Sports of Summer by Kit Pancoast Nagamura). If you're writing a poem using 17 English syllables, you are writing significantly more content than is in an authentic Japanese haiku.
(Also not all Japanese haiku are 17 sounds at all. It's really more of a guideline.)
Focusing on the 5-7-5 form leads to ignoring other strategies/common conventions of haiku, which personally, I think are more interesting! Two of the big ones are kigo, a season word, and kireji, a cutting word.
Kigo are words/phrases/images associated with a particular season, like snow for winter, or cherry blossoms for spring. In Japan, they actually publish reference books of kigo called saijiki, which is basically like a dictionary or almanac of kigo, describing the meaning, providing a list of related words, and some haiku that use that kigo. Using a a particular kigo both grounds the haiku in a particular time, but also alludes to other haiku that have used the same one.
Kireji is a thing that doesn't easily translate to English, but it's almost like a spoken piece of punctuation, separating the haiku into two parts/images that resonate with and add depth to each other. Some examples of kireji would be "ya", "keri", and "kana." Here's kireji in action in one of the most famous haiku:
古池や 蛙飛び込む 水の音
(Furu ike ya kawazu tobikomu mizu no oto)
(The old pond —
A frog jumps in
The sound of the water.)
You can see the kireji at the end of the first line- 古池や literally translates to "old pond ya". The "ya" doesn't have linguistic meaning, but it denotes the separation between the two focuses of the haiku. First, we are picturing a pond. It's old, mature. The water is still. And then there's a frog! It's spring and he's fresh and new to the world! He jumps into the pond and goes "splash"! Wowie! When I say "cutting word", instead of say, a knife cutting, I like to imagine a film cut. The camera shows the pond, and then it cuts to the frog who jumps in.
English doesn't really have a version of this, at least not one that's spoken, but in English language haiku, people will frequently use a dash or an ellipses to fill the same role.
Format aside, there are also some conventions of the actual content, too. They frequently focus on nature, and are generally use direct language without metaphor. They use concrete images without judgement or analysis, inviting the reader to step into their shoes and imagine how they'd feel in the situation. It's not about describing how you feel, so much as it's about describing what made you feel.
Now, let's put it all together, looking at a haiku written Yosa Buson around 1760 (translated by Harold G. Henderson)
The piercing chill I feel:
my dead wife's comb, in our bedroom,
under my heel
We've got our kigo with "the piercing chill." We read that, and we imagine it's probably winter. It's cold, and the kind of cold wind that cuts through you. There's our kireji- this translation uses a colon to differentiate our two images: the piercing chill, and the poet stepping on his dead wife's comb. There's no descriptions of what the poet is feeling, but you can imagine stepping into his shoes. You can imagine the pain he's experiencing in that moment on your own.
"But tumblr user corvidcall!" I hear you say, "All the examples you've used so far are Japanese haiku that have been translated! Are you implying that it's impossible for a good haiku to be written in English?" NO!!!!! I love English haiku! Here's a good example, which won first place in the 2000 Henderson haiku contest, sponsored by the Haiku Society of America:
meteor shower . . .
a gentle wave
wets our sandals
When you read this one, can you imagine being in the poet's place? Do you feel the surprise as the tide comes in? Do you feel the summer-ness of the moment? Haiku are about describing things with the senses, and how you take in the world around you. In a way, it's like the poet is only setting a scene, which you inhabit and fill with meaning based on your own experiences. You and I are imagining different beaches, different waves, different people that make up the "our" it mentioned.
"Do I HAVE to include all these things when I write haiku? If I include all these things, does that mean my haiku will be good?" I mean, I don't know. What colors make up a good painting? What scenes make up a good play? It's a creative medium, and nobody can really tell you you can't experiment with form. Certainly not me! But I think it's important to know what the conventions of the form are, so you can appreciate good examples of it, and so you can know what you're actually experimenting with. And I mean... I'm not the poetry cops. But if you're not interested in engaging with the actual conventions and limitations of the form, then why are you even using that form?
I'll leave you with one more English language haiku, which is probably my favorite haiku ever. It was written by Tom Bierovic, and won first place at the 2021 Haiku Society of America Haiku Awards
a year at most . . .
we pretend to watch
the hummingbirds
Sources: (x) (x) (x) (x) (x) (x)
Further reading:
Forms in English Haiku by Keiko Imaoka
Haiku: A Whole Lot More Than 5-7-5 by Jack
How to Write a Bad Haiku by KrisL
Haiku Are Not a Joke: A Plea from a Poet Who Has Had It Up to Here by Sandra Simpson
Haiku Checklist by Katherine Raine
10K notes
·
View notes
asking and receiving (bonus below readmore)
[ID: A black and white, digital Trigun comic of Vash and Wolfwood. In the first panel is a close up of Wolfwood's mouth as he says, "Vash". Accompanying it is a close up shot of Vash's eye, widen and cheeks flushed. Wolfwood presses a knee against the open space between Vash's legs and says, "Tell me everything you want from me." Wolfwood's face is equally as flushed. He continues to say, "I'll give it to you. Everything." As he talks, a wide shot shows the both of them in white space. Vash is sitting, leaning a little back with both hands pressed against the surface he's sitting on. Wolfwood is in his white dress shirt, stripped of the blazer. He's still leaning in with one knee in between Vash's spread legs, his right hand touching Vash's lips and his left hand behind his back.
The shot closes in on Vash's mouth and Wolfwood's hand against it, pressing down on the lower lip as he says, "You have to ask though. Go on." His hand moves down to Vash's chin, gently holding it. With a shy and uncertain expression, Vash hesitantly asks, "Um... K... Kiss... Please?" Wolfwood, without wasting a second, leans in and kisses him and indulges by pressing deeper, eliciting a small noise of surprise from Vash.
Wolfwood moves away from Vash first and with a smile, asks, "What else?" Vash tugs on Wolfwood's left sleeve, wordlessly budging Wolfwood to give him his hand that was still behind his back. In the next panel, Vash utters, "Hold me..?" He's holding Wolfwood's left hand with his own while his right hand is reaching for his waist. Wolfwood complies, moving his left hand to Vash's shoulder and his right hand continues to touch Vash's cheek. Wolfwood asks again, "What else?"
More comfortable now, Vash leans in to kiss Wolfwood. Wolfwood catches him immediately, pressing his thumb against Vash's lips to stop him before demanding, "Hey. Ask." Vash looks back in surprise and Wolfwood meets his eye with a quiet, insistent look. They're quiet for a moment before Vash leans in again and curtly requests, "Kiss. Me." Wolfwood says "Good", smiling as he lifts his hand away, and meets Vash's lips. In the next shot, Wolfwood had adjusted his position, sitting on Vash's thigh. The hand that was once on Vash's cheek has moved its way to Vash's nape, pushing away the collar of his jacket with his pinky. His other hand continues to grip on Vash's shoulder. Still kissing, Wolfwood asks again, "What else?"
In the next shot, Vash is starting to turn, moving Wolfwood with him. Vash asks, "Let me on top of you?" Wolfwood says, "Mhm" before asking again, "What else?" The next panel shows a close look of Vash's face. He's looking down, flushed and shy just as he had been at the beginning, but now, more decisive. Vash asks, "Wolfwood... Let me have you..?" A panel of Wolfwood taking Vash's hand into his, pulling it towards his chest. The next panel shows Wolfwood lying down where Vash had laid him. Vash's hand is on Wolfwood's chest, covering the cross of his rosary while Wolfwood's hand lingers against his, loosely pressing Vash's hand in place. He looks up at Vash with a shy smile of his own, flushed cheeks. He says, "All yours."
A panel shows a close up of Vash's tender gaze before he leans down to be closer to Wolfwood. The final shot is a front view of their positions, Vash's face turned away from the viewer; Vash is leaning over Wolfwood who's lying down with his right leg draped over Vash's legs. Wolfwood's left hand holds onto Vash's left arm. With finality, Vash says, "...Mine." End ID]
[ID: A follow up bonus comic in a looser, sketchier style. They're laying comfortably in bed when Vash asks, "What was that earlier?" referecing to the start of the previous comic. Wolfwood glances away and says, "To get you used to it. Asking. And getting what you ask for. Since you're alwasy hesitant about it." Vash's eyes widen, tight lipped. Wolfwood continues, "Knowing you, it'll be a tough habit to break..." When he says this, Vash can't help but laugh, unable to deny it. Wolfwood slowly brings a hand to Vash's cheek and continues to say, "So I'll keep trying -- whatever ways I can... to get it through your thick skull." Vash takes Wolfwood's hand with his, kissing the the palm gently. Wolfwood's eyes soften and holding onto Vash's cheek, he leans in to try for a kiss. Vash says, "Hey..." before stopping Wolfwood's lips with the back of his hand, a smug look on his face, "Ask." Wolfwood's embarrassed and with little irritation, asks, "Really?" Vash smiles, saying, "You're in need of practice too." They pause for a moment, Wolfwood looking contemplatively, before he's leaning in again, asking, "May I please kiss you?" Vash looks him in the eyes and says, "Yes." The comic ends with a "chu", indicating an off-panel kiss. End ID]
3K notes
·
View notes