Introduction

Pertaining to Taylor Swift, "Female Rage" has deviated from its intended meaning after Swift debuted a new performance of The Tortured Poets Department during the Eras Tour. Now, according to Swift's use of the phrase, female rage is interpreted as public backlash against Swift's dating choices rather than as a response to the broader injustices against women and women's rights. This post examines Taylor Swift's flawed feminism, philanthropy, branding, and the controversial trademark petition for the phrase "Female Rage: The Musical". Swift's background as an entertainer, indeterminate politics, and alignment with capitalism over feminism pervades her legacy, again threatening her public tolerance as not just an individual but as a brand.

Once Upon a Female Rage...

If you were cognizant in the early 2010's, you've heard countless jabs at Taylor Swift in the media. Magazines, radio, or online. Music critics did not take her seriously as a songwriter; parents put a woman on an unrealistic pedestal as the ideal role model for their children; she dated too much and used men as lyrical fodder. No matter the story, it inevitably spread, conjoined with everyone's respective opinions, and you'd be left to wonder, "Why does everyone hate this girl so much?"
Taylor's target demographic has always been young or adolescent girls, more so when Swift herself was one. She made music that spoke to the awkward misfit, cultivating a para-social relationship with fans on MySpace, then later twitter, Instagram, and YouTube, where Taylor posted relatable vlogs showcasing the life of a homegrown American girl. Taylor had a delayed public "growing up" and, compared to her female pop contemporaries, Swift never "gratuitously sexualized her image and seems pathologically averse to controversy" (and, apparently, never even had a sip of alcohol until she turned 21). She was more than happy to spin this narrative to allude to an inherent moral superiority above other women in the industry (Better Than Revenge, heard of it?), engaging in the very slut-shaming that she herself endured (the Madonna and Whore archetypes). The victim complex arose with the need to prove Taylor as a different type of pop girl. Based upon her holy and clean image, Swift had been dubbed "a feminist's nightmare", and that "[To Swift] other girls are obstacles; undeserving enemies who steal Taylor’s soulmates with their bewitching good looks and sexual availability." Feminism and Tennessee-Christian country values don't exactly mix, it seems.
Years later, Swift befriended Lena Dunham and thus experienced white feminism osmosis, where Dunham taught Swift that real feminists defend rapists, makes insensitive jokes about rape and abortion, and prioritize all-white casts. Swift then declared herself a feminist in 2014, saying,

"Becoming friends with Lena – without her preaching to me, but just seeing why she believes what she believes, why she says what she says, why she stands for what she stands for – has made me realize that I’ve been taking a feminist stance without actually saying so."

I suppose the male-centric songwriting subject that permeates Swift's discography contained covert feminism and that we just didn't see that. Perhaps, the "Bad Blood" song and music video were written only in jest and not about poor Katy Perry, for Swift, as a feminist, would "never make it a girl fight" or tear other women down (though all Katy did was date your terrible ex-boyfriend and allegedly steal three backup dancers from your tour). In 2013, Swift said, in response to Tina Fey and Amy Poehler's joke towards her serial dating, "There is a special place in hell for women who don't help other women."
There was that time in 2015 Taylor said that Nicki Minaj was "invited to any stage [she is] on" (as if Taylor expects to have access to every stage, award, and platform that Nicki might not otherwise have as a black female artist...yikes!) in response to Nicki's criticism of the white + thin VMA nominations. Later, Nicki responded with confusion, as Swift continued, "It’s unlike you to pit women against each other. Maybe one of the men took your slot..". Of course, this 'beef' was 'squashed' when Nicki performed with Taylor at the VMAs, with Nicki quite literally only having 38 seconds of stage time without Taylor. Maybe all that parading around with a legion of famous white women - similar to the way Taylor might've done with her numerous 1989-era handbags - was in fact a stance against gender inequality, and that this display of "girl power" should be enough to constitute Swift as a feminist icon.
Even while Swift says that Dunham informed her feminist outlook, she dances around the exact contents of those beliefs: "what she believes, what she says, what she stands for" is not exactly insightful towards what beliefs Swift might have inherited. Taylor never broaches women's rights topics such femicide, FGM, forced pregnancy & marriage, sex trafficking, women in slavery, women's financial and political oppression, women's educational rights, women's health, or women's autonomy, so we can assume she only gives a fuck about "girls supporting girls" (whatever that fucking means).
Despite some questionable (and sometimes vindictive) behavior, Taylor as a young woman did not deserve every media lashing that she received. We cannot deny that most headlines and criticisms perpetuated a misogynistic rhetoric which has plagued Swift for a majority of her career. Acknowledging events such as the development of her ED, her sexual assault trial, "Famous" lyric and MV depiction of Taylor, and the explicit Twitter deepfakes, for example, as both disgusting and unfortunate things that happened to a young woman in Hollywood does not negate the fact that Taylor is mostly a performative feminist.

Get Your Fucking Ass Up and Be a Philanthropist, It Seems Like Nobody Wants to Be a Philanthropist These Days

In 2013, Taylor Swift cut the ribbon at the grand opening of the Taylor Swift Education Center at the Country Music Hall of Fame in Nashville, Tennessee. The donation amount - $4 million - was the largest individual artist gift ever donated to the Country Music Hall of Fame, which is, of course, mentioned on Swift's website. The two-story facility features three classrooms, an instrument room, and an interactive children's exhibit gallery. Swift also performed at "All for the Hall" charity shows and has donated numerous artifacts from her career (such as notable guitars, tour costumes, etc) to the museum.
This was over 11 years ago, and it is still the only notable philanthropic contribution Taylor Swift has made.
For a woman of her net worth and stature, and a woman who recognizes the difficulties for women in film and music, you would think that Taylor Swift might establish a scholarship program for women to study the arts or something. Perhaps Swift might even consider becoming a member of organizations that support female artists, or one that supports LGBTQ+ causes (since she is now proudly an ally), yet she remains superficial with her graces. Broader philanthropy, such as donating relief aid to Palestinian women or women impacted by violence and discrimination will probably never receive any financial support from Miss Swift because then she'd be using her money towards philanthropies involving anyone but white entertainers.
She even says herself in Miss Americana, "My entire moral code as a kid and now is a need to be thought of as 'good'." Well, she's certainly thought of as good, though her actions say otherwise. She's more than happy to do a vaguely altruistic song and dance for a clip-worthy interview quote and mass appeasement, then fuck off to one of her mansions on a 20 minute private jet flight, rather than actually contribute to anything pertaining to the causes she has endorsed. Yet, far too many people continue to give a woman such as her their money, time, and energy, and she hoards these resources to herself.

I Like Some of the Taylor's Songs, But What the Fuck Does She Know About Feminism?

Swift continued with her self-proclaimed feminist campaign, positioning herself as a political activist and LGBTQ+ ally in the Miss Americana documentary. The primary focus of the documentary consists of the sexual assault trial, Andrea Swift's cancer diagnosis, Taylor's ED and body dysmorphia, media scrutiny, and, largely, finally speaking up about her politics publicly, mostly her opposition to the 2018 Tennessee Republican senate candidate, Marsha Blackburn, and Blackburn's beliefs. Swift says, following a scene discussing her experience during the trial,

"I just couldn't really stop thinking about it. And I just thought to myself, next time there is any opportunity to change anything, you had better know what you stand for and what you want to say."

We must ask ourselves, though: when has Swift ever spoken up to change anything? Okay, pulling her entire catalogue from Spotify because they didn't pay their artists enough and similarly pulling her catalogue from Apple Music are changes that she leveraged due to her revenue potential and power, but they are not pertinent to the average woman's rights. Moreover, these are issues that directly impacted Taylor's income, which was enough reason for her to protest in the first place. Swift has sold the most units for a female artist in first week sales, is the first female artist with 100k monthly Spotify listeners, is the first female artist to win the Album of the Year Grammy 4 times, and is the first female artist to do X, Y, and Z, all while being inoffensive and family-friendly to boot. The actual Taylor Swift seems unwilling to compromise the brand of Taylor Swift by contributing in meaningful ways to feminist causes, especially if it is for women outside of America and Hollywood.
The reason political anthems such as "The Man" and "Only the Young" of the Lover era feel disingenuous and corporate is because, well, it is. Taylor has taken every opportunity to advance her career or public image at the expense of other women. What is truly genuine to Taylor's outlook on other women is vying for male attention, taking down female competition, and vocalizing feminist injustices only if they directly impact her and her money. Some will argue that it's satisfactory for a woman with such a huge platform to even TALK about feminism, but that just isn't enough. It's even less impressive when you candidly look at the scope of her feminist lens: "If I was the man, then I'd be THE MAN", or "I really resent the ‘Be careful, buddy, she’s going to write a song about you’ angle, because it trivialises what I do", and, of course, "We all got crowns". Feminism, but only when it happens to me. It gets worse when you look at Taylor's track record of copying other famous women and removing other female artists as potential threats to her pop prowess.
It's good for PR to align yourself with certain blanket feminist and political beliefs, therefore good for branding, therefore good for ticketing and merchandise sales, therefore good for business. And Taylor Swift is a business.
She's not a feminist. Taylor Swift is a capitalist.

I Can't Pay Those Sweatshop Workers a Livable Wage or Benefits! How Else Would I Make My Billions?

Recently, Taylor's team filed to trademark the phrase "Female Rage: The Musical" after Taylor said during Paris N1 of the Eras Tour,

"So you were the first ones to see The Tortured Poets at the Eras Tour...or as I like to call it, 'Female Rage: The Musical'."

This trademark petition was filed last week on Saturday, and news comes about just as numerous unofficial fan-made merch designs have cropped up with this phrase plastered on Fruit of the Loom basics. I'm of the opinion Swift's team motioned for a trademark so that they can send out cease & desists to all those that make knockoff merch, which disrupts potential sales for Bravado, UMG's choice merchandising company; however, since it was filed earlier, perhaps Swift has bigger plans with the bizarre use of the gendered phrase. One Swiftie referred to the phrase "female rage" as "a funny Eras Tour joke". Could it be a possible fourth version of the Eras Tour Movie? Whatever the reason, the motion to capitalize off of such a concept is disgusting, but not unsurprising, for a woman that profits on her vain feminism.
Swift, through her company, TAS Rights Managements, has also trademarked over 200 phrases, including "1989", where she owns the property rights to this calendar year on keychains, phone cases, sunglasses, stationary, bags, beverage ware, clothing, entertainment services, your subconscious, and, of course, Christmas ornaments.
The vapid consumerism in Swiftie culture is, frankly, disgusting. Bravado's sustainability statement is non-existent, the quality control is abysmal, and the materials they use are horrible. The materials, such as acrylic and polyester, are made from petrochemicals. This means they are non-renewable, shed microplastics, and are quite toxic in production. The manufacturing process to make all of those lazy-rushed Eras Tour logo graphic tees is a huge blow to environmental well-being. Apparently, though, Swifties don't give a fuck. They sell out products in seconds and either have to face the manufactured scarcity or buy from a scalper that resells for 200% of the already ridiculous retail price. This doesn't include the environmental impact of vinyl records, CD, and cassette production, of which Taylor produces many variants that sell unsustainable amounts.
If we're talking about women's rights violations, why is no one acknowledging the women that work in the inhumane sweatshop conditions that have to pump out fugly t-shirts and hats? The millions of plastic microfiber dander they are inhaling, or the toxic dyes that touch their bare skin? Are they being compensated fairly for their skilled labour and are they in safe working environments? Do these women have minimal bargaining power, and do they have authority over their worker's rights? Is Taylor Swift female raging at their injustices? Does Taylor Swift ever feels bad that her wealth was built on the backs of women of color, disadvantaged by the demands of the global economy and garment industry? Do you think she ever says a little white feminist prayer for them before she goes to sleep at night?
What's even crazier is not that Taylor herself doesn't care, it's that Swifties don't care. There CANNOT BE ethical billionaires. You only make a billion dollars if you are exploiting other human beings for capital gain. Based on public perception of the possible "Female Rage: The Musical" trademark, it seems like Swifties are already asking for merch with this phrase. "If Taylor made it, I'd buy it." Oh, cool. So not only do you champion Miss Swift's avarice and billionaire status, but you also are unashamed to admit to your blind consumption of her music and merchandise, no matter where they might originate in production or sincerity. Just as Swift takes and takes and takes, Swifties' consumerism of Taylor Swift cannot be quelled.
The tortured artist's most vulnerable and sincere poetry...available now in 21 different versions!

I Am Tortured Poet, Hear Me Whinge

Look - even if Taylor's intention is to characterize TTPD as more "tortured" and "angry", the main thread of the album is "I was ghosted by my decade-long situationship with a controversial indie boy and my fucking stupid fans wrote a 'Speak Up Now' open letter prompting me to drop him" anger, which is adequately expressed in the lyrics and performances. The extent of Taylor's "female rage" on TTPD is on tracks such as "Who's Afraid of Little Old Me?", which contends with relentless media scrutiny; "But Daddy I Love Him", where Swift firmly states she'll date whoever she likes no matter how "Sarahs and Hannahs" may react; and "The Albatross", a track mythologizing her reputation and the consequences of dating her. Of course, these coincide with deep psychological wounds that formed during Swift's early years in the media, and so, from her feminist perspective, these subjects tackle the misogyny and double standards that she faced.
Yet Taylor Swift still has no grounds to be claiming that TTPD best exemplifies female rage and therefore she, in the context of this album, is female rage incarnate. As the daughter of a stock broker and mutual fund marketing executive, Taylor was born into wealth and allowed privileges like trips and subsequent relocation to Nashville all so that she might get a record deal. Her father even invested at least $120,000 into the then-fledgling label, Big Machine Records, which ensured Taylor's place with Borchetta after leaving her dead-end development deal with Sony. The fact that her parents were able to buy her a fucking brand new guitar for Christmas and pay for music lessons says so much about the financial security and safety of her childhood.
Money is privilege and protection, and despite Swift's experiences with misogyny and loser boyfriends, she does not know what female rage is.
Her rage is derived from her frustrations with her obsessive fans pulling the moral superiority card on Taylor in response to her rebound with Matty Healy. That's literally it. She's just pissed that the monster she created is no longer obediant, it's become a feral, sovereign entity that depletes the world of its natural resources and thinks it is more intelligent than it actually is because it's mommy has started to talk to it with big words. Apparently, 'illicit', 'elegy', 'nonchalant', and 'precocious' are considerably big words for the oafish monster, and I find it strange that this level of literacy is present in a group of fans that allegedly have GPAs of 3.5 or higher, but I digress.
Taylor Swift has never been one paycheck away from destitution. Taylor Swift has never experienced racial discrimination. She may have instances of gender discrimination, but she possesses the ideal white, blonde American beauty standard and therefore reaps the benefits of being a conventionally attractive woman. Taylor Swift has sufficient social capital. Taylor Swift is a billionaire woman prolonging her victimhood though she, as a woman, has mostly had control over her image and music (unlike her contemporaries). Taylor Swift is NOT entitled to be championed for her "female rage", nor should she be. Taylor Swift has never even been the struggling artist, for fuck's sake. I don't give a fuck if she's trying to fill the empty lunch tables of her past. Taylor Swift purporting herself, her unpolished album, and her lukewarm feminism as a musical bleeding with female rage is asinine.

Sigh Try and Come For My Job, Poors

Out there in the world right now is a 23-year-old woman, a recent college grad, who works as a barista. She has to wake up and get ready to go into a minimum wage job because she cannot get a job in her field. She doesn't have healthcare benefits or sick time, so she has to go into work no matter how she's feeling. All day long she is berated by vicious customers and creepy men, and, exhausted from being on her feet, she knows she has to go home to her shitty roommate that never does the dishes and her roommate's shitty dog. To comfort herself, she considers getting a treat, but thinks against it when she remembers that matcha lattes cost $15 and they taste like milky dirt. She knows that she needs to buy groceries this week, and so the woman resolves to go home, but notices that her gas tank is low. She goes to put gas in the car, but the pump stops at $27.86 because that's all that she has in her checking account. The woman, bereft and reeling, sinks into the driver's seat. "Well," she thinks, her head in her hands, "at least I don't have Taylor Swift's job. I just couldn't imagine."
Fame is somewhat of a choice. If at any moment Taylor feels that she is misunderstood, misconstrued, or overwhelmed by public opinion, she can LEAVE the public eye - Lord knows she has the retirement fund and residuals to do so. In "I Can Do It With a Broken Heart", the TTPD song about meeting the demands of your career-zenith mega-tour while in the relationship trenches, Taylor ends the song by rambling,

"You know you're good when you can even do it with a broken heart...you know you're good...and I'm good, cause I'm miserable, and no one even knows!...try and come for my job."

Yeah, obviously we wouldn't know, you recently passed the billionaire threshold and are the most famous and in-demand performer in the world right now. Taylor Swift makes an estimated $10 to $13 million dollars A NIGHT on the Eras Tour. Furthermore, the Eras Tour movie grossed $261.6 million globally, (which, as the producer, Taylor takes home 57% of the ticket sales) not counting the streaming revenue from Amazon Prime Video and the estimated $75 million deal that Disney paid to have it on Disney+. We're not even considering the income from cheap plastic popcorn buckets and drink cups plastered with colored squares in her Era-specific likeness.
It's funny. Taylor Swift often said that being famous wasn't hard, that she "isn't complaining". I'm sure it is difficult to always have to present in a good mood, else you'll end up misrepresented in the media, and I'm sure it's invasive to virtually have no privacy or semblance of anonymity. Still, Taylor Swift shows up each night of tour and performs. For a majority of her career, she has penned her sad songs while on the road. Most of "Red", her breakup album, was written in the thick of the Speak Now World tour. Now, some Swifties say they almost "feel bad" for attending the Eras Tour with Swift's revelations in this song, that they have had a 'dimmed experience' upon hearing Taylor's misery whilst performing. Despite the fact that Taylor said that "this was the happiest she's ever been" at Gilette Stadium in May, the lyrics "boohoo, woe is me, smile for the cameras and make the fans happy!!!" are jarring for Eras attendees.
While Taylor Swift was making double-digit millions a night in Rio de Janeiro, Brazil and feeling miserable, Ana Clara Benevides Machado passed away due to heat exposure. The concert promoters, Time For Fun, are now the subject of a criminal investigation due to their lack of adequate hydration and safety. Taylor Swift cancelled the Sunday show that was to follow and offered VIP tent tickets to Benevides Marchado's family, which was a kind gesture, but perhaps incongruous to the incident of which they were offered as consolation. Everyone grieves differently, of course, but I'm not sure attending the very show at the very same venue that my daughter or sister passed away in two days prior, where the singer CONTINUED the show despite her death, would be healthy for closure.
There was no female rage at the show as Swift never saw Benevides Machado pass out. There was no female rage towards the disregard for fans as humans while Swift elected to proceed with her Brazil tour dates despite the country being in historic heatwaves (at risk of overheatting herself). If Taylor Swift was so shaken by touring with a broken heart or a fan's passing, she wouldn't have added an additional North American leg of Eras just two months after the Matty breakup. She's brokenhearted but willing to mend the cracks with your money and move onward with her worldwide female rage induced pillaging.
No matter what happens, even if you die at a Taylor Swift concert, Taylor collects a big fat check and flies away. She doesn't know you as anything other than a conversion rate or earning potential despite what her nearly 20-year long parasocial relationship with fans might otherwise indicate. She knows that, while some Swifties are without disposable income, they feel obligated to spend on a "48 Hours Only!" exclusive vinyl variant instead of necessities because they are so entrenched in Taylor Swift's intoxicating celebrity, they'll prioritize materialistic fandom before their needs. This is good enough for her because this means she can expand her real estate portfolio and finance her cat's lavish lifestyles. They're worth an estimated $100 million dollars. Her three cats could pool their net worth and solve world hunger.
While you and I might be denied bereavement leave and barely surviving the current political and economic climate, Taylor Swift has to, instead of gets to, perform for stadiums at full attendance for three nights in a row across the globe. You and I might be replaced by AI at our longtime jobs, but Taylor Swift is threatened with losing more and more money each time you listen to a "Stolen Version" of her songs. If we don't buy every variant of all of her albums, then who is going to pay for the fucking cats?
It is tone deaf to spend as she spends and lives as she lives in this economy, but this is her reality. She was able to donate $100,000 to all of her tour truck drivers, and that's wonderful, but it leads me to wonder about the ethos of the 2020s where one woman can hoard such life-changing amounts of money. Remember in 2014 when she gave a fan $90 ($120 in today's money) to get Chipotle because she had no fucking clue how much it cost? This is a 34-year-old woman who is increasingly out of touch with the reality for working class people and women in general. Normal everyday adults must wake up and go to their thankless jobs, and yet Taylor Swift, despite all her riches, incessantly references the lows of her life and career as a public figure and entertainer to farm sympathy and drive sales. And still, the corporate women have latched onto "I cry a lot, but I am so productive! It's an art!" as their cubicle battle cry.
Do you think that, from up in her private jet, Taylor Swift gazes at the world through her poetic, tortured eyes, and thinks, "All the little people, in their cars, walking, going about their lives...all those girls that don't support girls...do they know that I've made an album about female rage?"

Conclusion/TLDR

Thank you for reading. I would love to hear your critical insights towards this entire ordeal: TTPD, the trademark, the implications of it all.
TLDR: Taylor Swift is a bad feminist and is delusional to think that the TTPD eras set exemplifies female rage at women's injustice.

Today I listened to episode, ​47 of the Cruzyland podcast. In this episode they talked about stereotypes more specifically the stereotype that "children of immigrants shun their culture". I had mixed feelings while listens to this weeks instilment, so much so that instead of the usually review I am going to make a pros and cons list for it and you can decide if it is worth the listen.
Pros Interesting content-this weeks topic of stereotypes was ear catching that if you were doing something else while listening you would have had to stop because you wouldn't be able to follow along.
Personnel stories- in this episode we get multiple heart felt personal story told by this week's guest Zor Kapur.
A beautiful poem- As always they have an end of podcast poem and this weeks poem is though provoking and heartfelt.
Cons ​Poor sounds quality- while the conversations are amazing the sounds in the background do not add to the experience.
​A longer episode the usual- episode was unusually long and might become a bit boring in the middle for the people with a short attention span.
Overall I suggest you listen to the episode because for all of its shortcoming it has 2x as amazing content.

• This is podcasty reviews signing off.

Possible spoilers up ahead so read with caution!! Also would love to hear others opinions in the comments!
One of the worst things about engaging in this fandom no matter the platform is people seem to really misunderstand what the show is about. It is called Ginny AND Georgia not Ginny VS Georgia after all. The show is about their relationship and how even though yes they are both flawed, and one a literal murderer, they are both sympathetic in their own ways because it's all down to what they've been through.
Like ofc Georgia who lived her whole childhood being abused in every way by her parents would not really understand why Ginny needed emotional stability too. Her best parental figure as a kid was that woman from the Blood Eyes gang who saved her through the use of violence, so it's not shock she instilled those values into her kids too (doesn't make it right like she definitely needed a lot of therapy before actually being a mother but she never got that opportunity). This is also why the season 2 scene of her going to therapy with Ginny was so important (even if it was super invasive) because it's her starting to realise that she hasn't really been a good mother and that loving Ginny wasn't enough to protect her from other types of harm. It's like the first step in her trying to be a better person and get help. This is also why she killed Tom, Cynthia had done something great for her by helping her get rid of Gil (to an extent) and seeing her so broken up about Tom gave Georgia a way to show her kindness back in the only way she knows how. She was literally crying whilst doing it, she wasn't doing it because she's a sociopath or whatever people say, it's just all she knows. It's really sad when you think about it and I hope she gets a lot of help and gets to be happy in the end.
Now as for Ginny, I get that since we've seen first hand how much Georgia struggled (the abuse, not having food, the husbands ect), it's so easy to think she's being ungrateful given what Georgia went through trying to keep her safe and she was doing her best, but unfortunately the road to hell is paved with good intentions. And part of what Georgia did is find ways to disguise all the ugly parts (the dance parties to cover up Gil at the door, the pretty face paint to cover up her bruises, creating fry-yay since she had to miss the actual holiday) which definitely saved Ginny to an extent she just didn't know she had to do more because as a kid she didn't even have physical safety nevermind emotional safety which is why she never really realised how her other behaviours hurt her so much (like moving away and not ever giving her the chance to have friends). And this explains a lot of Ginny's annoying behaviour - which luckily she is getting help for - like cheating on Hunter and just being a bad friend in general she's never had actual meaningful relationships outside of her family before so of course she's not going to be the beat at maintaining them. And obviously she won't ever think about the actual consequences of things because Georgia moved her around so much she never really had to live with them before. And as for the poem, yes it was definitely harsh to us knowing why Georgia acts the way she does, but she's a child who has been through a lot too. Neither of them really know how to express their feelings in a healthy way (just as most teenagers don't god knows how many times me and my friends argued over the stupidest stuff but now we are all older and most of us have had therapy we are so much better off), but that doesn't meant Ginny was trying to hurt her. She has had so many feelings in her for so long and she was trying to get them out and have Georgia understand but she just took it the wrong way.
It's genuinely heart breaking watching 2 people who clearly love each other so much just completely misunderstand each other to the extent they continuously hurt each other.
Now don't get me wrong I'm not trying to say you can't dislike them, I mean it's all about personal preference, but we need to stop acting like to like one you have to hate the other because they aren't enemies. Can we please stop pitting them against each other?? Lets all be team Ginny AND Georgia <3
Anyway would love to hear if anyone has any other thoughts to add to my rant!!
TL;DR Both Georgia and Ginny have had bad childhoods in different ways which cause them to act terribly sometimes. A lot of Ginny's problems were caused because Georgia was never really given the chance to learn how to be a good mom, and Ginny in trying to express this often hurts her back. However this is part of the show, it doesn't mean we have to hate one to like the other. The beauty of it is how 2 flawed people can love each other so much but if they don't know how to comnunicate well, they will always hurt each other. I'm team Ginny AND Georgia.

Why is it so difficult to write about you, love? Why is it different to love you?
I have always dreamt of you exactly as you are. I had never experienced love before you. I had given up hope of finding you, and then you came when I least expected it. You are exactly what I wished for all these years, exactly that.
I never wanted you to be good-looking, though you are. Prettier than the moon, I must say. You are everything I ever wished for.
You are my unbearable grief that took me years to overcome, as it never left my side. You are that anger in me that never found anyone to be angry with rightfully. You are that pain of mine that I never had the courage to show because I was too afraid of being judged. You are that disappointment I always expect before starting something, but it turns out to be an absolutely wonderful experience. You are my honesty that people hesitate to hear.
And you, you are the warm hands I always wanted to hold. You are those butterflies in my stomach that didn't end up being anxiety and eventually physical pain at midnight. You are the writer by whom I always wanted to be written. You are that beautiful poem I always wanted to read. You are the peace I always wanted to hear, as loud as it can get.
You are the home I was always seeking for years. You are that secure feeling of my heart where I am not scared to lose anything. You are the moon I love staring at for hours. I never found myself to be beautiful; I never found myself worthy of being loved. As I am experiencing it now, it feels new but not uneasy. I would never understand why anyone would ever love me, why anyone would write about me, why anyone would find me interesting, but I don't really want to know the answer to those questions. I'm just happy being loved and being able to love.
I love you!

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Hi guys, I wrote this poem about a relatively new love and it’s exactly the way that I feel but i don’t know if i should share it with them. Let me know what u think.
The things I should say to you
A thousand bolts adorn the door A door that I never asked for One that was built brick by brick Over time that has burned off a crumbling wick
So much time spent in front of this door I’ve grown quite familiar with what lies before A garden of sorts, filled with shrubs and ivy All the invasive things that make this life feel a little more lively
I feel like I was born without a key And a piece of my soul exists outside of me So I search and I search for that one wildflower The thing that could make centuries feel like days and decades like hours
Then you appeared, not just as a fleeting trace But as the sun redefining the entire space You inverted shadows and light, turned ounces into pounds The first one to open my mind to looking at my garden upside down
I can now see the flowers underneath it all You helped me dig just deep enough to uncover a remedy in my fall I’ve gone from “What good is a garden that’s all dug up?” To wanting to sit on my knees for hours; each plant I will pluck
Because with you it isn’t scary; you make me feel a calmness I’ve never felt before The silence that we share would bring the heavens to the floor You are the missing piece to a puzzle that is already complete You add something otherworldly—your protective fleet
I said it to my mom and I’ll say it again - I can’t believe you’re real The symphonies you breathe into me are ones I thought only Romeo and Juliets could feel It’s the kind of love that feels like a musical note perfectly in time To make you feel seen, I would make every aspect of you rhyme
I can say I’ve never been a builder and it would be true My hands more comfortable constructing barriers than building anew But I would build homes to give you space Teach my table to have a seat, to reserve for you a place
I’ve found so many wildflowers already in the places our love has grown I know our table will one day be covered in gardens that we’ve sown I feel the most beautiful peace when I lay my head on you to rest I wonder if God's trying to speak to me through the music I hear in your chest

Please let me know what you guys think of this poem. It’s exactly how I feel about a new love but I don’t know if i should share it with them.
A thousand bolts adorn the door A door that I never asked for One that was built brick by brick Over time that has burned off a crumbling wick
So much time spent in front of this door I’ve grown quite familiar with what lies before A garden of sorts, filled with shrubs and ivy All the invasive things that make this life feel a little more lively
I feel like I was born without a key And a piece of my soul exists outside of me So I search and I search for that one wildflower The thing that could make centuries feel like days and decades like hours
Then you appeared, not just as a fleeting trace But as the sun redefining the entire space You inverted shadows and light, turned ounces into pounds The first one to open my mind to looking at my garden upside down
I can now see the flowers underneath it all You helped me dig just deep enough to uncover a remedy in my fall I’ve gone from “What good is a garden that’s all dug up?” To wanting to sit on my knees for hours; each plant I will pluck
Because with you it isn’t scary; you make me feel a calmness I’ve never felt before The silence that we share would bring the heavens to the floor You are the missing piece to a puzzle that is already complete You add something otherworldly—your protective fleet
I said it to my mom and I’ll say it again - I can’t believe you’re real The symphonies you breathe into me are ones I thought only Romeo and Juliets could feel It’s the kind of love that feels like a musical note perfectly in time To make you feel seen, I would make every aspect of you rhyme
I can say I’ve never been a builder and it would be true My hands more comfortable constructing barriers than building anew But I would build homes to give you space Teach my table to have a seat, to reserve for you a place
I’ve found so many wildflowers already in the places our love has grown I know our table will one day be covered in gardens that we’ve sown I feel the most beautiful peace when I lay my head on you to rest I wonder if God's trying to speak to me through the music I hear in your chest

[I wrote this article about Macbeth for my college's newspaper, and I thought this subreddit might enjoy reading it!]
I have joked before that Shakespeare’s two favorite subjects–surpassing love, murder, madness, and crossdressing–are botany and birds. If you’ve been to New York City you might be aware of the “Shakespeare Garden” in Central Park, whose theoretical aim (though it proves nigh-impossible in practice) is to house specimens of all the plants which Shakespeare mentions in his plays. As it turns out, Bard quotes make for quite a diverse garden: there are roses which assuredly would smell as sweet by any other name; there are daffodils, that come before the swallow dares, and take the winds of March with beauty; there’s holly, heigh-ho; there’s rosemary, that’s for remembrance, there’s pansies, that’s for thoughts, there’s fennel for you, and columbines–no word on whether or not they could find any violets, though. I suppose there’s no objection to be made against those who complain that Shakespeare’s language is “flowery”; even as vicious a villain as Iago deigns to express his philosophy on life by way of botanical metaphor: “Our bodies are our gardens, to the which our wills are gardeners.” And, of course, the plot of A Midsummer Night’s Dream revolves around a magical flower which makes people fall in love.
I doubt anyone will object to my claiming of birds as Shakespeare’s other poetical fixation: I suspect that the majority of falconry knowledge which most non-falconers have today comes from reading footnotes in their copies of Shakespeare plays, explaining exactly what Richard II means by “How high a pitch his resolution soars,” or why Hamlet says “Hillo, ho, ho” to Marcellus. But while plants are so common in Shakespeare that I don’t know of one play which we might say is especially densely forested with references to them, there is one play that stands out as particularly full of birds in comparison with the rest of the Shakespearean canon. That play is Macbeth.
This is the sort of thing that one only notices after having read a play so many times that the actual events of the plot become akin to the meter of a poem–beats which must be hit, and which start to feel so natural that one hardly notices them–and one’s attention drifts away from the big, important speeches and toward the more utilitarian words and odd little moments that bridge them. I am not the first to point it out, but it is, all the same, a delightful quirk of the play, and could be a good way for Sophomores to throw their classmates for a loop in seminar [Note: Students at our college study Macbeth during their Sophomore year.]: why are there so many birds in Macbeth?
KING. Dismay’d not this/Our captains, Macbeth and Banquo? SERG. Yes,/As sparrows eagles… -Act I, Scene II
LADY. …The raven himself is hoarse/That croaks the fatal entrance of Duncan… -Act I, Scene V
BAN. This guest of summer,/The temple-haunting martlet, does approve/By his loved mansionry, that the heaven’s breath/Smells wooingly here: no jutty, frieze/Buttress, nor coign of vantage, but this bird/Hath made his pendent bed and procreant cradle… -Act I, Scene VI
LADY. Hark! Peace! It was the owl that shriek’d, the fatal bellman… -Act II, Scene II
LADY. I heard the owl scream and the crickets cry. -Act II, Scene II
PORTER. …come in, tailor; here you may roast your goose… -Act II, Scene III
PORTER. ‘Faith, sir, we were carousing till the second cock… -Act II, Scene III
LENNOX. New hatch’d to the woeful time: the obscure bird/Clamour’d the livelong night… -Act II, Scene III
OLD MAN. …On Tuesday last,/A falcon, towering in her pride of place,/Was by a mousing owl hawk’d at and kill’d. -Act II, Scene IV
MACBETH. …Light thickens; and the crow/Makes wing to the rooky wood… -Act III, Scene II
MACBETH. If charnel-houses and our graves must send/Those that we bury back, our monuments/Shall be the maws of kites. -Act III, Scene IV
MACBETH. Augurs and understood relations have/By magot pies and choughs and rooks brought forth/The secret’st man of blood. -Act III, Scene IV
LADY MACDUFF. …the poor wren,/the most diminutive of birds, will fight,/Her young ones in her nest, against the owl. -Act IV, Scene II
LADY MACDUFF. How will you live? SON. As birds do, mother. LADY MACDUFF. What, with worms and flies? SON. With what I get, I mean; and so do they. LADY MACDUFF. Poor bird! Thou’ldst never fear the net nor lime,/The pitfall nor the gin? SON. Why should I, mother? Poor birds they are not set for. -Act IV, Scene II
FIRST MURDERER. What, you egg! -Act IV, Scene II
MACDUFF. …there cannot be/That vulture in you… -Act IV, Scene III
MACDUFF. …O hell-kite! All?/What, all my pretty chickens and their dam/At one fell swoop? -Act IV, Scene III
MACBETH. The devil damn thee black, thou cream-faced loon!/Where got’st thou that goose look? SERVANT. There is ten thousand– MACBETH. Geese, villain? -Act V, Scene III
Above I have listed every ornithological reference that I’ve found in the Scottish Play; as we peruse them, we certainly cannot conclude that every individual reference is of the same kind, or carries the same import. I will not pretend, for example, that, just because geese and ravens are both birds, the Porter’s invitation for the imagined English tailor to cook his goose in Hell merits as much attention as Lady Macbeth’s ominous declaration that “the raven himself is hoarse”. Nor do I think that any individual reference particularly demands explication; by itself, any one of these bird-invocations seems perfectly natural. Shakespeare’s talent is such that he can repeat a motif in such a way that on the macro level it is obvious yet on the micro level it hardly feels present. But that macro level is what interests me here: what impression is created, on the whole, by the presence of so many birds in this play? I have a theory, which, though it may seem far-fetched, I think merits at least some consideration, and which, at the very least, I have not seen stated elsewhere, and so may make a novel contribution to the conversation.
Macbeth is both Shakespeare’s most supernatural tragedy and his most Sophoclean; these two superlatives are inextricably related. The appellative Weird given to the opening scene’s three Sisters–derived from the Old English wyrd, meaning destiny, and famously given its more familiar connotation by Shakespeare himself in this very play–is, among the Bard’s works, unique to Macbeth; and just as that word appears nowhere else in Shakespeare, so is the concept it represents absent in all tragedies but this one. Though Hamlet may cry out against outrageous fortune, and though Othello may rhetoricize about how no man can control his fate, it is only in Macbeth that we truly feel that the events we see play out before us are fated, predestined, inevitable. [See Note 1.] The ghost in Hamlet commands his son to revenge his foul and most unnatural murder, but does not tell him it is certain that he will succeed; indeed, would not the drama be sapped of its intrigue if that level of certainty were present? Meanwhile, the supernatural interlopers in Macbeth offer the Scottish thane not a mission, but a prophecy: All hail, Macbeth! that shalt be king hereafter! From its mystical opening word–When, not If–the Scottish play makes us aware of the certainty of all that is to befall our tragic antihero. Macbeth is thus a different sort of tragedy than Shakespeare’s others, and it works by an inverted mechanism. While the tragedy of, for example, Desdemona’s death is that it may have been prevented, the tragedy of Macbeth’s destruction is that it represents the fulfilment of fate; and this is the very same mechanism by which Oedipus Rex operates, complete with its own “Weird” character in the form of the seer Tiresias. Though Calvin managed to accept that some men are destined for greatness and others for ruin, this idea is, to Shakespeare and Sophocles, nothing short of agonizing–the stuff of tragedy.
Now: what does all of this have to do with birds? Consider these words from Antigone, spoken by Tiresias to Creon:
You shall learn, when you hear the indications of my art! As I took my place on my ancient seat for observing birds, where I can mark every bird of omen I heard a strange sound among them, since they were screeching with dire, incoherent frenzy and I knew that they were tearing each other with bloody claws, for there was a whirring of wings that made it clear… (Lloyd-Jones translation)
Consider next these words from Oedipus Tyrannus, spoken defensively by Oedipus to Tiresias:
Why, come, tell me, how can you be a true prophet? Why when the versifying hound was here did not you speak some word that could release the citizens? Indeed, her riddle was not one for the first comer to explain! It required prophetic skill, and you were exposed as having no knowledge from the birds or from the gods. No, it was I that came, Oedipus who knew nothing, and put a stop to her; I hit the mark by native wit, not by what I learned from birds. (Lloyd-Jones translation)
The practice of divining the future from birds–be it from their behaviors, their cries, or their innards–was, to Sophocles and his contemporaries, not superstitious hokum, but a practical science at which one could be skilled or unskilled, and it bodes ill for Oedipus that he is so quick to disregard it in favor of his own native wit. [See Note 2] By Shakespeare’s day, the practice had long been relegated to the realm of outdated hocus-pocus, but the Bard still saw some truth in it; in Macbeth, there is a recurring sense that, when the world is sick with some great wrong, its first symptoms manifest in the behavior of birds. When the “fatal bellman” the owl shrieks in the night, Lady Macbeth takes it as a sign that her husband is about his bloody business. The day after the murder of Duncan, as Ross converses with an Old Man about the strange things they’ve seen the previous night, “unnatural/Even as the deed that’s done”, the killing of a falcon by a mousing-owl–an omen straight out of Sophocles–is mentioned before the madness and cannibalism of Duncan’s horses, even though the latter would surely be more immediately noticeable and ghastly than the former.
These are the most obvious examples of birds as ill omens in Macbeth; yet even the more innocuous invocations of birds throughout the rest of the play continually turn our thoughts back to the ancient Greek understanding of fate and prophecy, and thereby remind us that, however savagely he may fight at Dunsinane, Macbeth’s fate is as fixed as that of Oedipus. The birds have already foretold all.
Note 1: The closest thing there is to this kind of fatalness in another Shakespearean tragedy is the several superstitious occurrences in Julius Caesar–both the soothsayer’s message of “Beware the ides of March” and the bestial portents such as the lack of a heart in an offering and the whelping of a lioness in the streets. Still, I will insist that these omens do not convey a sense of fatedness to the audience as strongly as the Weird Sisters in Macbeth by virtue of their being told to Caesar himself, not to Brutus, the play’s true protagonist, and by the fact that Shakespeare elsewhere uses dialogue to throw some doubt upon the idea of predestination: "Men at some times are masters of their fates:/The fault, dear Brutus, is not in our stars,/But in ourselves, that we are underlings." -I.ii
Note 2: The Liddell-Scott Greek Lexicon identifies at least two separate verbs referring to bird-based divination, both of which are present in the quoted passages: Tiresias uses ορνϊθοσκοπέομαι, observe birds, interpret their flight and cries, while Oedipus uses οιωνίζομαι, take omens from the flight and cries of birds. The latter term comes from οιωνος, a large bird, bird of prey, such as a vulture or eagle, and so distinguished from a common bird, while the former comes from ορνις, which more generally refers to a bird, including birds of prey and domestic fowls. Birds of both kinds are present in Macbeth; there are οιωναι, such as the “falcon, towering in her pride of place”, as well as ορνες, like the Porter’s goose and cock. I therefore see little value in interrogating the kinds of birds invoked by Shakespeare, the specific cultural associations and significance of the owl, the raven, or the wren; rather, if we reduce them down to their barest existence as birds, animals of the class Aves, and consider them in an ancient Greek light, then things become a bit clearer.

Here we go—I'm finally making a post!
So, after months of lurking (and a handful of half-written posts), I'm finally taking the plunge and giving this a shot. I know they say the journey of a thousand miles begins with a single step, but in my case, it begins with a single post. So, here goes nothing, right? Haha.
What am I looking for?
In a nutshell—authentic, meaningful conversation. A few days ago, a few other faculty members and I met up for an evening out to celebrate the end of finals. A few of us stayed pretty late, pontificating about life, talking about the most random topics, and basically just enjoying each other's company. I don't know about you, but in today's world (where so many of us are glued to Zoom screens and remote work), we need more of that sort of dynamic—just genuine, authentic, long-form discourse. I like to believe with the right sort of person (and the right sort of conversational skills), you can cultivate that sort of vibe in online conversation.
For example, when I think back to the past, one of my favorite memories was a lengthy conversation I had with a random stranger at a cozy little coffee shop in a small town in Upstate New York. We talked about everything from philosophy to the best type of coffee beans. That's the sort of conversation I crave!
A bit about me:

• I'm 34, male, and work in higher education.
• I finished my doctorate a few years ago (Finally! I can now add "doctor" to my name without having to prescribe anything or perform surgery, haha — although that dissertation was brutal, just sayin').
• I love the outdoors and often take local day trips to explore new trails and scenic spots.
• I have a passion for photography, always trying to capture that perfect shot (though my cat remains a stubbornly uncooperative model).
• Journaling and poetry are my ways of reflecting and expressing my thoughts, even if my poems often end up sounding like Dr. Seuss after too much coffee.
• Long hikes are my therapy. Nature has a way of putting things into perspective.
• I have a knack for making terrible puns. Consider yourself warned.
• I like to pretend I'm a trivia night enthusiast, though my knowledge of obscure 90s cartoons is more impressive than practical.
• I'm convinced that breakfast foods are acceptable at any time of the day. Pancakes for dinner, anyone?
• I’ve been known to binge-watch documentaries about anything from space exploration to ancient civilizations.
• I’m a coffee enthusiast and love experimenting with different brewing methods and beans.
• I’m secretly training for the “Olympics of Procrastination,” and I’m a gold medal contender.
• I pride myself on my ability to parallel park in one go – a skill I wish I could add to my résumé.
• My superpower is finding the perfect GIF for any situation.

So basically...
I'm hoping to find thoughtful interactions with folks who genuinely want to discuss all that life has to offer. I'm drawn to people with a natural zest and curiosity for life, who embrace a growth mindset, and who value emotional intelligence and strong communication skills. Whether we're delving into deep philosophical questions or sharing our favorite recipes, I'm looking for someone who appreciates the beauty of a well-rounded, engaging conversation.
If this sounds like you, send me a chat message! I'm looking forward to hearing from you!

Week 4: Sestinas and Concrete Poetry - Lecture and Discussion
Objective: - Explore the intricate structure of sestinas and the visual creativity of concrete poetry. - Understand the fixed pattern of word repetition in sestinas. - Discuss the artistic possibilities of arranging words visually in concrete poetry.
Day 1: Introduction to Sestinas - Lecture: - Definition and characteristics of sestinas. - Explanation of the intricate word repetition pattern.

• Discussion Questions:
  1. What intrigues you about the intricate structure of sestinas?
  2. How does the repetition pattern contribute to the unique rhythm of sestinas?
  3. Can you think of any famous sestinas or poets known for this style?

Day 2: Analyzing Sestinas - Part 1 - Lecture: - In-depth analysis of classic sestinas. - Exploration of the challenge and beauty of word repetition.

• Discussion Questions:
  1. How does the repetition pattern influence the overall rhythm and impact of sestinas?
  2. What themes or emotions are effectively conveyed through this structured form?
  3. Share your thoughts on the significance of word repetition in sestinas.

Day 3: Analyzing Sestinas - Part 2 - Lecture: - Discussing modern variations and themes in sestinas. - Exploring the flexibility of the form.

• Discussion Questions:
  1. How have modern sestinas evolved in terms of themes and structure?
  2. In what ways does the fixed pattern of word repetition challenge or enhance creativity?
  3. Share examples of themes or emotions suitable for a sestina.

Day 4: Crafting Sestinas - Part 1 - Lecture: - Step-by-step guide on crafting the first three stanzas of a sestina. - Emphasis on establishing thematic threads through word repetition.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three stanzas of a sestina?
  2. How can you establish thematic threads through word repetition in this section?
  3. Share examples of themes or emotions you might explore in a sestina.

Day 5: Crafting Sestinas - Part 2 - Lecture: - Step-by-step guide on completing the final three stanzas and envoi of a sestina. - Emphasis on creating resolution and impact.

• Discussion Questions:
  1. Why is the envoi and final three stanzas crucial in providing resolution in a sestina?
  2. How can a sestina evoke a sense of completeness within the repeated words?
  3. Share and discuss individual sestinas, highlighting successful elements.

Homework Assignment: - Craft a sestina focusing on a theme or emotion that lends itself well to word repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three stanzas of your sestina. How did you establish thematic threads through word repetition? 2. How did you approach creating resolution and impact in the final three stanzas and envoi of your sestina? 3. What insights did you gain from the process of crafting a sestina?
Quiz: Assessment on the understanding of sestinas, the word repetition pattern, and the emotional impact of this intricate form.
Day 6: Introduction to Concrete Poetry - Lecture: - Definition and characteristics of concrete poetry. - Exploration of arranging words visually to create a visual impact.

• Discussion Questions:
  1. What interests you about the visual creativity of concrete poetry?
  2. How might the arrangement of words visually enhance the poetic experience?
  3. Can you think of any famous concrete poems or poets known for this style?

Day 7: Analyzing Concrete Poetry - Part 1 - Lecture: - In-depth analysis of classic concrete poems. - Exploration of the ways visual arrangement enhances meaning.

• Discussion Questions:
  1. How does the visual arrangement of words contribute to the overall impact of concrete poetry?
  2. What unique perspectives or insights can arise from the visual creativity in these poems?
  3. Share your thoughts on the relationship between form and content in concrete poetry.

Day 8: Analyzing Concrete Poetry - Part 2 - Lecture: - Discussing modern variations and themes in concrete poetry. - Exploring the diverse ways poets engage with visual arrangements.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in concrete poetry?
  2. In what ways does the incorporation of visual arrangements broaden the possibilities in written expression?
  3. Share examples of visual arrangements that you believe would inspire compelling concrete poems.

Day 9: Crafting Concrete Poetry - Part 1 - Lecture: - Step-by-step guide on selecting a theme and arranging words visually. - Emphasis on creating meaning through form.

• Discussion Questions:
  1. What challenges do you anticipate in selecting a theme and arranging words visually for concrete poetry?
  2. How can you ensure that the visual arrangement enhances the meaning of your poem?
  3. Share examples of themes or concepts suitable for a concrete poem.

Day 10: Crafting Concrete Poetry - Part 2 - Lecture: - Discussing the role of experimentation and creativity in concrete poetry.

1. Clerihew:

- *Definition:* A whimsical, four-line biographical poem with irregular meter. - *Example:* Craft a clerihew about a famous historical figure or a friend with a humorous twist. 

1. Quatrain:

- *Definition:* A stanza or poem consisting of four lines, often rhymed. - *Example:* Write a quatrain reflecting on the beauty of simplicity in everyday life. 

1. Double Dactyl:

- *Definition:* A light, humorous poem with strict structure and two quatrains. - *Example:* Create a double dactyl capturing a comical moment or character. 

1. Terzanelle:

- *Definition:* A hybrid of the terza rima and villanelle, with 19 lines and a specific rhyme scheme. - *Example:* Craft a terzanelle exploring the cyclical nature of seasons and life. 

1. Haibun:

- *Definition:* A combination of prose and haiku, often describing a journey or experience. - *Example:* Write a haibun narrating a meaningful travel experience, complemented by haikus. 

1. Golden Shovel:

- *Definition:* A form where the last word of each line is taken from an existing poem. - *Example:* Create a golden shovel poem using a line from your favorite poem or song. 

1. Villancico:

- *Definition:* A Spanish poetic and musical form, often festive and celebratory. - *Example:* Craft a villancico capturing the joy of a special occasion or holiday. 

1. Tercet:

- *Definition:* A stanza or poem consisting of three lines. - *Example:* Write a tercet expressing the beauty of resilience in the face of adversity. 

1. Sevenling:

- *Definition:* A seven-line poem with a specific pattern and often narrative in nature. - *Example:* Compose a sevenling reflecting on a vivid childhood memory. 

1. Palindrome Poetry:

- *Definition:* A poem that reads the same backward as forward. - *Example:* Write a palindrome poem exploring the balance between chaos and order. 

1. Sonnet:

• Definition: A 14-line poem, often expressing love or deep emotion, with various rhyme schemes.
  
• Example: Write a sonnet exploring the theme of unrequited love.
  

1. Haiku:

• Definition: A traditional Japanese poem with three lines and a 5-7-5 syllable count.
  
• Example: Craft a haiku capturing the essence of a serene moment in nature.
  

1. Villanelle:

• Definition: A 19-line poem with five tercets followed by a quatrain, using repeated lines.
  
• Example: Create a villanelle about the passage of time and its impact on memories.
  

1. Limerick:

• Definition: A humorous, five-line poem with a distinctive rhythm (AABBA).
  
• Example: Compose a limerick about a quirky character or situation.
  

1. Free Verse:

• Definition: Poetry with no set rhyme scheme or meter, allowing for free expression.
  
• Example: Write a free verse poem exploring the complexities of human relationships.
  

1. Acrostic:

• Definition: A poem where the first letter of each line spells out a word or message.
  
• Example: Create an acrostic using your name, describing your personality or aspirations.
  

1. Ghazal:

• Definition: A poetic form with rhyming couplets and a repeating refrain.
  
• Example: Craft a ghazal expressing the bittersweet nature of love and longing.
  

1. Tanka:

• Definition: A Japanese poem with five lines and a 5-7-5-7-7 syllable count.
  
• Example: Write a tanka capturing the fleeting beauty of a sunset.
  

1. *Cinquain:

• Definition: A five-line poem with a specific syllable count per line (2-4-6-8-2).
  
• Example: Create a cinquain describing the essence of a quiet winter evening.
  

1. Pantoum:

- *Definition:* A poem with repeating lines and a specific pattern, often used for reflection. - *Example:* Craft a pantoum exploring the cyclical nature of life and change. 

Hey there! Hope the word “wife” doesn’t scare you off. I’ll get straight to the point here; I’m trying to meet someone who we could build a beautiful relationship, perhaps start off as friends, learn about each other and eventually level up to phone calls and chats late into the night. Let’s lovingly make fun of each other, tease each other, and laugh together. Good morning/night messages and poems. Let’s make a bedtime routine together. I date to marry, so that’ll be my goal. But… it’s ok if we aren’t compatible or we just slowly fall off. That’s ok!
Here’s a few trivial things about me; - There’s no such thing as over communicating - I love animals (except wasps. They can go to hell) - I am getting into baking and cooking and I’m confident I can make better chocolate chip cookies than you! - I have a job - I have a car - I have a bachelors - I have a small kitten who is my handsome lil guy - I enjoy working with hands. Building or fixing things - my favorite color is phthalo green - I have a twisted sense of humor - I don’t get involved in politics - I’m single, I don’t have children. - I am the oldest in my family - I am light skinned - I speak Russian, Ukrainian, Polish, and a little Spanish too.
Here’s two truths and a lie about me: - I have called Barnes and Noble and asked if they had books in stock. - I have seen a UFO - I believe that pizza belongs on pineapple
I hope our interests align and we get to chat sometime! Hope you have a lovely day today 🌹

I don't understand why American and to some extend - anglophone writers decided that rhymes and meters are awful and should be left for little children, but I genuinely think that American poems are much worse for that. The extra constraints of a rigid meter and rhyming ends test a writer's creativity and forces them to use different words and unusual metaphors.
It is particularly puzzling, given that there are some great english poems out there. "Raven" by Edgar Alan Poe is a little formulaic-sounding IMO, but at the same time it is a beautiful poem, and meter is a big part of its beauty. One cannot help but read it with a somber kind of rhythm to it. Here is an experiment - try to read this and see how you feel (changes are italicized):

Ah, distinctly I remember it was in the bleak October; And each separate dying coal wrought its ghost on the floor. Eagerly I wished the tomorrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here forever.

It sounds awful! What's even weirder is that sometimes I see a poem almost fill a meter, but then scoot away at the last moment. I am not even talking about deliberate broken meter, like "The Second Coming" by W.B. Yeats - I still don't like it but I understand it is meant to be broken - I am talking about where it feels like the author failed to write in a meter for no reason. I don't have a lot of examples ready to go, but here is one:

For all sad words of tongue and pen,

The saddest are these, 'It might have been'
It would have been so easy to just delete "these" and it would have - IMO - sounded so much better. Every now and then I listen to a song and get this same kind of "blunder" - and it ruins it for me every time. Please discuss!

It’s a taste souring in my mouth
I hope you soon see your way out
Not much to do with or without
A life of pointless fame and doubt
I miss writing love poems about
Beauty which was actually around
All that which comes out of your mouth
Is a tale of regret and a mellow pout
~
And then I look in the mirror
I’m the same a sad hysteria
Does anyone enjoy fucking eeyore
If I was lobotomized would I be your
Actual like or maybe not blinded
By emotions which make me like this
In heaven will I beg for Gods attention
I doubt it and I hate humans fickleness
~
And there the story concludes
A pathetic boy with daddy issues
Sometimes I can hide it but it’s still glued
A deep bottomless stain which can’t be moved
It sends out a signal, who else is a ruin?
Let’s create a bundle of misery for losin’
And I ask myself why the love I’ve accepted is stupid
I nailed each nail that my coffin has driven
Deep in the crevices of my soul
Where I cry I’ll never be whole
Nobody has the pieces I so desperately need
For I know it’s a calamity a sickness inside me.

If you don’t want a genuine relationship please do not bother reading🫶🏽
Hi!! I’m Bev Fave color pink! I am a college student. I like to write poems, I like cafés, fashion and getting to know other people. I wouldn’t say I’m an introvert or social butterfly, but I do get along with most people. I love boba and cartoons!
Appearance: I am 5’4, brown skin, curvy, girly, full lips, dimples and I have two small beauty marks one on the corner of my right eye and on my nose bridge. (Black and Dominican)
I’m looking for someone who wants something genuine. My ideal person is caring, loving, loyal, patient and understanding. I have a soft spot for glasses (It’s weird I KNOW!) my age range is 19-26
If you’re interested please send ur name and a little about yourself🎀

Full text: Im seeing all these threads Really .Iam a spiritual being ..!! So ive been chanting 31 years 2020 !! I dint let no oNe run out . Of sgi .Since the time I was excommunicatedI stood with President ikeda and show actual proof , Somehow I felt the oneness of mentor and disciple kind of like having a Jesus moment but you don’t always feel them right? But every time I chant in frint of the GOHONZON and with my mentor i get hugh results!! Actul proof . Fuck all the bullshit , The priesthood say we chanting to fake GOHONZON!! Thats crazy!! Do you know how many other sex of Nichiren diashonins is Buddhism there Is?? is and I’ll kinds of crazy stuff having a priest and have an answer to three part prayers????? it’s almost like you have to be a Buddhist monk!! Yes there’s a lot about president ikeda No worship !! but he actually wrote poems just because they might not be the best But they are powerful and some beautiful butore than Any other person on this thread anybody on this website it has something to say about this man is not done when he’s done he might have the most honorary doctorate’s but might not know a lick the science but he’s got it he’s got the most can anyone say that??????????? he actually took all those pictures even though some might be out of focus but he did that while fighting to have an organization of people who could chaNt together learning to chant And never give up !! and having an organization to use !! you supposed to use the organization!! for organization there for us -it’s not you have to follow and worship president ikeda ..Some peoples jealousy is overzealousness and maybe their inability to chaNt and bring forth the Buddha nature and great fortune just couldn’t stand up to idiot people in the organization organizations for the people not for the priest president ikeda !!! FORTUNE FORTUNE FORTUNE !!! Is all i have !! Chant over come laziness LMFAO !!!!
Source: Beaver Mac’s response on https://www.quora.com/Why-is-the-Soka-Gakkai-considered-a-Dangerous-Cult

(May 12, 2024 - 11:17 PM)
I hope you never find this.
hi E----, it's me again., si migs. If you don't remember who that is, I'm the guy who courted you, who gave you letters and poems, who you called your "human diary". And I know it's been a while, antagal na rin nating hindi nag-uusap, hell antagal na rin kitang hindi nasusulatan ng letters. But this is the final letter, I'll ever dedicate to you and I hope you never find this. Actually matagal ko na tong gustong gawin, I could just never face the truth dati. The naked truth na takot akong bitawan ka.
Pero dati na yon, I'm all good and I've actually moved on na rin. Heck, di ko na nga talaga to dapat gagawin pero something came up and here I am.
I'm letting you go.
I know haha, it's quite ironic na ngayon ko lang nasabi 'to sayo kahit na ako yung nagsabi ng "please, let me go". It's hilarious and yes I admit medyo nakakalito (believe me kahit ako na confuse as to why ako ganito non). But naked truth, you were very hard to let go.
One, you're fucking pretty. Your pictures, your voice, your mindset, everything about you was beautiful, and maybe it was just infatuation or maybe obsessed lang talaga ako sayo.
Two, you were everywhere, nung time na blinock kita, which was 8 months ago (damn), I couldn't smile for weeks. Because everything beautiful reminded me of you.
It fucking sucks to be a poet, because it shed light to the truth of the saying that "you could never really appreciate beauty once you lose the person you love" and that's true because I loved you. When you were gone, I saw you everywhere, I saw you in sunsets, in flowers, in the clouds, even in songs, all I could think of was you, anything beautiful tol, nandun ka. And I couldn't enjoy anything for weeks kasi nga maaalala lang kita. I couldn't even enjoyn reading kase nung nakabili ako ng libro, I printed some of your pictures (photocard size) and used it as bookmarks, kase photocards talaga bookmarks ko. So for months talaga di nagalaw mga books ko and once I started reading them again, BOOM mukha mo, ang ganda, shet tiklop nanaman.
Three, you were my home. I've come to associate that term with you, ever since you recommended me that song on facebook. "oh home, let me come home... home is wherever I'm with you." Rest, solace, comfort, I found that in you. And as we got to know each other more, I found the freedom to become myself. Which is why I always felt safe whenever it was you. And likewise rin sayo, as you said noon.
But why I'm letting you go is because I realized that I didn't deserve the treatment you gave me. Throughout the time na nililigawan kita, I always felt alone. During that time I was always trying to rationalize why I felt that way and what I could do to fix it. But you can't rationalize emotions, you feel them. And that was my mistake kase I bottled it up but it eventually broke through me, then it broke me. I tried to communicate that naman, but nothing really changed, and lumala lang. Kaya yeah.
I'm done looking at it through rose colored glasses.
As you can see medyo nahirapan talaga akong mag move on kasi whenever I thought of you, all I could remember was the sweet moments natin, even if we had few. Never the sleepless nights, never the breakdowns, not even the times that I apologized because I was hurt that you couldn't have time for me. Listen I understand it now, how hard it is maging senior high. And I tried to understand it then. It's draining and minsan talaga nakakawalang gana makipag usap sa tao. But I tried naman, I adjusted, you know that. Saan ka man comfortable, sige dun tayo. Once a week nalang mag usap? sige goo.
I thought I knew what price I was paying but, that gradually crushed me. How I would update you throughout my day, fucking send 14 messages na may mga paragraph pa, only for you to reply with 4-6 messages, sometimes none. And yeah idk why but ako pa rin yung nag a-apologize nung time na yon. Maybe it's because of how I was brought up, but I considered it my fault that I was feeling that way.
I'm done apologizing.
Did you know that this letter has had about 7 drafts already, throughout different times I tried to write this final letter and I always gave up after the first paragraph. Wanna know why? Because in all 7 letters, the most recurring words were "I'm sorry".
"I'm sorry if you felt like you were responsible for my feelings" "I'm sorry I was hurt" "I'm sorry that I became a burden on you"
I always felt so bad after attempting to write this letter then, it was like having a knife to my neck. Well I'm done with that already. I'm done apologizing for things I shouldn't be.
Listen I'm not mad at you, I don't hate you, nor am I asking you for an apology. You're not obligated to do that to me. It's okay. We don't have to apologize to one another, I've forgiven you and I'm choosing to move on na. Not for you, and especially not for love, but for me.
How could you.
I just wanna address the whole telegram thing, cause I feel the need to. It was just a little insensitive kasi nga we weren't on the best of terms nung time na yon. Yun yung nag pa block ka sakin. And yeah you know naman what we were going through. Medyo nagulat lang ako na you just talked to me like that, so casually. I was hurting and healing at the same time pero damn. tas sinabi mo pa yung "kung tayo, edi tayo" line and that seriously fucked me up. Kase at the time I was trying to give up on that na, cause I thought you did too. Pero yeah, now I've given up on that na, I hope u do too.
(Also I told u non sa pasko mo ko ichat ulit kasi I wasn't ready to talk to you again that time. Pero you stood me up, so yeah, fun christmas.)
Move on too.
I know this may seem late but move on too, although I think you already did judging on your replies sa sayout ( i don't remember typing that, so it must be someone else). But yeah move on na rin and give up on the idea that we'll ever meet and be together. Kase I've given up na. I've grieved losing you long enough. I hope that you move on, find someone new as well, and hopefully see that person in your future. Good luck sa future mo, I hope you pursue engineering, whatever you choose to do, you have my support, as your friend.
P.S. I found God
Well more like he found me again, nung time na nililigawan kita, I was distant from God for reasons beyond you, pero I still had a little amount of faith. Kahit distant ako non I prayed for you on two or three seperate occasions, one of which (namention ko na to sayo) was on the same week I considered being an atheist. Back then I was asking God for a sign if you were the one and he never gave me one pero pinilit ko kase kaya yeah. Then, I would've turned my back on God's plan if it meant I would be with you. But now balaka jan I'm walking with the man who saved my soul. And same thing happened with this girl I like sa church. Man 10/10 talaga siya but prayer ko lang for the girl is "your will be done Lord". And I guess 'di talaga will ni Lord kaya I surrendered it to God, but man she's so pretty.
yun lang, oh and ang ganda ng buwan tonight.

Week 2: Haikus and Free Verse - Lecture and Discussion
Objective: - Explore the concise beauty of haikus and the expressive freedom of free verse. - Understand the traditional structure and themes of haikus. - Discuss the flexibility and artistic possibilities in free verse.
Day 1: Introduction to Haikus - Lecture: - Definition and structure of haikus (5-7-5 syllable pattern). - Explanation of the traditional themes and nature focus.

• Discussion Questions:
  1. What appeals to you about the concise structure of haikus?
  2. Why do you think nature is a common theme in traditional haikus?
  3. Can you identify any famous haikus or haiku poets?

Day 2: Analyzing Haikus - Part 1 - Lecture: - In-depth analysis of classic haikus. - Exploration of the 5-7-5 syllable pattern and its impact.

• Discussion Questions:
  1. How does the 5-7-5 syllable pattern contribute to the rhythm of haikus?
  2. What emotions or images are conveyed through the haikus analyzed?
  3. How does the traditional nature focus enhance the themes of haikus?

Day 3: Analyzing Haikus - Part 2 - Lecture: - Discussing modern variations and themes in haikus. - Exploring the flexibility of the form.

• Discussion Questions:
  1. How have modern haikus evolved from traditional themes?
  2. In what ways does the flexibility of haikus allow for more diverse expression?
  3. Share your thoughts on the artistic possibilities in breaking away from traditional structures.

Day 4: Crafting Haikus - Part 1 - Lecture: - Step-by-step guide on crafting the first two lines of a haiku. - Emphasis on capturing a moment or emotion.

• Discussion Questions:
  1. How can you effectively capture a moment or emotion in just two lines?
  2. What challenges do you anticipate in adhering to the 5-7 syllable pattern?
  3. Share examples of moments or emotions that might inspire haikus.

Day 5: Crafting Haikus - Part 2 - Lecture: - Step-by-step guide on crafting the third line of a haiku. - Emphasis on creating a sense of resolution.

• Discussion Questions:
  1. Why is the third line of a haiku crucial in providing resolution?
  2. How can a haiku evoke a sense of completeness within the 5-7-5 structure?
  3. Share and discuss individual haikus, highlighting successful elements.

Homework Assignment: - Craft a haiku focusing on capturing a specific moment or emotion.
Study Guide Questions: 1. Reflect on the challenges of crafting the first two lines of your haiku. How did you capture a moment or emotion? 2. How did you approach creating a sense of resolution in the third line of your haiku? 3. What insights did you gain from the process of crafting a haiku?
Quiz: Assessment on the understanding of haikus, the 5-7-5 syllable pattern, and the expressive possibilities within this concise form.
Day 6: Introduction to Free Verse - Lecture: - Definition and characteristics of free verse. - Emphasis on the absence of a strict rhyme or meter.

• Discussion Questions:
  1. What intrigues you about the absence of rhyme and meter in free verse?
  2. How does free verse differ from more structured poetic forms?
  3. Can you think of any famous poets known for their use of free verse?

Day 7: Analyzing Free Verse - Lecture: - In-depth analysis of classic free verse poems. - Exploration of the varied structures and rhythms.

• Discussion Questions:
  1. How does the absence of rhyme and meter contribute to the overall feel of free verse poems?
  2. What impact does varied structure and rhythm have on the reader's experience?
  3. Share your thoughts on the artistic freedom provided by free verse.

Day 8: Crafting Free Verse - Part 1 - Lecture: - Step-by-step guide on embracing the freedom of expression in free verse. - Emphasis on the importance of imagery and emotion.

• Discussion Questions:
  1. How can you effectively convey emotion in free verse without relying on rhyme?
  2. What challenges do you anticipate in embracing the freedom of expression?
  3. Share examples of imagery or emotions you might explore in free verse.

Day 9: Crafting Free Verse - Part 2 - Lecture: - Discussing various techniques to enhance rhythm in free verse. - Exploration of line breaks and pacing.

• Discussion Questions:
  1. How can you create a sense of rhythm without a strict meter in free verse?
  2. Why are line breaks important in the pacing of a free verse poem?
  3. Share and discuss individual free verse poems, highlighting successful elements.

Day 10: Peer Review and Feedback - Activity: - Peer review workshop for free verse poems. - Focus on providing constructive feedback on expression, imagery, and rhythm.