After sixty-seven sessions of Curse of Strahd (read all about it here), it was time for a change. So into the wild we went...
My group is nearing the end of Hither, and along the way I've written summaries of each session ("What Just Happened?"), along with interesting/funny quotes from PCs/NPCs ("Certain Things Were Said"), and a list of new characters introduced that session ("Dramatis Personae").
My intention is to write the summaries for each of the five parts of the campaign in a different format. For the Witchlight Carnival, each summary was presented in verse (my own, no machine learning shortcuts!), using the metre and rhyming structure of various Lewis Carrol poems.
I'd like to share my summaries/poems with you all here, for posterity, and in the hope you'll find them entertaining.
For reference, the players are:

• Holafina (a harengon paladin who has lost three inches of height)
• Skerrek (a kobold druid who has lost the ability to lie)
• Arix (an owlin monk who has lost all sense of direction and is always hungry)
• Jexim (a brash fairy warlock who has lost his diary)
• Sylenos (a beatnik/slacker satyr rogue employed by the Carnival)

NOTE: Lewis Carroll was known to hide secret messages in his poems. I've done the same, revealing the campaign's big twist in one of the poems below. None of my players have picked up on it.

Part I: Welcome to the Witchlight

What Just Happened? (in the style of Jabberwocky)
’Twas twilight when the carnival Did open wide two golden gates, And those with tickets did arrive, Seeking things they had misplaced.
One harengon of curious size, A kobold with a slithy gait, An owlet who possessed two eyes As wide as Annam’s dinner plates.
Yet are we three or are we four? Let’s add vibrations rarefied: A Witchlight hand here to ensure That every guest is Satyrs-fied!
Enter now and taste the sounds, Feel these colours, smell those sights! Kaleidoscopic fun abounds This synaesthesiac’s delight!
Yet where’s the drama? Where’s the tension? Certainly we’ve had a switch (At least in here there is no mention Of that cad von Zarovich).
Instead let’s race a giant snail, Eat candied mushrooms by the pound, Or listen to a gnome assail The tightness of your mother’s gown.
Yet hark! A misadventure glum! Those not heroes please give berth! The best laid plans of love undone By Tasha’s wild unruly mirth
These mirrored halls! This desperate task, To find a luckless paramour A sweet-toothed lass with porcine mask That you could swear you’ve seen before…
’Twas twilight when the carnival Did open wide two golden gates And those with tickets did arrive, Now guided by the wiles of fate.
Dramatis Personae
Arix Specklefoot, a sweet-toothed owlin Holafina, a curiously short harengon Skerrek Tirael, a slithy kobold Sylenos, a cosmic satyr Nicholas Midnight, elderly goblin ticketmaster at the Witchlight Carnival Candlefoot, a mime and not by choice Rubin Sugarwood, a lovesick halfling Ween Sundapple, his laugh-sick paramour Glorange Turple, a poetry gnome
Certain Things Were Said
“I am worried about your ability to sense vibrations that I cannot.” - Skerrek Tirael
“Tymore, goddess of good fortune! Look well upon Shellymoo this day!” - Holafina
“Hate to say it, man, but that gnome really insulted your mother.” - Sylenos
“Snacks?” - Arix Specklefoot

Part II: Lost and Found

What Just Happened? (In the style of The Walrus and the Carpenter )
"The time has come," the Satyr said, "To talk of many things: Of poems—and props—and Jeremy Plum— Of crowns and pixie kings— And why things here keep getting lost— And what this pig-girl means."
"But wait a bit," the Owlin cried, "Before our minds do meet, For some of us are pretty spooked, And I would like a treat!" "No hurry!" said the Satyr, And kicked up cloven feet.
The Owlin and the Kobold Were walking close at hand, They smiled like anything to see The gates of Pixie Land. "If we could only stay a while,” They said, "it would be grand!"
The Satyr sighed so sulkily, Because he thought that Plum Had got no business to be there When all was said and done. (“It's rude of him," the Kobold said, "To try and spoil our fun!")
"Oi, Satyr," said the pixie king, "You've had a pleasant run! Should you be getting back to work?” But answer came there none And this was scarcely odd, because He had real beef with Plum.
Now Arix made a hamster friend Who offered up some clues. The others tried the riding-pug: A pleasant thing to do! (“The pug is fine," the Rabbit said, "But he’s no Shellymoo.”)
"How nice of you to come!” said Plum, "You all are oh-so kind!" Puddlemud said nothing as His teeth began to grind. The Owlin and the Kobold cheered: “That was our FAVORITE ride!”
“A wooden crown," fair Jexim said, Is what we need to come Our way along with golden paint For some un-princely sum.” The others stared, confused, and said: “Now where did YOU come from?”
‘Twas then the party dared approach The famous Mystery Mine Where psychedelic spectacles Broke the Satyr’s mind. (“I really wish,” Zephixo sighed, “You wouldn’t ride while high”).
Next Dirla pulled all kind of things Out of his wagon/portal: Bottles, bunnies, candlesticks, A shining blade of vorpal (Incidentally, there’s a word That kind of rhymes with purple).
“If you put your mind to it And searched for long enough, Do you suppose," the party said, "That you could find our stuff?" "I doubt it," said dear Dirlagraun, And gave a bitter huff.
Then he gave the Harengon The greatest gift by far: A copy of “Gnome On The Run” And bid them au revoir (Morgie would have laughed at that While trying to type slash “R”).
“I do believe,” the Satyr said, “That something is not right, And think we ought to pay a call To Messers Witch and Light.” “I think we ought,” the Owlin said “To first stop for a bite.”
But in their way old Thaco stood, A clown grown grim and surly: “Rabbit! Owlin! Pixie! Skink! You aren’t allowed to be-“ The Fairy interrupted him: “Wait, WHAT did you call me?”
Poor Thaco cried: “Things move too fast! And have since my debut In R-1: To the Aid of Falx From Nineteen Eighty Two! And if you’d seen what I have seen Then you’d smoke bubbles, too!”
Finally he stepped aside, At last the way was clear. The Satyr ambled stealthily With open eyes and ears And pressed them to a wagon large To see what he could hear.
"The time has come," Witch and Light said, "To talk of things galore Of prizes—plans—and kenku pests— and ever so much more— But first we’d better ask inside Those spying at our door!”
Dramatis Personae
Jexim, a puzzled, puzzling fairy Jeremy Plum, operator of the Pixie Kingdom and bestower of silly names Biscuit, a talkative hamster Pinecone, a riding-pug Zephixo, dwarven inventor and mastermind behind the Mystery Mine Ernest Wilde, middle-aged calliope master currently inhabiting the body of his pet monkey Marigold, his button-collecting goblin assistant Dirlagraun, a kindly but inefficient displacer beast, minder of lost children and property Thaco, a bubble-smoking clown who is long past his prime
Certain Things Were Said
"Worried I was, with talk of missing supper." - Arix Specklefoot
"Could you not just purchase a new pair?" - Skerrek Tirael "Not like this, man." - Sylenos
"If you'd see the things I've seen, you'd smoke a bubble pipe, too." - Thaco
"Is this it?" - Dirlagraun "NO." - Everyone

Part III: On the Trail of the Kenku

What Just Happened? (In the style of The Hunting of the Snark)
"Where the heck is our stuff? We just want to know This Harengon ain't getting bigger, Arix has no idea of where to go And lies send poor Skerrek a-quiver!"
"Would you get back to work?" Mister Light cried, Twirling his cane with a smile, "Otherwise find where this kenku pest hides; She's cramping this carnival's style!"
"Well, that was a bust," said our heroes, conferring, "Anyone got a suggestion? If we need to pull strings to get back our things Then there are some folk we should question."
"Time's an illusion, free will a delusion!" Sylenos' mentor decreed, "Get a contusion battling occlusions, Or relax and have some of this…wait, what was I saying?"
Sylenos proclaimed: "A genius flawed!" "A man/dragon ahead of his time." Skerrek looked at his claws; Holafina at paws, And the other two just rolled their eyes
"A centuar I'm not! I just made a bad trade The "Cloppinton's" just serendipitous, Now lend me your aid and you'll maybe persuade These horsies to drop some significance."
Then they took to the skies on a dragonfly ride (Holafina and Skerrek abreast), When you're this high there's just nowhere to hide (And to which Sylenos attests)
Now Skerrek honed on a runaway gnome Who was fleeing the carnage with glee, Holafina struck home and that's it for this poem For the gnome was the kenku, you see.
Dramatis Personae
Mister Witch, a matter-of-fact elf, devoid of pretense Mister Light, a flamboyant elf, luminous and coy Burly, a philosophical, pumpkin-helmeted bugbear Mandragon, a seeker of truth (and not much else) Diana Cloppington, a centaur who is apparently not, operator of the Carousel Northwind, a very forthcoming treant, operator of the Dragonfly Rides
Certain Things Were Said
"There’s something weird going on. For some reason everyone thinks I don’t do anything around the carnival." - Sylenos
"It's true, Miss Cloppinton! We've ALL lost things." - Arix Specklefoot
"Wait, when did we have biscuits?" - Jexim

Part IV: Through the Looking Glass

What Just Happened? (In the style of A Boat Beneath a Sunny Sky)
Now hear the Kenku’s strange reply (As Arix struggles to apply Triage to these pixie guys)
Asking questions, getting nought Set her on a different course: High sabotage without remorse!
And what has got her so irate Is what’s she trying to intimate: Zybilna has been quiet of late!
Ignore the rest, and let’s take flight To confront dear Witch and Light (Surprisingly, they’re quite contrite)
To keep the carnival in motion A tapestry of lies was woven: A deal with the Hourglass Coven!
Who take from those who can’t afford Entrance through the Witchlight’s doors Miscellanea adored
So THAT’s who taken all your junk! Time to find these Hourglass punks! Which way to this Feywild dump?
But first we’ll make a brief aside So Candlefoot can vocalise His mermaid love (now legalised)
Now the pair can tie the knot And while we’re passing time why not Ride the fabled Bubble Pot?
Yet ere you all are translocated (Everybody’s breath now bated) Arix must be coronated!
The time of truth has come at last Hesitation as you pass Though the hallowed looking glass
Are you afraid to lose your minds? What lies ahead? What lies behind? What do you expect to find?
Will Skerrek ever fabricate? Or Holafina emulate A bunny’s median height and weight?
Shall Jexim’s memoirs find acclaim? Can Monty locate Bobbitt Fane? (…hang on, that’s a different game)
Does Arix ever find the door? And will Sylenos flee the cause To study unemployment law?
Dramatis Personae
Kettlesteam, a mischievous patron of Zybilna Paleesha, a mellifluous mermaid, now reunited with Candlefoot
Certain Things Were Said
“Sylenos, perhaps in eight years you can come back and find your lost employment.” - Skerrek
“Ask me where the exit is.” - Arix Specklefoot “Where is the exit?” - Mister Light “I don’t know.” - Arix

I'm tired of my inability to write good poetry.
The way it usually goes is like this:
I see something that stirs some emotion. Like maybe on my walk I see a rose bush. Then a line comes to my mind describing the scene. I become obsessed with getting that line right and the feelings in my heart are so intense but when they come out on the page they sound so boring and cliche, like "The rose emits its heavenly scent / as I touch its delicate sun-soaked petals."
I feel mad at myself for using these boring adjectives. Show, show, show, don't tell! Yet how to show what the scent is like? Or the feeling of touching a petal? And who cares? Like why would anybody care how I feel about some flower on a particular day?
If I'm able to change the line to my satisfaction, then there is a different issue, which is where am I going with this? Often my poems turn into something sentimental or me trying to teach people some lesson, like life is fleeting, beauty is subjective, blah blah.
I look at famous contemporary poetry but that's no help either because I don't understand most of them. And the ones I do understand, I cannot see what makes them stand out from thousands of poems published online by people whose poems never get published in these journals.
So I want to hear how you approach this, in particular those of you who write poetry and are satisfied with your poems and maybe have even gotten one published in some prestigious publication.

-by Swami BV Tripurari
"Mysticism is found in all of the major religious traditions. It constitutes a spiritual experiential orientation, as opposed to a socioreligious orientation to life. The mystic subset of Hinduism is yoga/Vedānta. The focus of such mysticism is to realize all of the implications of what it means to be consciousness: self-realization and God-realization. The means to do so is a systematic approach to isolating consciousness—one’s self/ātmā—from matter, both its psychic and physical dimensions. The idea is to experience and arguably demonstrate that consciousness exists independently of mind/matter. This subjective experience is arrived at by invoking a great deal of objectivity within what could be called a first-person introspective discipline. The objectivity takes the form of detachment from sense objects through a gradual process of external withdrawal and internal focus.
The yogin/Vedāntin is schooled in this detachment. That is, he or she is schooled as to the ephemeral nature of things—things of sight, sound, taste, smell, and touch—and thoughts themselves. The yogin learns that attachment to things and thoughts creates an illusory and selfish sense of self or ego/identity that, like things and thoughts, is here today but gone tomorrow. Desire for things, the Buddha teaches, is the cause of suffering. The Gītā teaches that attachment to the temporal is the womb from which suffering is born. Thus the pursuit of enduring life and happiness is not found in relation to things that are experienced. It is found in relation to the self that experiences. Armed with such reasoning, the mystic cultivates a sense of detachment. The mystic learns to control the mind and senses rather than being controlled by them and drawn through the flow of thought into an imaginary, worldly sense of self. He or she is objective to the extreme, as detachment from things allows one to look at them objectively, having dismantled one’s biases. The “boy-become-man” in Kipling’s famous poem “If—” sets the bar for a believable supernatural: a human who has risen above his or her passions and who practically speaking is human no more—a sādhu. This bar is the ground of mysticism, that which the mystic’s experience is rooted in.
The ideal of science is one thing. Scientists are another. Like other world citizens in human dress, scientists are also helplessly human. But the mystic is not a world citizen in any practical sense. Passions transcended, the world holds no charm. Living within, the mystic experiences a humbled yet heightened sense of self. He or she experiences the “more” that we intuitively sense we are—more than the fleeting sense of identity derived from attachment to sense objects. With objective sensibility as to the ephemeral nature of the world of things and thought, the mystic goes within and does not come up empty-handed. Without doing and without thinking in relation to things of the world, he or she has and knows more by way of direct experience of the consciousness we are constituted of. Indeed, go within or go without is the mystic’s mantra. A person profits more by gaining deep, abiding experience of the nonmaterial self than he or she does through material acquisition. “Being” derived from or identified with “having” is an impoverished form of existence in the very least. The mystic’s sense of being has nothing to do with having and it is rich with universally desirable characteristics.
While we refer to such a person as a mystic, he or she is really what we all agree constitutes the perfect human, one who loves one’s neighbor like oneself by way of experiencing that which all beings have in common beneath the superficial dress of differences in race, religion, psychological disposition, and so on. In the language of the Gītā, the perfect mystic is one who sees the suffering of others as if it were one’s own. Here we are not speaking of unverifiable subjective experiences, we are speaking about observable behavior that is rare yet undeniably ideal, sought after to one extent or another by different methodologies the world over.
However, unlike all of such methodologies, genuine ego-effacing spiritual discipline from mysticism is aimed exclusively at attaining this ideal. However, other than the arguably supernatural yet observable external results attained by such spiritual discipline, adepts also make objectively unverifiable claims as to the nature of their internal experience and its implications. They claim, for example, that they have realized that as a unit of consciousness, they are eternal, and thus survive biological death. Such claims are not unreasonable in that we can see that such spiritual adepts are largely aloof from bodily and emotional necessities. They live with less—much less—and offer more to the world in the form of their universal compassion. While their subjective experience is not something we can determine the veracity of in the laboratory, the objective and systematic methodology the mystics subject themselves to and the consistent results—the subjective experiences—the mystics report, when combined with the observable fact that such mystics have risen above human passion, must be given consideration in any honest effort to demystify or understand consciousness. While anyone can say anything about their subjective spiritual experience, we find remarkably consistent cross-cultural reporting of experiences among mystics from all religious traditions. With the effacing of the conventional ego self—the fleeting, selfish psychic identity—the mystics experience the more that arguably we are, the consciousness that is the ground of being on which the dance of actual love proceeds."

Edit: If you are going to comment on the length of this post, please don't. This is not a simple snark but rather an actual critical think piece about feminism and Taylor Swift.

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.

Eivor is a bit of a strange protagonist.
She’s basically flawless and without blame. She’s brash and bold, proud and unashamed — brave and wise far beyond her years, yet able to be soft and compassionate when not brandishing spears. She’s got a knack for leadership, a strong moral compass and an even stronger muscular system with which to enact justice.
And she’s got bars?
As someone not deeply versed in medieval European histories, imagine my shock and confusion upon discovering that Assassin’s Creed: Valhalla included rap battling.
My first experience with Flyting had me asking so many questions about what I just witnessed that I couldn’t wait to begin Googling. I figured flyting probably was historically accurate, but if that’s the case, then what else can it tells us about the medieval warrior and about Eivor’s characterization?
I set off to find out.
--
Wikipedia and howstuffworks combined gave me a robust definition of flyting.
A ritual, poetic exchange of insults practiced mainly between the 5th and 16th centuries. Examples of flyting are found throughout Scots, Ancient, Medieval and Modern Celtic, Old English, Middle English and Norse literature involving both historical and mythological figures. The exchanges would become extremely provocative, often involving accusations of cowardice or sexual perversion.
The idea behind flyting was to influence public opinion of the participants and raise both of their profiles. And each participant wanted to make himself look better than the other, even if they were friendly.
Not only that, but flyting’s also the first recorded use of shit as an insult. That right there is worth this whole essay and then some.
--
I came away from those definitions with some small Euphoria, as they reinforce what I already expected from Ubisoft — historically accurate and (arguably) immersive side activities grounded in realism.
Unfortunately, none of the flyting foes that Eivor faces in this fantasy are founded in any real-world flyters. I was particularly frustrated when I realized Fergal the Faceless and Borghild the Alewife’s Bane were fictional features, not real historical fiends of rhythm and rhyme.
Two of Eivor’s syntax competitors are “real” in some sense, however.
In Norse mythos, Odin, Thor, Loki, Freyja and more would handle their Family Matters over a flyte from time to time, dueling wits and words as competition and entertainment.
In fact, one flyte we do see in game — Odin as he flytes over the river with Thor in the Asgard Arc — is likely a reference to a real medieval Norse poem; The Hárbarðsljóð.
In it, Thor jaunts back to Asgard after a journey in Jötunheim. He comes to a junction in which he must jump a large river, and thus hunts down a ferryman to shepherd him across. The ferryman, Hárbarðr, is Odin in disguise. He then begins to diss guys.
Ahem. ‘Guys’ being Thor, obviously.
First, Odin drops a yo-mama joke:

Of thy morning feats art thou proud, but the future thou knowest not wholly; Doleful thine home-coming is: thy mother, me thinks, is dead.

He keeps going, taking more shots than a First Person Shooter, this time saying Thor dresses like a girl:

Three good dwellings methinks, thou hast not; Barefoot thou standest and wearest a beggar’s dress; Not even hose dost thou have.

Thor says watch your mouth before I clap back:

Ill for thee comes thy keenness of tongue, if the water I choose to wade; Louder, I ween, than a wolf thou cryest, if a blow of my hammer thou hast.

Odin replies by saying Thor’s wife is fucking another dude:

Sif has a lover at home, and him shouldst thou meet; More fitting it were on him to put forth thy strength.

The version we play out in game isn’t identical to the real-world poem, but carries some similarities; Thor’s threatening to cross the river to fight Odin as well as his boasting of slaying giants are present in each.
Ratatosk is the only other ‘real’ flyting enemy in Valhalla. While Odin doesn’t flyte with Ratatosk in Norse myth to my knowledge, the flyting against the squirrel is thematically accurate, at least.
Ratatosk’s purpose is to scramble up and down Yggdrasil, scurrying spoken messages from the eagle that sits at its peaks to the snake that slithers at its base. The nature of Ratatosk’s messages is in line with the act of flyting — the mischievous rodent carries falsehoods and aggressive statements to stir up drama and distrust between bird and serpent.
Flyting took place not only in poems and folklore, but in town squares and royal court. It was a facet of medieval life and social interaction. This weaving of prose then, in this time period, seemingly was just about as much of an admired skill as the swinging of a sword. It’s no wonder our unbreakable warrior Eivor is so proficient with word.
--
Like, really proficient with word.
I mean, I know it’s me choosing the dialogue options, but sheesh, is there anything she can’t do?
Actually, Eivor’s expertise in flyting is strange to me. It feels random and unearned — out of character, even. It comes more unexpectedly than Kendrick Lamar’s Not Like Us.
It probably only feels out of character, however, due to our modern understanding of proficiency with words versus proficiency with might. Our current interpretation of verbal ability compared to physical ability would perceive verbal ability as the ‘softer’ of the two skillsets. Physical strength is typically interpreted as tough and more dominant. You don’t expect to see an MMA fighter composing poetry, do you? The qualities that modern thought attributes to writing and physicality don’t mesh.
But in reality — and historically accurately in Valhalla — medieval warriors weren’t just blind berserkers. They were actually artists, poets and writers.
We’ve already demonstrated how Odin and Thor — Norse myth’s most famous warriors — carried out flyting. Thus, medieval Vikings would’ve surely done the same. Beyond Vikings though, the Illiad contains instances of public, ritualized abuse. Taunting songs are present in Inuit culture while Arabic poetry contains a form of flyting called naqa’id. Further, Japanese Samurai were known to be frequent composers of haiku, while Japanese culture also gave birth to Haikai, poetry in which vulgar satire and puns were wielded.
This historical accuracy ends up eliminating the randomness of Eivor’s flyting ability. Despite her verbal finesse feeling unearned, we can surmise historically that Eivor has practiced the wielding of words plenty in her life before we take over as the player. She’s dedicated time to this.
Now that we know why she has it, we can take a closer look at what it does for her.
--
So, Eivor can rap. She can match you with her axe or she can match you with her words. She’s just about unbeatable.
Her mastery of words demonstrates on some level that she’s not all Push Ups and might is right. She’s not all bruiser and bluster, burn and berserk. She’s an appreciator of the finer things — the more abstract, mental skills that require brain power, deftness and finesse.
This duality of strength and genius rounds out Eivor into a deeper, richer, more admirable character. More than just raw muscle in pursuit of glory, Eivor’s mastery of verse demonstrates her prioritizing not just her body, but her mind.
And it goes a long way for her.
Eivor can use her prowess with prose to progress past pointless plot points throughout Valhalla’s plethora of arcs and missions. It’s just a stat check in the end, but with enough practice flyting and enough charisma gained, Eivor unlocks new dialogue options that bend the world around her to her will.
Witch hunters in Eurvicscire on the brink of terrorizing Moira can be dispersed verbally rather than brawled or killed. There’s an entire riddle-solving fetch quest in Wincestre that can be skipped completely by telling King Aelfred’s abbot fuck off (figuratively). Eivor’s sharpening of her mind protects her body, saves her time, and allows her to frictionlessly fell her endeavors.
Her articulate advances don’t just alter her into admirability, they allow her to influence people and progression. With semantics from her mouth and twists from her tongue, Eivor can have her way whenever she wishes. In a game this large, I’m only left longing that the opportunity to make use of this charisma wasn’t relegated to niches.
Regardless, if medieval England is butter, Eivor’s tongue is the hot knife that behooves her move through her subduing more smoothly.
It all just goes to show that ̶m̶i̶g̶h̶t̶ flyte is right.

Week 11-12: Epic Journeys and Blank Verse
Day 1: Exploring Epic Storytelling - Activity: Analyze an excerpt from a classic epic poem. - Lecture: Discuss the characteristics and narrative structure of epic poetry. - Discussion: Share thoughts on the enduring appeal of epic journeys.
Day 2: Crafting Epic Narratives - Activity: Break down the process of crafting an epic poem. - Lecture: Explore the use of elevated language and heroic themes. - Discussion: Share and discuss individual ideas for epic narratives.
Day 3: Mastering the Art of Blank Verse - Activity: Analyze a famous work written in blank verse. - Lecture: Explain the structure and rhythmic qualities of blank verse. - Discussion: Discuss the freedom and constraints of writing in blank verse.
Day 4: Writing Exercise - Epic Journey Poem - Activity: Craft a poem exploring an epic journey or heroic theme. - Assignment: Write a blank verse poem on a chosen topic. - Vocabulary Words: Epic, Heroic, Blank Verse.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for epic poems and blank verse. - Lecture: Discuss the enduring appeal of epic storytelling and the rhythmic qualities of blank verse. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 11-12: 1. Discuss the characteristics and narrative structure of epic poetry. What makes a journey "epic"? 2. Explore the use of elevated language and heroic themes in crafting epic narratives. 3. What defines blank verse, and how does its rhythmic quality contribute to the overall impact? 4. Discuss the freedom and constraints of writing in blank verse. 5. Reflect on the process of crafting an epic poem and a blank verse poem. How did you approach the themes and rhythmic qualities?
Quiz: Assessment on the understanding of epic poetry, the characteristics of epic journeys, and the rhythmic qualities of blank verse.

Week 3: Limericks and the Art of Humor
Day 1: Decoding Limericks - Activity: Analyze classic limericks for rhythm and humor. - Lecture: Discuss the AABBA rhyme scheme and distinctive rhythm. - Discussion: Share favorite humorous poems and discuss elements that make them funny.
Day 2: Crafting Limericks with Wit - Activity: Write limericks individually, focusing on humor and rhythm. - Lecture: Explore the balance of humor and structure in limericks. - Discussion: Share and discuss individual limericks, highlighting successful elements.
Day 3: Understanding Free Verse - Activity: Analyze free verse poems for structure and expression. - Lecture: Introduce the concept of free verse and its flexibility. - Discussion: Discuss the liberation and challenges of writing without a strict structure.
Day 4: Writing Exercise - Expressing Emotions in Free Verse - Activity: Explore emotions and write a free verse poem. - Assignment: Craft a free verse poem exploring a personal experience or emotion. - Vocabulary Words: Enjambment, Cadence, Anapest.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for free verse poems. - Lecture: Discuss the artistic freedom and impact of free verse. - Discussion: Share insights gained from reviewing peers' free verse poems.
Study Guide Questions for Week 3: 1. What defines a limerick, and how does its rhythm contribute to its humor? 2. Discuss the importance of the AABBA rhyme scheme in limericks. 3. How does free verse differ from structured forms of poetry? 4. Explore the challenges and benefits of writing without a strict form in free verse. 5. Reflect on the emotions and experiences expressed in your free verse poem.
Quiz: Assessment on limericks, the AABBA rhyme scheme, and the principles of free verse.
Week 4: Free Verse and Acrostic Poetry
Day 1: Embracing Free Verse - Activity: Analyze diverse free verse poems for individual expression. - Lecture: Discuss famous free verse poets and their impact on the genre. - Discussion: Share personal reactions to the artistic freedom of free verse.
Day 2: Crafting Emotion in Free Verse - Activity: Write a free verse poem expressing a specific emotion. - Lecture: Explore the role of emotions in free verse and the use of vivid imagery. - Discussion: Share and discuss individual poems, highlighting emotional impact.
Day 3: Understanding Acrostic Poetry - Activity: Analyze acrostic poems for clever wordplay. - Lecture: Explain the concept of acrostic poetry and its various forms. - Discussion: Share examples of creative acrostic poems.
Day 4: Writing Exercise - Personal Acrostic - Activity: Craft an acrostic poem using your name or a chosen word. - Assignment: Write an acrostic poem exploring a theme or concept. - Vocabulary Words: Strophe, Stanza, Consonance.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for acrostic poems. - Lecture: Discuss the playfulness and creativity of acrostic poetry. - Discussion: Share insights gained from reviewing peers' acrostic poems.
Study Guide Questions for Week 4: 1. Explore the role of emotions in free verse poetry. How does it differ from structured forms? 2. Discuss the impact of vivid imagery in free verse. How does it contribute to the overall message? 3. What defines acrostic poetry, and how is it different from other forms? 4. How can clever wordplay enhance the impact of an acrostic poem? 5. Reflect on the creative process and thematic exploration in your acrostic poem.
Quiz: Assessment on understanding free verse, emotional expression in poetry, and the principles of acrostic poetry.

The novel begins September 3, 2006, a Sunday. In "physical time," our reality, Andre Agassi played and lost his final match of his career. Steve Irwin, the croc hunter, would die the following day from a stingray's three barbed venomous spinal blades puncturing his heart. Senator Barak Obama was still denying he was intending to run for President (he would announce in February 2007.) The number 1 song in America and the UK is Sexyback by Justin Timberlake. Egypt warned of Palestinian terror attacks against Israelis vacationing in Sinai. Charlie Sheen turned 41. 200 Taliban are killed in a major battle in Kandahar, Afghanistan. Iraqi leaders announce the capture of the #2 leader of Al Qaeda. Europe's space agency purposely crash-lands a lunar probe into the moon.
In short, nothing, on balance seems to have happened in the world that has any particular world-historical or even US-historical import. Just a day. Even searching back 4 extra days from September 3 - since we are told that the man viewing the art installation is now on his fifth straight day in the museum - nothing all that *important* seems to have happened on any of those dates, the way saying a novel is starting on June 6, 1944, or (obviously) September 10, 2001, or July 16, 1945 or November 22, 1962 would be of course trying to tell us something.
Q: why is Delillo's purpose (is there one?) for telling us this specific date? Why is it important that the man is there on September 3, 2006 watching this: https://www.youtube.com/watch?v=a31q2ZQcETw over and over.
Q: who is the man? Delillo himself? Just a random unnamed character? Is it definitely Finley and Elster who are the two men who come into the room? The description of the older man "long white hair braided at the nape" [p.7, Scribner] certainly seems to suggest it is Elster, described in Ch. 1 as a man "with silvery hair, as always, was braided down into a short ponytail." If it is definitely them, what does it mean they attended a museum show together? Anything?
This is not the first Delillo novel to open with a scene where a movie, and anonymous characters' responses to watching it, is central to the narrative - Players opens with a movie being shown on a plane that is basically a silent movie of a terrorist machine-gun attack on waspy golfers, only accompanied by a pianist (yes a pianist) in the airplane bar filling in the suspense with improvised show tunes - and it is not the first to open with an examination of an art installation - Underworld, after the fantastic baseball game section - opens at Klara Sax's airplane bomber art installation commune. But this opening seems to introduce two characters obliquely, and of course only if you've paid close attention to the description of Elster's hair could you think back to it being him, perhaps.
"The nature of the film permitted total concentration and also depended on it." "The less there was to see, the harder he looked, the more he saw." [p.5, Scribner]
Q:Who is this person watching and why should we care?
Q: Did the opening sequence provide you any insight other than , perhaps, confusion? Something other than "what the hell did I just read?" What? Does your reaction to the opening sequence change when you know (if you did before this post) that the Psycho installation was and is real?
Moving on to Chapter 1 [p. 17, Scribner], we learn that we are on Day 10 of a 12-day period of time that relates the initial relationship between Elster and Finley. Finley, who is probably in his early to mid-30s and 73-year-old Elster are spending time at Elster's house in the desert to record a one-take movie of Elster's testimony of what it was like to serve in an administration that went to war under less than honest circumstances.
Our narrator is Jim Finley, a documentary filmmaker who has made exactly one film about Jerry Lewis's telethon appearances - Lewis, a "rampaging comic" to whom Elster would merely be a "straight man." [p.27] Elster, who Finley also describes as "not a man who might make space for even the gentlest correction," [p.22] is a non-political theorist being brought in to an administration to provide narrative to their war. I've seen references to him being based on Paul Wolfowitz, the political scientists who became Deputy SecDef in the Bush II Administration who famously nearly swallowed his comb to wet it to comb his hair in an image that likely sealed his fate in D.C. as unserious and ridiculous who was then shuffled off to the World Bank, but would Delillo ape the man AND mention him in the narrative? If so, that seems clumsy.
Q: Do you even take Elster serious as a character or believable as a "brain" behind the narrative of an administration going to war? A man who speaks in bad koans and aphorisms like "Time becomes blind." [p.23] and who reads Louis Zukovsky into the night? (Zukovsky famously worked on an epic poem called "A" for over almost 50 years, finally finishing it a few years before his death in 1978.)
Finley tells us: "To Elster, sunset was human invention, our perceptual arrangement of light and space into elements of wonder." [p.18, Scribner]. Elster has come to the desert to seek - something - we know not what and are not told definitively - but his narrative of what his role was in Washington was to create a interpretation of the "closed world" for the "plotters, the strategists" [p. 28] and ends up delivering to Finley what I think Finley was after - the cynical idea that Elster was giving form and shape to the government's bullshit narrative - "The state has to lie. There is no lie in war or in preparation for war that can't be defended. We went beyond this. We tried to create new realities overnight, careful sets of words that resemble advertising slogans in memorability and repeatability."
Q: Is Elster ultimately right? Did the country have a "shadowy need" [p.34] for such a narrative? See, for instance: "Let's roll." [probably in reality, "Let's roll it" referring to a beverage cart to break into the cockpit.]
"Shock and awe." "Global War on Terror" "Slam dunk" "WMDs" "The Surge" And perhaps most infamously "Enhanced Interrogation Techniques"
At the ends of the chapter, we get what counts as a cliffhanger in this slim novel: Elster's adult daughter would be coming for a visit, Jessie who was "otherworldly" [p. 36].

[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.

I've read the rules of this sub and think this question fits.
Tldr: do non-white non-high control communities laugh loudly together? Alone? Not just, a polite laugh. A spirited, "raucous" laugh. Bothering people, crying yourself laughing. I wasn't allowed that growing up.
I've noticed especially watching comedians particularly famous in black communities, (background I was raised Mormon and white. I have educated myself but you're always ignorant.) such as Gary Owen, Katt williams that I've been exposed to recently, the laughter is lively. Spirited. I've also noticed while watching Maya Angelou read Still I Rise that laughter is very important to the reading of the poem, both as the reader and an audience participant. Even in a reading by Nikki Minaj at an A&E event that seems quite rich and California, she and the audience knew to laugh at the right time, though a completely different level of spiritedness.
My family is pretty stringent on laughter. My father has a booming laugh but my mother and sister are always shushing him and complaining about the volume. Meanwhile, they have all inherited my grandfather's sneeze, which involves near screaming when you let the sneeze out. I don't see why throwing my back out sneezing is any worse than laughing loudly.
Angelou - https://youtu.be/qviM_GnJbOM Minaj - https://youtu.be/WDfuJIBpXPM
Why do you laugh the way you do? (Regardless of background) Is there cultural context to laughter? Was there a significant impact by Angelou's poem on black communities? I found the concept of laughter and joy as resistance to be very powerful, and I wonder if it was employed or passed down.
White people feel like, polite at shows sometimes? I personally have difficulty regulating my volume and yeah I'd appreciate it if someone lmk I was talking WAY too loud but my girlfriend and family shushes me like. All the time, just for laughing. I see this less among some of the younger audiences I watch, Stavros Halkias and Nate Jackson's crowd work, people seem to let loose a little more. Did I just grow up in a cult so I'm weird lol?

Week 7: Limericks and Acrostic Poetry - Lecture and Discussion
Objective: - Explore the whimsical nature of limericks and the creative use of acrostic poetry. - Understand the structure and humor in limericks. - Discuss the artistic possibilities of using acrostic forms.
Day 1: Introduction to Limericks - Lecture: - Definition and characteristics of limericks. - Explanation of the AABBA rhyme scheme and humorous themes.

• Discussion Questions:
  1. What appeals to you about the whimsical nature of limericks?
  2. How does the AABBA rhyme scheme contribute to the humor in limericks?
  3. Can you think of any famous limericks or poets known for this style?

Day 2: Analyzing Limericks - Part 1 - Lecture: - In-depth analysis of classic limericks. - Exploration of the distinctive rhythm and structure.

• Discussion Questions:
  1. How does the AABBA rhyme scheme and rhythm contribute to the comedic timing in limericks?
  2. What humorous themes or scenarios are commonly found in limericks?
  3. Share your thoughts on the importance of concise storytelling in limericks.

Day 3: Analyzing Limericks - Part 2 - Lecture: - Discussing modern variations and themes in limericks. - Exploring the versatility of the form.

• Discussion Questions:
  1. How have modern limericks evolved in terms of themes and structure?
  2. In what ways does the whimsical nature of limericks allow for creative expression?
  3. Share examples of humorous scenarios that might work well in a limerick.

Day 4: Crafting Limericks - Part 1 - Lecture: - Step-by-step guide on crafting the first three lines of a limerick. - Emphasis on establishing humor and rhythm.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three lines of a limerick?
  2. How can you establish humor and rhythm within the concise structure?
  3. Share examples of humorous scenarios you might explore in a limerick.

Day 5: Crafting Limericks - Part 2 - Lecture: - Step-by-step guide on crafting the final two lines of a limerick. - Emphasis on creating resolution and punchline.

• Discussion Questions:
  1. Why are the final two lines crucial in providing resolution and a punchline in a limerick?
  2. How can a limerick deliver a humorous twist or surprise within its structure?
  3. Share and discuss individual limericks, highlighting successful elements.

Homework Assignment: - Craft a limerick focusing on a humorous scenario or theme.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three lines of your limerick. How did you establish humor and rhythm? 2. How did you approach creating resolution and a punchline in the final two lines of your limerick? 3. What insights did you gain from the process of crafting a limerick?
Quiz: Assessment on the understanding of limericks, their AABBA rhyme scheme, and the use of humor within the concise form.
Day 6: Introduction to Acrostic Poetry - Lecture: - Definition and characteristics of acrostic poetry. - Exploration of arranging words vertically to create hidden messages.

• Discussion Questions:
  1. What interests you about the creative use of acrostic forms?
  2. How might the arrangement of words vertically enhance the poetic experience in acrostic poetry?
  3. Can you think of any famous acrostic poems or poets known for this style?

Day 7: Analyzing Acrostic Poetry - Part 1 - Lecture: - In-depth analysis of classic acrostic poems. - Exploration of the different approaches to selecting and arranging words.

• Discussion Questions:
  1. How does the vertical arrangement of words contribute to the overall impact of acrostic poetry?
  2. What unique perspectives or insights can arise from using acrostic forms in poetry?
  3. Share your thoughts on the relationship between the hidden message and the overall theme in acrostic poems.

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

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in acrostic poetry?
  2. In what ways does the incorporation of vertical arrangements broaden the possibilities in written expression?
  3. Share examples of themes or concepts suitable for acrostic poetry.

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.

Week 15-16: Triolets and Kyrielles
Day 1: Mastering Triolets - Activity: Analyze a classic triolet for its compact structure and repetition. - Lecture: Discuss the characteristics and rhyme scheme of triolets. - Discussion: Share thoughts on the impact of repeated lines in a compact form.
Day 2: Crafting Triolets with Precision - Activity: Break down the process of crafting a triolet. - Lecture: Explore the use of repetition and economy of language in triolets. - Discussion: Share and discuss individual triolets, focusing on the success of repetition.
Day 3: Embracing the Kyrielle - Activity: Analyze a famous kyrielle for its repeating lines and rhythmic qualities. - Lecture: Explain the structure and thematic possibilities of kyrielles. - Discussion: Discuss the challenges and beauty of crafting poems with repeated lines.
Day 4: Writing Exercise - Developing a Kyrielle - Activity: Craft a kyrielle exploring themes of resilience or change. - Assignment: Write a triolet on a chosen subject. - Vocabulary Words: Refrain, Rhyme Scheme, Narrative Possibilities.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for triolets and kyrielles. - Lecture: Discuss the impact of repeated lines in triolets and the thematic possibilities of kyrielles. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 15-16: 1. Discuss the characteristics and rhyme scheme of triolets. How does repetition contribute to their impact? 2. Explore the use of repetition and economy of language in crafting triolets. 3. What defines a kyrielle, and how do its repeating lines contribute to its thematic possibilities? 4. Discuss the challenges and beauty of crafting poems with repeated lines in kyrielles. 5. Reflect on the process of crafting triolets and kyrielles. How did you approach the themes and rhythmic qualities?
Quiz: Assessment on triolets, kyrielles, and the impact of repeated lines in poetry.
Week 17-18: Ode to Joyful Ballads
Day 1: Writing Joyful Odes - Activity: Analyze classic odes for their celebratory nature. - Lecture: Discuss the characteristics and structure of odes. - Discussion: Share personal experiences or topics worthy of celebration.
Day 2: Crafting Odes with Precision - Activity: Break down the process of crafting an ode. - Lecture: Explore the use of vivid language and poetic devices in odes. - Discussion: Share and discuss individual odes, highlighting successful elements.
Day 3: Understanding Narrative Ballads - Activity: Analyze a famous ballad for its storytelling qualities. - Lecture: Explain the narrative structure and musicality of ballads. - Discussion: Discuss the challenges and beauty of crafting narrative ballads.
Day 4: Writing Exercise - Crafting a Ballad - Activity: Craft a ballad recounting a personal or fictional tale. - Assignment: Write an ode celebrating an everyday object or experience. - Vocabulary Words: Ode, Stanza, Narrative Structure.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for odes and ballads. - Lecture: Discuss the celebratory nature of odes and the storytelling qualities of ballads. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 17-18: 1. Discuss the characteristics and structure of odes. How do odes differ from other poetic forms? 2. Explore the use of vivid language and poetic devices in crafting odes. 3. What defines a ballad, and how does its narrative structure contribute to its storytelling qualities? 4. Discuss the challenges and beauty of celebrating everyday objects or experiences in odes. 5. Reflect on the process of crafting odes and ballads. How did you approach celebratory themes and storytelling?
Quiz: Assessment on the understanding of odes, ballads, and the use of vivid language in 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. 

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.

Getting Lost in a Dark Fantasy

Dark fantasy art opens doors to worlds where the imagination is king and shadows dance. We go on an adventure through the eerie creatures and haunting landscapes of the dark fantasy genre with this comprehensive guide. Come along as we explore the mysteries surrounding this fascinating art form, from its enigmatic beginnings to the contemporary advancements that are redefining its limits.

Understanding Dark Fantasy Art: the Basics and Progression

The Garden of Earthly Delights
The shadows of myth and folklore, as well as the depths of human imagination, serve as inspiration for dark fantasy art. The fascination of the unknown has always drawn artists, who have used it to inspire works of art that straddle the border between nightmares and dreams.
Bosch’s “The Garden of Earthly Delights” is among the first and most famous works of dark fantasy art. This masterwork, a triptych painted in the late fifteenth century, shows a fantastical landscape full of strange creatures. Bosch’s vision, which takes viewers to places like the Garden of Eden and the flames of hell, dissolves the lines between reality and fantasy.
Through their surrealistic visions, artists such as Salvador Dali pushed the boundaries of dark fantasy art further in the 20th century. The eerie investigation of time and decay found in Dali’s “The Persistence of Memory” is characterised by melting clocks and desolate scenes that inspire a sense of existential dread.

Essential Techniques for Drawing Dark Fantasy

Dark fantasy writing demands a combination of technical proficiency and limitless creativity to master. The following are some crucial methods to assist you in realising your sinister fantasies:
Understanding Light and Shadow: Dark fantasy is all about contrast, so understanding how light and shadow interact is essential. Try experimenting with various lighting configurations to produce striking effects and a feeling of depth and ambience.
Making Dynamic Compositions: The way your artwork is put together will determine how well it draws the viewer in and directs their attention. Try varying your viewpoints, angles, and focal points to produce compositions that are captivating and dynamic and entice the viewer into your gloomy world.
Examining Symbolism and Imagery: Mythology, folklore, and the occult provide a wealth of symbolism and imagery for dark fantasy art. Use symbolic elements in your artwork to entice viewers to explore the hidden depths of your imagination by adding layers of meaning and intrigue.
Embracing Texture and Detail: Texture gives your artwork depth and a tactile quality that entices the observer to enter its immersive world. Try experimenting with various drawing methods and mediums to produce textured, rich surfaces that beckon exploration — from the plush fur of mythological creatures to the rugged stone of ancient ruins.

Fun Drawing Exercise: Summoning Your Inner Creativity

With this entertaining drawing exercise, let’s set out on a voyage of artistic exploration. Take out your sketchbook and pencils, then do the following:
Setting the Scene: Shut your eyes and picture a twisted tree and crumbling ruins in a misted-over, bleak landscape. Imagine the unsettling sights and sounds of this dark fantasy world, and let your imagination run wild.
Selecting Your Topic: Who lives in this shadowy world? Is it an evil creature hiding in the shadows, a lone traveller daring the night, or something else entirely? Select your subject, then allow their tale to come to life on the page.
Drawing the Outline: Outline your subject’s form on the page using light, expressive strokes while keeping them in mind. Concentrate on drawing their silhouettes and basic forms, then let your creativity lead the way in bringing them to life.
Adding Textures and Details: After you’re satisfied with the composition, begin incorporating textures and details into your artwork. Try varying the shading methods you use to produce depth and ambiance, such as the harsh glare of a torchlight or the soft glow of a moonlit night.
Accepting the Dark Side: Accept the darkness with open arms! Play with shadows and highlights to add drama and tension to your artwork; dark fantasy art thrives on contrasts.
Finishing Touches: Complete your artwork by enhancing details and adding any last touches that will make it stand out from the rest. As you take a step back and admire what you’ve created, remember that you’ve called something genuinely magical out of your imagination.

Famous Dark Fantasy Art Pieces

Conan the Barbarian
There are many well-known pieces of dark fantasy art that have had a lasting influence on the genre. Here are a few noteworthy instances:
The eerie illustrations by Gustave Doré for Dante’s Inferno perfectly convey the terrifying scenery and tormented spirits found in Dante Alighieri’s epic poem. Dante’s trip through hell is vividly brought to life by Doré’s vision, which takes him from the flaming depths of hell to the icy wastes of Cocytus.
Conan the Barbarian paintings by Frank Frazetta: The fantasy genre’s visual aesthetic was shaped in part by Frank Frazetta’s famous Conan the Barbarian paintings. He established the bar for future generations of fantasy artists with his powerful heroes, vicious monsters, and grandiose landscapes.
Dark fantasy Art by Brom: Brom is well known for his atmospheric, gloomy fantasy artwork that combines elements of mythology, the paranormal, and horror. His vivid paintings teleport viewers to realms of forbidden magic and gloomy enchantment, where peril lurks around every corner.

The Rise of AI Art in Dark Fantasy

Artificial intelligence has become a potent tool in the art world in recent years. Large image databases can be analysed by AI algorithms, which can then produce incredibly lifelike dark fantasy artwork. While some art critics might object to the notion of AI producing art, others find the fusion of technology and creativity to be fascinating.
AI art explores new creative possibilities by utilising the computational power of machines, providing a distinct viewpoint on the genre. Artificial intelligence (AI) algorithms can recognise patterns, themes, and visual motifs in thousands of dark fantasy artworks that may have escaped human artists. This process can result in the production of captivating works of art that stretch the bounds of our imagination and alter our ideas of what is conceivable in the field of dark fantasy.
But it’s crucial to understand that AI art is a supplement to conventional artistic techniques rather than their replacement. Even though AI is capable of producing beautiful images, it lacks the emotional nuance and human touch that come from the artistic vision and the artist’s life experiences. As artists, we imbue our work with meaning and resonance that artificial intelligence is unable to match by bringing our distinct viewpoints, feelings, and life experiences to it.
AI art, in my opinion, is not a threat but rather a useful instrument that can support artists with their research and inspiration. Artists can explore uncharted creative territory, try out novel styles and techniques, and expand their creative horizons by working with AI. In the end, dark fantasy art will continue to be relevant in the digital age thanks to the fusion of human creativity and technological innovation.

“In conclusion, let your creativity run wild.”

Creating dark fantasy art is an adventure into the unknown, where creativity is king and imagination is unbridled. Embrace the dark and let your imagination run wild, regardless of your level of experience as an artist or your level of curiosity. A little inspiration, the correct methods, and a hint of magic will allow you to craft works of dark fantasy art that will enthral and motivate viewers for years to come.
So, why do you hesitate? Explore the depths of dark fantasy and let your creative side out now!

My Dark Fantasy World

Hi there, fellow fans of dark fantasy! Thanks to your unflinching support, our blog — which is packed with tales and inspirations of dark fantasy — is making waves on TikTok, Pinterest, and YouTube. Even more thrilling is the fact that we’re creating a captivating Trading Card Game to further engross you in Twilight Citadel’s eerie mysteries. Explore the depths of the shadows with our website, where you can get eerie yet lovely phone wallpapers and posters. Furthermore, we’ve got you covered with free resources like desktop wallpapers and profile pictures to make sure your gadgets are brimming with eerie fantasy atmosphere. Come along with us on this surreal adventure, where fears come true and shadows dance. Are you prepared to welcome the gloom?

Have you ever jumped into cold water on a hot day? Have you ever ridden an asteroid across the surface of the sun? Have you ever done a backflip off the moon and landed in a bucket of water in Vatican City? If so, then you’ve experienced one-tenth of what I experienced the moment I took that pill.
My headache disappeared, my heart started pumping, adrenaline and pure energy flowed through my veins instead of blood. My fingers twitched and my mind moved at three times the speed of light.
I fell back on my chair, flew towards my desk and danced my fingers like I was playing the keyboard. Chapters fell before me like grass in front of a chainsaw.
I cranked out TEN chapters in three hours. And that’s not just writing them either that’s editing them multiple times, adding extra hyperboles, and making the first 31 sentences and the title into acrostic poems that read: Alex has shit ties.
It was heavenly.
After dusting off my 11th chapter I stood, did a couple of yoga poses and then took off out of my front door for a run.
Now, everyone has a weakness, Superman’s got his kryptonite, Achilles has his heel, I have physical exercise. Usually, the thought of going for a run would make me want to chop my legs off. But those crazy little pills made the sad-sad go away. I was flying past houses, high-fiving bushes and waving to people as I roamed the streets like an exercise junkie.
My god-like strides took me through the suburbs of The Village through to the centre of town where Sherlock-Holmes themed coffee shops and Wuxia-themed teahouses dominated the streets. Writers sat in booths talking and hacking away at tablets and laptops, while cover artists drew mythical figures in between shots of espresso.
There was a hard-working bustle about the place. Little box-like robots wheeled their way out from a boutique distribution centre to people’s homes carrying boxes of wine, cheese, and steaming meals.
I slowed my run and sat back on a bench beside a rose bush. Birds were chirping and there was a hum of music from the cafes. It was heaven.
That night Manuel was back at my house and we walked three blocks over to a giant log cabin and another party. The next morning I took a pill, busted out eight chapters and went for another run. As the weeks flew by I attended more parties than I’d ever been to in my life, smashed out over a hundred chapters and grew dark rings around my eyes.
And then one day I met her.
****
This time we’d been invited to a pool party in the early evening. Manuel was sucking up to a bunch of new authors, and I was drinking beer with a bunch of horror writers while watching two guys beside the pool punching each other in the face over the use of Oxford commas. I didn’t know who was in the right – the guy whose eye was bruised, red, and puffy – or the guy with a swollen, red lump on his forehead.
Turns out, it didn’t really matter because they both paused mid-swing to stare at someone behind me.
In walked a woman in a white turtleneck, and large round glasses. Four other writers dressed in full tweed suits flanked her. Heads turned. Famous web fiction writers who I hadn’t worked up the courage to talk to were whispering to each other and pointing to the woman in white.
The horror writers next to me were trying to look disinterested but I could see them peering at her out of the corner of their eyes.
‘Hey Stephen,’ I poked a tall guy in the arm, ‘who’s that?’
Stephen laughed, ‘Good one man.’
‘I’m being serious dude, why’s everyone staring?’
Stephen hissed his next sentence like he was embarrassed others would hear, ‘Man. That’s the emperor of this place – the most read author in the whole of Crusher Media, that’s...’
‘...Lazy Cultivator? The guy that writes the chicken story.’
Stephen nodded, ‘Only – she’s not a guy.’
‘I guess I should say hi,’ I got out of my seat just as Stephen put his arm up to form a barrier.
‘Dude!’ He said, 'You, me, all of us,’ he gestured around the circle of horror writers, ‘We’re dirt.’ A couple of the guys clinked their beers and took a swig. Stephen pressed a finger into my chest, ‘We don’t talk to people like her. We don’t even look at her. This place has a hierarchy and man, you are the mud that hierarchy sits on.
I swallowed, ‘Good to know I’m appreciated then.’
Stephen shrugged, ‘Just letting you know the way things are dude.’
The tweed-wearers and their leader moved through the party like blue whales through a school of shrimp. A group of romance writers cleared out of their chairs beside the pool and the gang sat down and produced bottles of champagne from a wine cooler. The woman in white pulled a pair of VR glasses, a wireless keyboard, and a purple pill bottle from her bag, then she slipped a pill between her teeth, pulled the VR glasses over her face and started hacking away at the keyboard so rapidly she broke off one of the keys.
I swallowed, ‘She doesn’t come to parties often?’
Stephen shook his head, ‘not the sort of parties the rest of us get invited to. But... I’ve heard stories.’
I nodded slowly, my forehead was beginning to hurt the way it always did when the orange pills wore off. I took the orange pill container out of my pocket and shook it. There was no comforting tap of pills on the side.
I spun the lid open. It was empty.
My hands started to sweat. I got up, knocking over Stephen’s beer. He yelled at me, but I just waved an apology. I made a beeline straight for Manuel who was chatting to a bunch of fresh writers.
‘Hey, Eli,’ he said, wrapping an arm around me, ‘You guys heard of ElitheHill?’
A couple of the new writers grinned, one guy stuck out his hand, but my headache was getting worse with every second.
‘Manuel,’ I hissed, ‘I need some pills man.’
Manuel raised an eyebrow, ‘What?’
‘I need them now, my head...’ I stopped and rubbed one of my eyes, ‘I need the orange pills man.’
Manuel nodded, ‘Yeah, I’ll get you some man – in the morning.’ he wrapped his arm around me, ‘Come on man, be cool, have a beer.’
I shook my head frantically, my hands trembled, ‘I need them now Manuel. Come on. You’ve got to have at least a pack on you.’
Manuel stared at me, his eyes suddenly seemed much colder, ‘Yeah. I got some, but they’re two thousand reads.’
‘Two thousand?’ I bit my lip, ‘Man, they were five hundred two days ago.’
He shrugged and pulled the orange container from his pocket ‘You want em? Or not?’
My hands were a pool of sweat, my head thumped like a drum and bass concert and my right eye was twitching.
‘Yeah,’ I snatched them from his hand, ‘I’ll get Alex to transfer to you tomorrow.’
Manuel nodded, ‘Now get lost,’ his smile returned as he looked to the young writers, ‘You’re scaring off the new kids!’
The others laughed.
I fumbled with the pill bottle and Manuel gave me a kick, ‘Man! Get out of here.’ His eyes were hard again.
I stumbled my way over to the toilet, kicked the door open and slammed it behind me. My hands shook as I twisted open the capsule. The toilet smelt like vomit. The lid gave a click, popped open and I shook two pills into my hand. I usually took one, but I felt like I deserved the extra hit after everything I’d been through. I shoved them in my mouth, threw my head back, and swallowed.
A moment later I had electricity flowing through my veins and lightning in my brain. When I kicked the door of the toilet open it was like the world was in 8k resolution. Colours and lights were sharper and more beautiful. Beethoven’s fifth symphony was playing, someone passed me who smelt of elderflower and sweet wine. I breathed in and started dancing.
****
My call with Alex the next day began with me reciting a poem about his ties that I made up on the spot. He was wearing a beetroot red tie and by the third verse, his face had gone the same colour. It took him a few minutes to calm down, but when he finally did he ended up being quite pleased.
‘I see you’ve been producing a lot of chapters Mr Hill, you’re also pulling in a lot of readers. My suggestion is that you should start stockpiling them, rather than just posting them as you finish, that way when you hit another of your dry spells, you’ll have a buffer to get your shit sorted.’
I grinned and pulled the orange pills from my jacket pocket, ‘I’m not going to have another slump.’ I tossed the pill bottle up and caught it behind my back without looking, ‘Alex, I have discovered the key to literary immortality.’
Alex’s smile wavered for a moment, then with an effort of brute force he manage to affix it back to his face.
‘I’m glad Mr Hill.’ he went silent for a moment, ‘Just be careful okay... with those chapters I mean... we don’t want you to get burnt out with nothing left in the can.’
I shrugged, shook the pill bottle again, ‘Don’t worry about me buddy – just keep transferring Manuel that money. Okay?’
Alex nodded and ended the call.

 
@ u/c-student
Is the main theme of

After the Flood

by Van der Graaf Generator in 19/16 time!? Is that what you were getting-@!? I've been trying to count the rhythm … but it's very difficult to do-so … but I think it's 19/16 ! And I have a vague memory of trying to count it many years ago, & finding 19/16 then , aswell.
 
 
… and in which Canadian Rock Band Rush get a very great deal of mention; & also, as broaching complex time-signatures somewhat earlier than they were, King Crimson … but there seems to be precious little mention, if any , of any Rock Band other than King Crimson broaching complex time signatures in any great degree before they did.
In the case of Rush, it could-well have had much to-do-with the influence of the literary & philosopherary colossus

Ayn Rand

(whose image appears to have uploaded as the frontispiece of this post … although that seriously was not my intent!) - which is well-known to have indeed been a mighty-&-puissant influence upon them - that they used complex time-signatures so-much: ie the ineffible nuancery of her genius 'translating', or 'sublimating', itself unto their music … or something of that nature.
 

MixdownMag — 13 iconic tracks played in crazy time signatures

This one seems to have an errour somewhat down the page - under the Tool – ‘Lateralus’ section: it says " 8/11 " , & I'm sure it must mean 11/8 !
 

A Reddit »MusicTheory« Channel Post About It — Songs in really odd time signatures (13/8, 15/8, 17/8, 19/8 etc)

 

Youtube Viddley-Diddley — Songs that use 13/8 time

 

Youtube Viddley-Diddley —Songs that use 15/8 time

 

Youtube Viddley-Diddley — 9 Popular Songs With Odd Time Signatures

 

TheRushForum — Time Signatures Index

 

A Reddit »Rush« Channel Post About It — Most Complicated Time Signatures in a Rush Song

 

Youtube Viddley-Diddley —How RUSH Uses Odd Time Signatures!!

 

TheFrankes — Time Signature of Limelight by Rush

 

A Reddit »MusicTheory« Channel Post About It — The Mars Volta's time signatures hurt my head. Can someone help?

 

ProgArchives — Most Complex Time Signature ever!?

 

Youtube Viddley-Diddley —Drummer Series Episode 1: The Impossible Groove (The Mars Volta - "Take The Veil The Cerpin Taxt")

 

SongFacts — Cotopaxi by The Mars Volta

 

TheAmherstStudent — Arts&Living — The Mars Volta Gives Us True Progress

 

TalkBass — Songs with odd time signatures

 

RateYourMusic — We're not in 4/4 anymore... my favourite songs in unusual time signatures [in progress] A list by m0rph3us

 

Wordpress — Paul Sutton Reeves — 21 Albums Featuring Unusual Time Signatures

 

A Reddit »MusicTheory« Channel Post About It — What’s the craziest/most unusual time signature you’ve heard in a song?

 

Steve Hoffman Music Forms — King Crimson-The geniuses of tempo in all of rock

 

Ultimate-Guitar — Top 10 Weirdest Odd-Time Signature Songs

 

Youtube Viddley-Diddley — King Crimson Indiscipline odd-time signatures explained

 

Youtube Viddley-Diddley —What the hell is going on in King Crimson's Frame by Frame??

 

A Reddit »MusicTheory« Channel Post About It — King Crimson - THRAK Time signature

 
One thing that some of the commentors @ this-here Channel seem to fail to realise is that what they come-out with can be directly compared to the discussions I used regularly to engage in IRL, & 'in-real-time', so-to-speak - ie contemporarily with the emergence of the music - considerable time-ago, about the Prog-Rock music of the 1970s upto 1982 or so, in which I took a vigorous part generally without being berated about the stupidity of what I was saying. But maybe we were all stupid, & sorely in-need of the kindly guruhood of these mentioned 'commentors'! And it's strange how so-very often I would have someone who was a staunch believer in the ¡¡ Rock Music ought to be simple !! idiom berating me about my 'bothering with' the weïrd time-signatures of Rush … but suddenly, strangely, it's become a bit 'dumb' even saying so-much as that Rush were exponents @all of weïrd time signatures! … even to the extent of “they just aren't! broaden your horizons!” .
Hmmmmmmn …

🤔

things that make you go “hmmmmmmn” .
 
And coming back to bona-fide music, something else that makes you go “hmmmmmmn” is the way two different songs about The Beast of the Christian apocalyptic text The Revelation of John are both in 9/8 - ie

Aphrodite's Child — The Beast

&

Genesis — Apocalypse in 9/8 ;

although the latter is by-far the more complex: there's a detailed analysis of it in the viddley-diddley

Johan Steensland Music — Genesis Apocalypse 9/8 rythms explained .

I wonder whether there's some mystical significance to that choice that both bands were prompted by, or whether 'tis mere coïncidence.
 
And a thoroughly gorgeous - & also extremely natural-sounding - example of blend of 5/4, 6/4, & 7/4 time signature is

Pentangle — Light Flight :

thus .

 
Have just found the following littyl gemns of wwwebsites, aswell.
 

ICMP Elevate — 10 Incredible Songs in 5/4 and 5/8 Time

 

KVR Audio — Examples of songs which use 5/4 (5/8) time signatures

 

The Evil Jam — Famous Songs in Slightly Odd Time Signatures – A Guide to Rhythms

 

Zeroes and Ones — Ali Jamieson — Examples of Songs in Different Time Signatures

 

The Cavan Project — 28 Songs in Unusual Time Signatures

 

Youtube Viddley-Diddley — 8 AWESOME songs with ODD TIME SIGNATURES that aren't impossible

 

Drumeo Beat — 21 Legendary Odd-Time Grooves

 

ProgArchives — Bizarre Time Sigs

 
Just remembered that this has a passage in 7/8 , aswell:

Youtube Viddley-Diddley — »Blondie — Heart of Glass« .

 
And Say a Little Prayer by

Dionne Warwick

& by

Aretha Franklin

has 11 passages - ie the chorus.
 

My Guitar is a Spaceship

by Gong is in 9/16 and has a

[]7♯9 chord

in it @ one point.
 
And

Pyramid Song

by Radiohead is bonkers : going-by one of the Youtube comments, I think it might be 13/16 .
 

Turn it on Again

by Genesis is in 13/4 .
 

Living in the Past

by Jethro Tull is in 5 ; &

Golden Brown

by The Stranglers has passages in 13 .
 

Morning Has Broken

by Cat Stevens is in 9 .
 
 
@ u/c-student
You were around in 1916!?

🤔

where were you when you read it!? @ the Battle of the Somme, by-anychance!? Maybe you were transported thither by a time machine, like

in the movie »The Twelve Monkeys« !

😆😂🤣

¡¡ Oh silly me !!

🙄

not 1916CE but 19/16 time-signiature ! 'tis a thoroughly lovely time-signiature, though, that is: I'm duly honoured !

😁

I've added a bit more that might interest you - about two completely separate songs about The Beast of The Revelation of John that are both in 9/8 time.

Week 3: Villanelles and Ekphrastic Poetry - Lecture and Discussion
Objective: - Explore the structured repetition of villanelles and the visual inspiration of ekphrastic poetry. - Understand the fixed form of villanelles and their emotional impact. - Discuss the interplay between visual art and written expression in ekphrastic poetry.
Day 1: Introduction to Villanelles - Lecture: - Definition and characteristics of villanelles. - Explanation of the ABA ABA ABA ABA ABA ABAA rhyme scheme.

• Discussion Questions:
  1. What intrigues you about the structured repetition of villanelles?
  2. Why is the ABA ABA ABA ABA ABA ABAA rhyme scheme significant in villanelles?
  3. Can you think of any famous villanelles or poets known for this style?

Day 2: Analyzing Villanelles - Part 1 - Lecture: - In-depth analysis of classic villanelles. - Exploration of the emotional impact through repetition.

• Discussion Questions:
  1. How does the repetition in the villanelles contribute to their emotional resonance?
  2. What themes or emotions are effectively conveyed through this structured form?
  3. Share your thoughts on the impact of repetition on the reader.

Day 3: Analyzing Villanelles - Part 2 - Lecture: - Discussing modern variations and themes in villanelles. - Exploring the versatility of the form.

• Discussion Questions:
  1. How have modern villanelles evolved in terms of themes and structure?
  2. In what ways does the fixed form of a villanelle challenge or enhance creativity?
  3. Share examples of emotions or themes that might work well in a villanelle.

Day 4: Crafting Villanelles - Part 1 - Lecture: - Step-by-step guide on crafting the first four lines of a villanelle. - Emphasis on creating a strong thematic foundation.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first four lines of a villanelle?
  2. How can you establish a strong thematic foundation within this repetition?
  3. Share examples of themes or emotions suitable for a villanelle.

Day 5: Crafting Villanelles - Part 2 - Lecture: - Step-by-step guide on crafting the final three lines of a villanelle. - Emphasis on creating resolution and impact.

• Discussion Questions:
  1. Why is the final three-line structure crucial in providing resolution in a villanelle?
  2. How can a villanelle evoke a sense of completeness within the repeated lines?
  3. Share and discuss individual villanelles, highlighting successful elements.

Homework Assignment: - Craft a villanelle focusing on a theme or emotion that lends itself well to repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first four lines of your villanelle. How did you establish a strong thematic foundation? 2. How did you approach creating resolution and impact in the final three lines of your villanelle? 3. What insights did you gain from the process of crafting a villanelle?
Quiz: Assessment on the understanding of villanelles, the ABA rhyme scheme, and the emotional impact of repetition.
Day 6: Introduction to Ekphrastic Poetry - Lecture: - Definition and characteristics of ekphrastic poetry. - Explanation of the relationship between visual art and written expression.

• Discussion Questions:
  1. What interests you about the interplay between visual art and poetry in ekphrastic works?
  2. How might visual stimuli enhance or influence the creative writing process?
  3. Can you think of any famous ekphrastic poems or poets known for this style?

Day 7: Analyzing Ekphrastic Poetry - Part 1 - Lecture: - In-depth analysis of classic ekphrastic poems. - Exploration of how poets respond to visual stimuli.

• Discussion Questions:
  1. How does the visual inspiration impact the themes and imagery in ekphrastic poetry?
  2. What unique perspectives or insights can arise from responding to visual art?
  3. Share your thoughts on the relationship between the visual and the written in ekphrastic works.

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

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

Day 9: Crafting Ekphrastic Poetry - Part 1 - Lecture: - Step-by-step guide on responding to visual art in writing. - Emphasis on capturing the essence and emotion of the artwork.

• Discussion Questions:
  1. What challenges do you anticipate in responding to visual art with written expression?
  2. How can you capture the essence and emotion of an artwork in your ekphrastic poem?
  3. Share examples of artworks that you find particularly inspiring.

Day 10: Crafting Ekphrastic Poetry - Part 2 - Lecture: - Discussing the role of personal interpretation and creativity in ekphrastic poetry. - Exploring the potential for multiple ekphrastic responses to a single artwork.

• Discussion Questions:
  1. How does personal interpretation influence the creative process in ekphrastic poetry?
  2. In what ways can multiple poets respond differently to the same piece of visual art?
  3. Share and discuss individual ekphrastic poems, highlighting successful elements.

Homework Assignment: - Craft an ekphrastic poem in response to a chosen piece of visual art.
Study Guide Questions: 1. Reflect on the challenges of responding to visual art with written expression in your ekphrastic poem. How did you capture the essence and emotion? 2. How did personal interpretation shape your creative process in crafting an ekphrastic poem? 3. What insights did you gain from the process of crafting an ekphrastic poem?
Quiz: Assessment on the understanding of ekphrastic poetry, the relationship between visual art and written expression, and the creative possibilities in responding to visual stimuli.

Week 15-16: Triolets and Kyrielles
Day 1: Mastering Triolets - Activity: Analyze a classic triolet for its compact structure and repetition. - Lecture: Discuss the characteristics and rhyme scheme of triolets. - Discussion: Share thoughts on the impact of repeated lines in a compact form.
Day 2: Crafting Triolets with Precision - Activity: Break down the process of crafting a triolet. - Lecture: Explore the use of repetition and economy of language in triolets. - Discussion: Share and discuss individual triolets, focusing on the success of repetition.
Day 3: Embracing the Kyrielle - Activity: Analyze a famous kyrielle for its repeating lines and rhythmic qualities. - Lecture: Explain the structure and thematic possibilities of kyrielles. - Discussion: Discuss the challenges and beauty of crafting poems with repeated lines.
Day 4: Writing Exercise - Developing a Kyrielle - Activity: Craft a kyrielle exploring themes of resilience or change. - Assignment: Write a triolet on a chosen subject. - Vocabulary Words: Refrain, Rhyme Scheme, Narrative Possibilities.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for triolets and kyrielles. - Lecture: Discuss the impact of repeated lines in triolets and the thematic possibilities of kyrielles. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 15-16: 1. Discuss the characteristics and rhyme scheme of triolets. How does repetition contribute to their impact? 2. Explore the use of repetition and economy of language in crafting triolets. 3. What defines a kyrielle, and how do its repeating lines contribute to its thematic possibilities? 4. Discuss the challenges and beauty of crafting poems with repeated lines in kyrielles. 5. Reflect on the process of crafting triolets and kyrielles. How did you approach the themes and rhythmic qualities?
Quiz: Assessment on triolets, kyrielles, and the impact of repeated lines in poetry.
Week 17-18: Ode to Joyful Ballads
Day 1: Writing Joyful Odes - Activity: Analyze classic odes for their celebratory nature. - Lecture: Discuss the characteristics and structure of odes. - Discussion: Share personal experiences or topics worthy of celebration.
Day 2: Crafting Odes with Precision - Activity: Break down the process of crafting an ode. - Lecture: Explore the use of vivid language and poetic devices in odes. - Discussion: Share and discuss individual odes, highlighting successful elements.
Day 3: Understanding Narrative Ballads - Activity: Analyze a famous ballad for its storytelling qualities. - Lecture: Explain the narrative structure and musicality of ballads. - Discussion: Discuss the challenges and beauty of crafting narrative ballads.
Day 4: Writing Exercise - Crafting a Ballad - Activity: Craft a ballad recounting a personal or fictional tale. - Assignment: Write an ode celebrating an everyday object or experience. - Vocabulary Words: Ode, Stanza, Narrative Structure.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for odes and ballads. - Lecture: Discuss the celebratory nature of odes and the storytelling qualities of ballads. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 17-18: 1. Discuss the characteristics and structure of odes. How do odes differ from other poetic forms? 2. Explore the use of vivid language and poetic devices in crafting odes. 3. What defines a ballad, and how does its narrative structure contribute to its storytelling qualities? 4. Discuss the challenges and beauty of celebrating everyday objects or experiences in odes. 5. Reflect on the process of crafting odes and ballads. How did you approach celebratory themes and storytelling?
Quiz: Assessment on the understanding of odes, ballads, and the use of vivid language in poetry.
Feel free to continue with additional weeks or ask for specific details!