god Verg I love a Structure so much, it’s gonna be “despicite, dei, gaudete” for the WIP game & I would love to hear more about the said structure if you feel like sharing it!
hello!! an excuse to talk about my project? yes please thank you <3
so it’s three “layers” which are entangled (maybe laced is a better word — i’m still ironing out final structural presentation, but the core is there)
1. sopwith, a book published in 1950 about pilots in WWI — aiming for an american modernism style, steinbeck influences (god i love steinbeck) with a dash of the faintly surreal, though i wouldn’t call it experimental. presented in standard book style, not terribly long
2. the life of sopwith’s author, who was himself a pilot in the second war, discharged after a serious plane crash — sopwith is published after his stint in the air force and he spends the last six years of his life in a new york hotel (based on the chelsea) obsessively redrafting a second edition of sopwith and filling a horde of journals, which themselves are published 50 years later as an academic text (though the second edition of sopwith never sees the light of day). told in journal passages
3. the efforts of a lit studies doctorate to piece together what it was sopwith’s revised version (never published) was really trying to say while she struggles with her own psychiatric health and her relationship to literature and the world at large. told in footnotes on sopwith, journals, and letters to her brother.
that’s the simplest sort of breakdown — the lit. studies doctorate ends up living in the same hotel the author lived in while she’s working and enters a psychological spiral where she becomes entangled with those last years of the author’s life and the thing he was trying to excise via his book, so the lines get a little blurry as the whole thing progresses. there are lots of throughlines about doubling/communication/the effort of people to corral the world with the written word/etc — inspired a lot by jorge luis borges and also house of leaves. i’m still in the glorious haze of Throw It All On The Page so i expect there’ll be some. refinements? (please god)
despicite, dei, gaudete is the first thing the author ever wrote and published — it’s a novella about an odd family myth a grandmother is telling her grandson, but taking a borges tact what we read instead of the actual novella is the lit doctorate’s essay about it, an excerpt from the middle of which i shall offer you here :)
thanks much for the ask my friend <3 <3
The seemingly obvious moral is twofold: old gods are infinitely cruel, and splitting up in strange forests is a terrible idea (a fact any B-list horror film will readily remind us of). Little chou hears this story, and when the telling of it is over, we discover that chou is now an old man, telling the tale to his granddaughter, and we have been hearing the telling of a telling, itself impressed upon by dimly-recalled circumstance and the erosion of an old man’s memory. Now we see why the impressions of intermediate narrative — a family dinner, a bedtime, a certain firelit drawing room — are so loosely sketched, so half-filled and yet so elemental. They are the memories of a child.
Most take Despicite as Witten’s first establishment of in loco, absentia on the basis of the fact that the real narrative concealed within is the life of chou, understood to us by the particularity of the details he does remember: his mother’s hand vividly recalled, posed mid-stir over a soup pot, thought by many to imply both her early death and chou’s pursuit of the culinary arts; the flames in the hearth and the strange vision chou has of the stones blackened, suggesting at one time that the house burned down; chou’s exquisite ekphrasis of the ceiling in his childhood bedroom, so vivid one cannot help but think that this is where we find him now, perhaps confined to the same quarters he slept in as a child, an old man at the end of his life. Legion readers have pointed out the obvious Biblical influences, the echoes of Cain and Abel (raised as a Protestant in his hometown of Valentine, Nebraska, it’s no small wonder that Witten’s works tend to touch on Christian themes). The first brother, killed and then dismantled by the second, plays our ready Abel, and the second our more hapless Cain, whose inciting sin is perhaps his abandonment of his brother to the dark wood in pursuit of his own reckless belief. He then attempts to “hide” his sin by rectifying it, collecting his brother in an attempt to reverse his transformation into earth. It’s no great leap. Our Cain, of course, is not condemned to wander, but instead condemned to a miserable stasis, from which he similarly does not escape.
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Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.
Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)
I Won't Say (I'm in Love)
Written By: Alan Menken & David Zippel
Artist: Susan Egan with Roz Ryan, Cheryl Freeman, Lillias White, Vanéese Y. Thomas & LaChanze for Hercules
Released: 1997
From the 1997 Disney movie Hercules, “I Won’t Say (I’m In Love)” is the movie’s featured love ballad. After a romantic date with Hercules, Meg expresses her conflicting emotions through song (with some back up from the Muses). Hurt before and technically working for Herc’s arch nemesis, this song demonstrates Meg’s reluctance to get into another relationship that (in her mind) can only end badly.
[MEG]
If there's a prize for rotten judgment
I guess I've already won that
No man is worth the aggravation
That's ancient history, been there, done that
[MUSES, MEG]
Who d'you think you're kiddin'?
He's the earth and heaven to you
Try to keep it hidden
Honey, we can see right through you (Oh no)
Girl, you can't conceal it
We know how you feel and who you're thinkin' of
[MEG]
Oh
No chance, no way
I won't say it, no, no
[MUSES]
You swoon, you sigh
Why deny it? Uh-oh
[MEG]
It's too cliché
I won't say I'm in love
[MUSES]
Shoo-do, shoo-do, ooh
[MEG, with MUSES]
I thought my heart had learned its lesson
It feels so good when you start out
My head is screaming, "Get a grip, girl"
"Unless you're dyin' to cry your heart out"
Oh
[MUSES, MEG]
You keep on denying
Who you are and how you're feeling
Baby, we're not buying
Hon, we saw you hit the ceiling (Oh no)
Face it like a grown-up
When ya gonna own up
That you got, got, got it bad?
[MEG]
Whoa
No chance, no way
I won't say it, no, no
[MUSES]
Give up, give in
Check the grin, you're in love
[MEG]
This scene won't play
I won't say I'm in love
[MUSES]
You're doin' flips
Read our lips, you're in love
[MEG, MUSES]
You're way off base (Shoo-do, shoo-do)
I won't say it (She won't say it, no)
Get off my case (Sha-da, sha-da)
I won't say it
[MUSES]
Girl, don't be proud
It's okay, you're in love
[MEG]
Oh
At least, out loud
I won't say I'm in love
[MUSES]
Shoo-do, shoo-do, shoo-do, shoo-do
Sha-la-la-la-la-la, ah
God Only Knows
Written By: Brian Wilson & Tony Asher
Artist: The Beach Boys
Released: 1966
“God Only Knows” is a song by American rock band The Beach Boys. It is the eighth track on the group’s 11th studio album, Pet Sounds, and one of their most widely recognized songs. “God Only Knows” was composed and produced by Brian Wilson. Tony Asher helped Brian with the lyrics. Carl Wilson sang lead, and Bruce Johnston sang harmony vocals with Brian in the outro. The song broke new ground in many ways. It was one of the first commercial songs to use the word ‘God’ in its title. As producer, Brian Wilson used many unorthodox instruments, including the harpsichord and French horns that are heard in the song’s famous introduction. Although The Beatles engaged in a friendly rivalry with the Beach Boys based on mutual respect, Paul McCartney called this song the best song ever written.
[Verse 1: Carl Wilson]
I may not always love you
But long as there are stars above you
You never need to doubt it
I'll make you so sure about it
[Refrain: Carl Wilson]
God only knows what I'd be without you
[Verse 2: Carl Wilson]
If you should ever leave me
Well, life would still go on, believe me
The world could show nothing to me
So what good would living do me?
[Refrain: Carl Wilson]
God only knows what I'd be without you
[Interlude: Carl Wilson, Brian Wilson, and Bruce Johnston]
Ooh, ooh
Do, do, do, do, do, do, do
Bow, buh-bow, buh-bow, buh-bow (Do, do, do, do)
Buh-bow, buh-bow, buh-bow (Do, do, do, do, do, do)
Buh-bow, buh-bow, buh-bow, buh-bow (Do, do, do, do, do, do, do, do)
[Refrain: Carl Wilson]
God only knows what I'd be without you
[Verse 3: Carl Wilson]
If you should ever leave me
Well, life would still go on, believe me
The world could show nothing to me
So what good would living do me?
[Chorus: Carl Wilson]
God only knows what I'd be without you
[Outro: Carl Wilson with Brian Wilson and Bruce Johnston]
God only knows what I'd be without you
God only knows what I'd be without you
God only knows what I'd be without you (What I'd be)
God only knows what I'd be without you (God only knows)
God only knows what I'd be without you (What I'd be)
God only knows what I'd be without you (God only knows)
God only knows what I'd be without you (What I'd be)
God only knows what I'd be without you (God only knows)
God only knows what I'd be without you (What I'd be)
God only knows what I'd be without you (God only knows)
God only knows what I'd be without you (What I'd be)
God only knows what I'd be without you (God only knows)
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God Only Knows: Chapter 11
“You’ve made a real mess out of things, haven’t you?”
Ryosuke didn’t flinch.
“I suppose I have.”
“It’s okay,” Tomoyuki said. “You still have time to fix things.”
For a fraction of a second, the mask slipped, and Ryosuke’s eyes widened.
“You really think so?”
The wind blew again, harder. Dry leaves snagged in the breeze and swirled through the parking lot.
“No, not really. But you’re a smart guy. Prove me wrong, won’t you?”
It’s been a long time, but I’ve finally finished and posted a new chapter for “God Only Knows!” Here it is!
https://archiveofourown.org/works/33086551/chapters/122254681
I hope you enjoy!
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LOST is so funny because it aired in a time when queer rep outside of like comedy stereotypes wasn’t happening often and especially not on basic cable or on ABC so their idea of progressiveness is M.C Gainey kissing a Hot Twink on the cheek to be like ah yes Disney’s First Gay Character BUT THEN YOU HAVE EVERYTHING LOCKE AND BEN HAVE GOING ON.
At any given time, they’re either a married couple, mortal enemies, Othello and Iago, or Jesus and Judas. Neither of them can stand to be away from each other even when it makes genuine sense to. Ben shoots Locke; Locke won’t kill him. Ben lies and Locke listens- he ALWAYS listens. Ben wants Locke to die because he’s so jealous it’s tearing him up, and even after successfully killing him, THE DEVIL HIMSELF wears his skin and uses it to manipulate him the way he constantly manipulated Locke AND HE BELIEVES IT BECAUSE WHY WOULDN’T HE.
Ben talking Locke down from a ledge only to kill him himself. Ben’s “I’m sorry I killed him.” Ben never being chosen, always being the unfavorite and getting his way through treachery, orbiting Locke The Chosen One like a binary star, in love with him and jealous of him at the same time. That’s fucking gay, Disney.
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