In the age of current mass glorification via media from Lithuania and the United States of diaspora Lithuanian fascists like Adolfas Ramanauskas (Ramanauskas was born in New Britain, Connecticut, USA and later moved to Lithuania, later collaborating with Nazis during their invasion) or Lithuanian exile fascists like Jonas Mekas, few diaspora Lithuanians remember the names of revolutionary socialist Lithuanian diaspora heroes like Vytautas Montvila or Antanas Bimba. Antanas Bimba was a Lithuanian involved in the early American Communist movement, and a post will be made for him sometime later. As for the story of Montvila, It is up to Lithuanians everywhere to give this man his credit as a hero and martyr against fascism.
Vytautas was born to to an ethnic Lithuanian Catholic immigrant family in 1902 in the city of St. Charles, Illinois. His family, like many Lithuanian immigrants to America at the time, left Lithuania due to persecution by czarist Russian Empire authorities, whom sought to ban Lithuanian language as well as restrict the Catholic Church in favor of Orthodoxy. This persecution under czarism caused many minorities, particularly ethnic Lithuanian Catholics and Lithuanian Jews, to move often to the United States, Canada, or South American nations. In 1906, he and his family returned to Lithuania, moving to the city of Marijampolė. The family later moved to Degučiai, then a Marijampolė suburb.
As Vytautas grew older, between the years of 1922-26 he joined the Kėdainiai Teacher’s Seminary. It was somewhat of a social club for study, covering a wide range of topics, such as science, culture, atheism, and philosophy. Members were of various political parties, but it was here Vytautas became acquainted with local Communist activists and gained entry into the wider movement. The communists at these meetings often discussed Marxist theory, offered to share sections of the Communist Manifesto, and recruited members into local Worker’s Guilds. In 1923, he began writing his early poetry, often revolutionary in nature and influenced by avant-garde style. In his most famous poem, “Naktys be Nakvynės” (ENG: “Nights Without Accommodation”), written early in his career, he champions revolutionary socialism and personifies art of poetry as a tool for revolution. His later work from 1940-41 reflects the new Soviet period, condemns the reactionary past, hoping towards a socialist future in Lithuania. These later poems were influenced heavily by the works of fellow Soviet poet V. Mayakovsky, whose works Montvila enjoyed. These later works by Montvila were of a topical oratorical style, and he is credited often with having laid the foundation for other Lithuanian Soviet poets at the time. Montvila also wrote short stories and portions of novels. Among other feats, he translated the novel “Mother” by fellow Soviet writer Maxim Gorky, from Russian into Lithuanian, as well as translated the writer Émile Zola’s novel “The Collapse” from its original French into Lithuanian.
He shortly then studied in the Faculty of Humanities at the University of Lithuania (Today, Vytautas Magnus University in Kaunas).
Following his departure from university, he began a life fully committed to revolutionary socialist activism. In 1929, in an effort to organizationally unify leftist writers against the bourgeoisie, he published the revolutionary almanac “Raketa” (ENG: “Rocket.”) For this, he was imprisoned from his arrest in 1929 to 1931. During 1935, he moved back to Marijampolė, and published the “Skardas” (ENG: “Tin”) worker’s newspaper for the Communist faction of the Lithuanian Social Democratic Party. He also published other socialist newspapers, titled “Darbas” (ENG: “Work”), “Kultūra” (ENG: “Culture”), “Aušrine” (ENG: “Dawn”), and “Prošvaistė” (ENG: “The Light”) for various leftist organizations. He simultaneously worked odd jobs to add to his livelihood.
Upon establishment of the Soviet Lithuanian government in 1940, Montvila, like many leftist Lithuanian citizens, was thrilled and ready for change, having been oppressed in a society previously plagued by issues such as anti-communism, rural serfdom, clerical fascism, anti-Semitism, and capitalist exploitation of all of the working people of Lithuania. Vytautas dedicated specialized time to working with Soviet authorities to publish and translate revolutionary texts from various authors, as well as delivering his own revolutionary pro-Soviet speeches. He continued this into 1941, the final year of his life.
Upon the Nazi invasion of Lithuania in mid-1941, he was captured by local collaborators and Gestapo. According to documents, he did not run or resist, rather instead defiantly, in true revolutionary martyr manner, insulted his captors. He was taken prisoner to the 9th Fort in Kaunas, where he was executed, being shot to death on July 19th, 1941, killed alongside many other Jewish and leftist victims of Nazi and collaborator fascist terror. To leftists who are aware of his heroism and revolutionary martyrdom, he is often compared to fellow revolutionary and Spanish poet F. Garcia Lorca, a leftist whom was executed by the Francoists. Vytautas, Lorca, and all revolutionaries shall be remembered forever. May we remember Vytautas Montvila, a hero to all Lithuanians, but especially to Lithuanians in the diaspora! Remember Vytautas Montvila, both uniquely a hero to Lithuanian-Americans, and the people of Lithuania!

In the age of current mass glorification via media from Lithuania and the United States of diaspora Lithuanian fascists like Adolfas Ramanauskas (Ramanauskas was born in New Britain, Connecticut, USA and later moved to Lithuania, later collaborating with Nazis during their invasion) or Lithuanian exile fascists like Jonas Mekas, few diaspora Lithuanians remember the names of revolutionary socialist Lithuanian diaspora heroes like Vytautas Montvila or Antanas Bimba. Antanas Bimba was a Lithuanian involved in the early American Communist movement, and a post will be made for him sometime later. As for the story of Montvila, It is up to Lithuanians everywhere to give this man his credit as a hero and martyr against fascism. Vytautas was born to to an ethnic Lithuanian Catholic immigrant family in 1902 in the city of St. Charles, Illinois. His family, like many Lithuanian immigrants to America at the time, left Lithuania due to persecution by czarist Russian Empire authorities, whom sought to ban Lithuanian language as well as restrict the Catholic Church in favor of Orthodoxy. This persecution under czarism caused many minorities, particularly ethnic Lithuanian Catholics and Lithuanian Jews, to move often to the United States, Canada, or South American nations. In 1906, he and his family returned to Lithuania, moving to the city of Marijampolė. The family later moved to Degučiai, then a Marijampolė suburb.
As Vytautas grew older, between the years of 1922-26 he joined the Kėdainiai Teacher’s Seminary. It was somewhat of a social club for study, covering a wide range of topics, such as science, culture, atheism, and philosophy. Members were of various political parties, but it was here Vytautas became acquainted with local Communist activists and gained entry into the wider movement. The communists at these meetings often discussed Marxist theory, offered to share sections of the Communist Manifesto, and recruited members into local Worker’s Guilds.
In 1923, he began writing his early poetry, often revolutionary in nature and influenced by avant-garde style. In his most famous poem, “Naktys be Nakvynės” (ENG: “Nights Without Accommodation”), written early in his career, he champions revolutionary socialism and personifies art of poetry as a tool for revolution. His later work from 1940-41 reflects the new Soviet period, condemns the reactionary past, hoping towards a socialist future in Lithuania. These later poems were influenced heavily by the works of fellow Soviet poet V. Mayakovsky, whose works Montvila enjoyed. These later works by Montvila were of a topical oratorical style, and he is credited often with having laid the foundation for other Lithuanian Soviet poets at the time. Montvila also wrote short stories and portions of novels. Among other feats, he translated the novel “Mother” by fellow Soviet writer Maxim Gorky, from Russian into Lithuanian, as well as translated the writer Émile Zola’s novel “The Collapse” from its original French into Lithuanian.
He shortly then studied in the Faculty of Humanities at the University of Lithuania (Today, Vytautas Magnus University in Kaunas).
Following his departure from university, he began a life fully committed to revolutionary socialist activism. In 1929, in an effort to organizationally unify leftist writers against the bourgeoisie, he published the revolutionary almanac “Raketa” (ENG: “Rocket.”) For this, he was imprisoned from his arrest in 1929 to 1931. During 1935, he moved back to Marijampolė, and published the “Skardas” (ENG: “Tin”) worker’s newspaper for the Communist faction of the Lithuanian Social Democratic Party. He also published other socialist newspapers, titled “Darbas” (ENG: “Work”), “Kultūra” (ENG: “Culture”), “Aušrine” (ENG: “Dawn”), and “Prošvaistė” (ENG: “The Light”) for various leftist organizations. He simultaneously worked odd jobs to add to his livelihood.
Upon establishment of the Soviet Lithuanian government in 1940, Montvila, like many leftist Lithuanian citizens, was thrilled and ready for change, having been oppressed in a society previously plagued by issues such as anti-communism, rural serfdom, clerical fascism, anti-Semitism, and capitalist exploitation of all of the working people of Lithuania. Vytautas dedicated specialized time to working with Soviet authorities to publish and translate revolutionary texts from various authors, as well as delivering his own revolutionary pro-Soviet speeches. He continued this into 1941, the final year of his life.
Upon the Nazi invasion of Lithuania in mid-1941, he was captured by local collaborators and Gestapo. According to documents, he did not run or resist, rather instead defiantly, in true revolutionary martyr manner, insulted his captors. He was taken prisoner to the 9th Fort in Kaunas, where he was executed, being shot to death on July 19th, 1941, killed alongside many other Jewish and leftist victims of Nazi and collaborator fascist terror. To leftists who are aware of his heroism and revolutionary martyrdom, he is often compared to fellow revolutionary and Spanish poet F. Garcia Lorca, a leftist whom was executed by the Francoists. Vytautas, Lorca, and all revolutionaries shall be remembered forever. May we remember Vytautas Montvila, a hero to all Lithuanians, but especially to Lithuanians in the diaspora! Remember Vytautas Montvila, both uniquely a hero to Lithuanian-Americans, and the people of Lithuania!

In the age of current mass glorification via media from Lithuania and the United States of diaspora Lithuanian fascists like Adolfas Ramanauskas (Ramanauskas was born in New Britain, Connecticut, USA and later moved to Lithuania, later collaborating with Nazis during their invasion) or Lithuanian exile fascists like Jonas Mekas, few diaspora Lithuanians remember the names of revolutionary socialist Lithuanian diaspora heroes like Vytautas Montvila or Antanas Bimba. Antanas Bimba was a Lithuanian involved in the early American Communist movement, and a post will be made for him sometime later. As for the story of Montvila, It is up to Lithuanians everywhere to give this man his credit as a hero and martyr against fascism. Vytautas was born to to an ethnic Lithuanian Catholic immigrant family in 1902 in the city of St. Charles, Illinois. His family, like many Lithuanian immigrants to America at the time, left due to persecution by czarist Russian Empire authorities, whom sought to ban Lithuanian language as well as restrict the Catholic Church in favor of Orthodoxy. This persecution under czarism caused many minorities, particularly ethnic Lithuanian Catholics and Lithuanian Jews, to move often to the United States, Canada, or South American nations. In 1906, he and his family returned to Lithuania, moving to the city of Marijampolė. The family later moved to Degučiai, then a Marijampolė suburb.
As Vytautas grew older, between the years of 1922-26 he joined the Kėdainiai Teacher’s Seminary. It was somewhat of a social club for study, covering a wide range of topics, such as science, culture, atheism, and philosophy. Members were of various political parties, but it was here Vytautas became acquainted with local Communist activists and gained entry into the wider movement. The communists at these meetings often discussed Marxist theory, offered to share sections of the Communist Manifesto, and recruited members into local Worker’s Guilds.
In 1923, he began writing his early poetry, often revolutionary in nature and influenced by avant-garde style. In his most famous poem, “Naktys be Nakvynės” (ENG: “Nights Without Accommodation”), written early in his career, he champions revolutionary socialism and personifies art of poetry as a tool for revolution. His later work from 1940-41 reflects the new Soviet period, condemns the reactionary past, hoping towards a socialist future in Lithuania. These later poems were influenced heavily by the works of fellow Soviet poet V. Mayakovsky, whose works Montvila enjoyed. These later works by Montvila were of a topical oratorical style, and he is credited often with having laid the foundation for other Lithuanian Soviet poets at the time. Montvila also wrote short stories and portions of novels. Among other feats, he translated the novel “Mother” by fellow Soviet writer Maxim Gorky, from Russian into Lithuanian, as well as translated the writer Émile Zola’s novel “The Collapse” from its original French into Lithuanian.
He shortly then studied in the Faculty of Humanities at the University of Lithuania (Today, Vytautas Magnus University in Kaunas).
Following his departure from university, he began a life fully committed to revolutionary socialist activism. In 1929, in an effort to organizationally unify leftist writers against the bourgeoisie, he published the revolutionary almanac “Raketa” (ENG: “Rocket.”) For this, he was imprisoned from his arrest in 1929 to 1931. During 1935, he moved back to Marijampolė, and published the “Skardas” (ENG: “Tin”) worker’s newspaper for the Communist faction of the Lithuanian Social Democratic Party. He also published other socialist newspapers, titled “Darbas” (ENG: “Work”), “Kultūra” (ENG: “Culture”), “Aušrine” (ENG: “Dawn”), and “Prošvaistė” (ENG: “The Light”) for various leftist organizations. He simultaneously worked odd jobs to add to his livelihood.
Upon establishment of the Soviet Lithuanian government in 1940, Montvila, like many leftist Lithuanian citizens, was thrilled and ready for change, having been oppressed in a society previously plagued by issues such as anti-communism, rural serfdom, clerical fascism, anti-Semitism, and capitalist exploitation of all of the working people of Lithuania. Vytautas dedicated specialized time to working with Soviet authorities to publish and translate revolutionary texts from various authors, as well as delivering his own revolutionary pro-Soviet speeches. He continued this into 1941, the final year of his life.
Upon the Nazi invasion of Lithuania in mid-1941, he was captured by local collaborators and Gestapo. According to documents, he did not run or resist, rather instead defiantly, in true revolutionary martyr manner, insulted his captors. He was taken prisoner to the 9th Fort in Kaunas, where he was executed, being shot to death on July 19th, 1941, killed alongside many other Jewish and leftist victims of Nazi and collaborator fascist terror. To leftists who are aware of his heroism and revolutionary martyrdom, he is often compared to fellow revolutionary and Spanish poet F. Garcia Lorca, a leftist whom was executed by the Francoists. Vytautas, Lorca, and all revolutionaries shall be remembered forever. May we remember Vytautas Montvila, a hero to all Lithuanians, but especially to Lithuanians in the diaspora! Remember Vytautas Montvila, both uniquely a hero to Lithuanian-Americans, and the people of Lithuania!

In the age of current mass glorification via media from Lithuania and the United States of diaspora Lithuanian fascists like Adolfas Ramanauskas (Ramanauskas was born in New Britain, Connecticut, USA and later moved to Lithuania, later collaborating with Nazis during their invasion) or Lithuanian exile fascists like Jonas Mekas, few diaspora Lithuanians remember the names of revolutionary socialist Lithuanian diaspora heroes like Vytautas Montvila or Antanas Bimba. Antanas Bimba was a Lithuanian involved in the early American Communist movement, and a post will be made for him sometime later. As for the story of Montvila, It is up to Lithuanians everywhere to give this man his credit as a hero and martyr against fascism.
Vytautas was born to to an ethnic Lithuanian Catholic immigrant family in 1902 in the city of St. Charles, Illinois. His family, like many Lithuanian immigrants to America at the time, left due to persecution by czarist Russian Empire authorities, whom sought to ban Lithuanian language as well as restrict the Catholic Church in favor of Orthodoxy. This persecution under czarism caused many minorities, particularly ethnic Lithuanian Catholics and Lithuanian Jews, to move often to the United States, Canada, or South American nations. In 1906, he and his family returned to Lithuania, moving to the city of Marijampolė. The family later moved to Degučiai, then a Marijampolė suburb.
As Vytautas grew older, between the years of 1922-26 he joined the Kėdainiai Teacher’s Seminary. It was somewhat of a social club for study, covering a wide range of topics, such as science, culture, atheism, and philosophy. Members were of various political parties, but it was here Vytautas became acquainted with local Communist activists and gained entry into the wider movement. The communists at these meetings often discussed Marxist theory, offered to share sections of the Communist Manifesto, and recruited members into local Worker’s Guilds.
In 1923, he began writing his early poetry, often revolutionary in nature and influenced by avant-garde style. In his most famous poem, “Naktys be Nakvynės” (ENG: “Nights Without Accommodation”), written early in his career, he champions revolutionary socialism and personifies art of poetry as a tool for revolution. His later work from 1940-41 reflects the new Soviet period, condemns the reactionary past, hoping towards a socialist future in Lithuania. These later poems were influenced heavily by the works of fellow Soviet poet V. Mayakovsky, whose works Montvila enjoyed. These later works by Montvila were of a topical oratorical style, and he is credited often with having laid the foundation for other Lithuanian Soviet poets at the time. Montvila also wrote short stories and portions of novels. Among other feats, he translated the novel “Mother” by fellow Soviet writer Maxim Gorky, from Russian into Lithuanian, as well as translated the writer Émile Zola’s novel “The Collapse” from its original French into Lithuanian.
He shortly then studied in the Faculty of Humanities at the University of Lithuania (Today, Vytautas Magnus University in Kaunas).
Following his departure from university, he began a life fully committed to revolutionary socialist activism. In 1929, in an effort to organizationally unify leftist writers against the bourgeoisie, he published the revolutionary almanac “Raketa” (ENG: “Rocket.”) For this, he was imprisoned from his arrest in 1929 to 1931. During 1935, he moved back to Marijampolė, and published the “Skardas” (ENG: “Tin”) worker’s newspaper for the Communist faction of the Lithuanian Social Democratic Party. He also published other socialist newspapers, titled “Darbas” (ENG: “Work”), “Kultūra” (ENG: “Culture”), “Aušrine” (ENG: “Dawn”), and “Prošvaistė” (ENG: “The Light”) for various leftist organizations. He simultaneously worked odd jobs to add to his livelihood.
Upon establishment of the Soviet government in 1940, Montvila, like many leftist Lithuanian citizens, was thrilled and ready for change, having been oppressed in a society previously plagued by issues such as anti-communism, rural serfdom, clerical fascism, anti-Semitism, and capitalist exploitation of all of the working people of Lithuania. Vytautas dedicated specialized time to working with Soviet authorities to publish and translate revolutionary texts from various authors, as well as delivering his own revolutionary pro-Soviet speeches. He continued this into 1941, the final year of his life.
Upon the Nazi invasion of Lithuania in mid-1941, he was captured by local collaborators and Gestapo. According to documents, he did not run or resist, rather instead defiantly, in true revolutionary martyr manner, insulted his captors. He was taken prisoner to the 9th Fort in Kaunas, where he was executed, being shot to death on July 19th, 1941, killed alongside many other Jewish and leftist victims of Nazi and collaborator fascist terror. To leftists who are aware of his heroism and revolutionary martyrdom, he is often compared to fellow revolutionary and Spanish poet F. Garcia Lorca, a leftist whom was executed by the Francoists. Vytautas, Lorca, and all revolutionaries shall be remembered forever. May we remember Vytautas Montvila, a hero to all Lithuanians, but especially to Lithuanians in the diaspora! Remember Vytautas Montvila, both uniquely a hero to Lithuanian-Americans, and the people of Lithuania!

Do Greek people Nikos Kazantzakis? I just red Zora the Greek. Everyone knows the movie. Do people know the book? Do people read the book?
Here is what I found there.
The novel Zorba the Greek by Nikos Kazantzakis was made into the hit film "Zorba the Greek" starring Anthony Quinn as Zorba and Alan Bates as Basil. But the name "Basil" is made up, as in the book the narrator never gives his name. He is just called "boss". Kazantzakis was nominated for the Nobel Prize, but lost by one vote to Albert Camus.
Kazantzakis also wrote another book that was made into a film, The Last Temptation of Christ, directed by Martin Scorsese. The film generated a lot of controversy in part because it talked about Jesus's sex life.
Zorba is a bigger than life character who fought in wars, seduced many women, and was a leader of men and a fighter. This is what makes the book interesting as Basil was the opposite, a quiet and shy intellectual. One thing the movie does not mention is Basil spends most of his time reading about Buddhism. And he reads Dante's "Divine Comedy" . Kazantzakis translated Dante's poem into Greek. And he translated Homer's "The Odyssey" from Ancient Greek. So he was a real scholar.
All the famous things Zorba says in the movie are taken directly from the book. Many scenes are left out, and some are slightly revised and the order changed around. Some seem a little better in the movie, I think. Like the scene on the boat where they see dolphins and Basil is only mildly interested while Zorba is excited. Zorba says, "What kind of man are you? Don't you like dolphins?"
Zorba has convinced Basil to take him with him to Crete where he had rented a copper mine. Zorba said he had mining experience. He says, "Take me with you?" But they had just met. "Why? Can't a man do anything without a why?"This book reminds me of Cyprus because Crete is the closest Greek island. The people were very poor then as they were in Cyprus. Basil even says he thinks opening the mine might help the people there.
https://preview.redd.it/99oa8erjt41d1.jpg?width=684&format=pjpg&auto=webp&s=6eb53b4a03b8640120999f6d8d4b898d36c5f4c0
Kazantzakis describes the Cretans as simple peasants. Don't know about Greece, but in Cyprus where I live, the people here are also closer to the Cretan village mentality than the modern European one.
The peasants are superstitious. They execute their own laws with a rifle or a knife.
There is both a monastery and a cloister near the village full of superstitious nuns and monks. The nuns don't get mention at all in the movie. And the devil scene is really a bunch of references to the devil mentioned by both the nuns and monks rolled into one.
Zorba arranged with the monks to cut down the forests around the monastery and use the wood to build an overhead cable to carry logs down to the mine to build a pier and support beams.
Reading this book one is reminded that the Greeks, Bulgaria,Turks, and even Russians are sort of like cousins, always fighting and living close together. They have been at war, at wars in which Zorba fought. But this is kind of like the local neighborhood. Zorba came from Macedonia, the province where Alexander the Great came from. For an America, we have never thought of that. America's of course only know about America. But now I understand this.
And Zorba talks about the Pontic Greeks a lot. They live in Ukraine before the Russians did (i.e., before it was taken over by Catherine the Great, and made part of Russia.) and in Turkey and of course Greece.
I think Pontics is something people outside of this region know nothing about. As for Crete, without Zorba they would know nothing about Crete either.

Amid all my attempts to tie The Tortured Poets Department to literature, poems, and the rest of Taylor Swift’s discography, I missed one of the most obvious references possible. With the song “Who’s Afraid of Little Old Me?” as a play on titles of other works—namely, “Who’s Afraid of the Big Bad Wolf?” and Who’s Afraid of Virginia Woolf?—Taylor Swift is calling herself a wolf.
If Taylor Swift is calling herself a wolf, and that wolf is a dangerous force to be reckoned with, I wondered where else in her filmography or discography Swift has referenced or even identified with wolves, so I set out to see if there is a common (queer) thread tying it together.
Swift directly references wolves just three times in her lyrical discography: “Daylight” from Lover and “Guilty as Sin?” and “The Prophecy” from The Tortured Poets Department, plus the indirect reference in the “Who’s Afraid of Little Old Me?” song title, also from Tortured Poets. However, the first time we meet wolves in Swift’s catalog is in the “Out of the Woods” music video from 1989, where our rabbit hole begins.
My thesis: Tortured Poets is the mourning warning for what’s to come on reputation (Taylor's Version), and this is tied together by wolves and light versus dark imagery being threaded from 1989 (Taylor’s Version) through Tortured Poets, in addition to the scenery of the woods, underwater, and the beach. All of this is ultimately leading us out of the woods and into the daylight to fully understand reputation (Taylor's Version) through the lens of Tortured Poets.

Are we out of the woods yet?

We first see wolves in the “Out of the Woods” music video. A pack of snarling wolves is chasing Swift through a dark forest, even shredding her evening gown (hello, "The Alcott") trying to attack her. Once she emerges from the woods, Swift and the wolves run through a snowy landscape, but it becomes unclear whether Swift is running from or with the wolves. By the end of the music video, Swift and the wolves appear to coexist.
https://preview.redd.it/677o64llmz0d1.png?width=1754&format=png&auto=webp&s=9275b63cc50f5970a79e616ba179d06b50a85083
Swift re-released 1989 in 2023, and the lyric video for “Out of the Woods (Taylor’s Version)” shows the exact tour visuals from the 1989 World Tour. The visuals show two wolves running through the dark forest along a body of water that shows their reflections. There are multiple “twos” throughout the lyric video (which have been flashed incessantly during the Tortured Poets era) but there are a few other notable things. First, the wolves appear to be ghosts or phantoms, transparent and glowing only in the moonlight. Second, the two wolves emerge from the forest together, then leap from the cliff and turn to dust as the song ends.
For reference for anyone who wants to watch all of these:

• "Out of the Woods" original music video
• "Out of the Woods" performed on the 1989 World Tour
• "Out of the Woods (Taylor's Version)" official lyric video

The duality of the wolves is significant, but the idea of Swift being one of the wolves works nicely when you realize Swift is one of the wolves in the original music video. I interpret the video's message as one only being able to find peace in acceptance, not desertion of, their true selves. The dark versus light motif comes up often in Swift’s discography, and we see it here as Swift coexists with the wolves as one of them in the light. The lyrics speak to the juxtaposition of Swift and the muse as being “in screaming color” versus “the rest of the world [as] black and white.”
Swift “finds herself” on a sunny beach. The version of Swift that has braved and endured the trials and tribulations of the forest, fires, and more reunites with this version of herself. This is the last music video of the seven (! and, of course, "seven" is tied up in this theory later on) released during the original 1989 era, which leads us directly to reputation, namely, “Look What You Made Me Do.”

What did we make her do?

No, Taylor Swift doesn’t reference wolves on reputation or in the song “Look What You Made Me Do,” but reputation is tied to the symbolism of “Out of the Woods.” The LWYMMD music video opens with the version of Swift we saw at the end of OOTW picking up where we left off, except it appears Swift (or at least her reputation, as is displayed on the gravestone) is dead and buried.
Wolves typically represent the untamed, wildness, and freedom. In many adages and fables about wolves, there tends to be a duality, either with wolves versus their domesticated counterparts in dogs or good and light versus evil and dark. For Swift to run from then become a wolf signifies a desire to outrun her own identity—something wild and dangerous—only to accept it and find peace in the light. For Swift to have found this version of herself and come to accept it in OOTW only to see it buried in LWYMMD suggests the thing “we made her do” is kill off that version of herself to save her reputation. I interpret this as a dangerous element of Swift’s self, potentially queerness, being so threatening to her reputation that she was forced to bury or conceal it despite thinking she was finally “out of the woods,” grounding the plane we see Taylor saw the wings off at the end of the music video. Aligned with the Karma/lost album theory, Swift’s plans were scrapped and replaced with reputation, and the thing she sought to do—come out—forced another rebirth in LWYMMD. Swift is notably caged in LWYMMD in an orange jumpsuit reminiscent of a prisoner’s, and there is more caged imagery aligned to wolves later in Swift’s lyrics, especially in the Tortured Poets tracks tied to this theory. More on that soon.
To bring this full circle, I believe this is the reason 1989 (Taylor’s Version) is beach-themed: Swift is reclaiming the union of her two selves that she should have been able to claim post-1989 originally before the events that inspired reputation came to be.
For some more bonus content, the LWYMMD lyric video includes a typewriter that appears to be writing a manuscript for a film or play:
https://preview.redd.it/o7l2ipksmz0d1.png?width=2634&format=png&auto=webp&s=69ad0ea3a3ffb81834bb8ba1f41af6ce9edec09e

She only saw daylight

Swift mentions wolves for the very first time in her lyrics on “Daylight,” the last track of Lover, her first owned album and what is thought to be the “coming out” album. (And, in my opinion, the aesthetic no one noticed that forced her to become a non-functioning alcoholic.)

Maybe you ran with the wolves and refused to settle down Maybe I’ve stormed out of every room in this town Threw out our cloaks and our daggers because it’s morning now It’s brighter now, now

To run with the wolves is to live wildly with unbridled freedom, typically against societal norms. In psychology, there is a concept of “women who run with wolves” as women rediscovering their wild and their passions. Several reflections I found on this concept relative to queerness discuss the idea of wolfpacks and tribes, and I see this in “Daylight” as Swift focuses not only on emerging from the darkness herself but bringing someone else with her ("threw out our cloaks and our daggers"), allowing them to abandon the frustration represented by storming out of rooms or the need to run instead of standing in the light.
As we know, sadly, Swift returns to the woods in folklore and evermore after another ruining of her “best-laid plans” despite emerging from a “twenty-year dark night” and “throwing out [her cloak and dagger]” in “Daylight.” On The Eras Tour, the folklore and evermore sets take place in the forest at night under a massive moon similar to the one in the “Out of the Woods” lyric video and original tour visuals for 1989. Swift also famously wears a cloak during the “willow” performance on tour.
https://preview.redd.it/12m7c6qfoz0d1.png?width=1974&format=png&auto=webp&s=6a397cfccde1a36ff6217ddd6458b5eae5b0f13a
Following folklore and evermore, Swift released Midnights, a continued commentary on the light versus dark motif representing “thirteen sleepless nights” across Swift’s life. The next references to wolves don’t come until The Tortured Poets Department. There are two, both on songs that (I believe) describe an identity crisis and struggle: “Guilty as Sin?” and “The Prophecy” as well as the indirect reference in “Who’s Afraid of Little Old Me?” that started me down this rabbit hole. As noted above, these songs also reference cages and being trapped.

She (still) dreams of throwing her life to the wolves

The Tortured Poets Department plays with dark and light, a frequent motif in Swift’s discography. While the standard version of the album is represented by white with a relaxed image of Swift’s body literally laid back with a notable ray of sunlight over it, The Anthology is near-black and pictures Swift holding her head in anguish.
Both versions of The Tortured Poets Department official album artwork, representing light versus dark
Swift mentioned that Tortured Poets was written about the “last two years” of her life, and I feel this has been mischaracterized and reduced to focus only on the highly public elements of her love life. Swift likely spent those two years deep in her rerecording process for all four albums following Fearless (Taylor’s Version) and Red (Taylor’s Version).
During this two-year timespan, we can assume Swift likely recorded Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) in addition to their releases, and it is likely that Swift has already recorded reputation (Taylor’s Version) and Taylor Swift (Taylor’s Version) in the same timeframe.
For Swift to say that Tortured Poets represents "the end of this chapter of the author’s life" most likely signifies a closing door on a period of deep retrospective. I believe this is the crux of Tortured Poets entirely. I find it probable, not just possible, that much of Tortured Poets references this process and Swift’s experience and feelings unearthing and rerecording these albums. In revisiting those “eras” (or times in her actual life as a human being), I imagine the process to be quite painful. For anyone, revisiting diary entries (or souvenirs as Swift calls them in “The Manuscript”) from painful times in one’s life would be difficult enough, but to rerecord music that may have been so painful for entertainment purposes must be another beast altogether, especially after being essentially forced into the retrospective after her album catalog was stolen from her, or potentially viewing the music you wrote at the time differently through the lens of new perspective… Just, ouch.
As an aside, with both Midnights and Tortured Poets, Swift seems to be making the “paternity testing” she discusses on reputation of her music more difficult, ascribing the periods of the album-writing to broader swaths of time over her life that weave further into her past, perhaps (and likely) referencing more than her love life or what the public knows.
I believe “Guilty as Sin?” refers to the “Out of the Woods” music video. Swift runs from the wolves to save herself, and there’s even a point when Swift jumps off a snowy cliff into the ocean, and it seems Swift dreams about this moment in “Guilty as Sin?” and perhaps the song was even inspired by the 1989 rerecording process.

My boredom's bone deep This cage was once just fine Am I allowed to cry? I dream of cracking locks Throwing my life to the wolves Or the ocean rocks

We see the same imagery—Swift seemingly drowning in the ocean—on The Eras Tour during “my tears ricochet,” reminiscent of the “Out of the Woods” imagery. Swift sings MTR right after “illicit affairs,” a song in which Swift tells her muse she would “ruin [herself] a million little times” to be with them, the same phenomenon Swift has been singing about since at least 1989. Swift also sings about her “stolen lullabies” during “my tears ricochet,” tying the song to at least the events that triggered the rerecording process.
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Potentially also notably, the lyric video for “Is It Over Now?” from 1989 even features sheets swirling like the ocean does in the MTR tour visuals.
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This is notable because during the acoustic set of The Eras Tour, Swift has performed a mashup of “Out of the Woods” and “Is It Over Now?” from 1989 (Taylor’s Version). At the time of writing this post, Swift has sung the mashup twice on her tour, once in Argentina on November 11th—or 11/11, a callback to the doubles and duality concept—and once in Paris on May 10th (which also happened to be the second night of the Paris tour stop, and 10 is a double of 5, for those keeping track at home).

Quick, semi-wolf-related tangent

So we’ve established that OOTW and IION? are connected, and I found yet another song that seems to be referencing the same moment in time as OOTW: “But Daddy I Love Him.” In both songs, Swift and her muse experience “the heat” or a backlash against their relationship, then find a seemingly happy ending: In BDILH, Swift’s parents “came around” to accept the relationship, and in OOTW, the monsters were just trees.
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Linking these three songs, I find it interesting that Swift sings, “But fuck it, it’s over” during BDILH, perhaps an answer to the final track of 1989 (Taylor’s Version) that begs, “Is it over now?” repeatedly.
That’s not where the similarities end, either. There are also two references to the phrase “good name” in Tortured Poets. Merriam-Webster defines a “good name” as a person’s good reputation. This leads me to believe these songs, namely “Who’s Afraid of Little Old Me?” (wolf reference) and “But Daddy I Love Him” directly reference reputation and the scandals that marked the start of the reputation era and what the Lover era tried (yet failed again) to accomplish.
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As a side note, her “good name” could also be a double entendre nod to Swift’s other upcoming rerecorded album, Taylor Swift (Taylor’s Version), in a very meta sense of the phrase, which would represent a country album that would likely be less well-received coming from an openly queer artist.

Back to the wolves

The last time Swift mentions wolves is in “The Prophecy,” a song from The Anthology version of Tortured Poets, comparing herself to a wolf howling.

A greater woman stays cool But I howl like a wolf at the moon And I look unstable Gathered with a coven round a sorceress' table

Swift fights against fate, howling at the moon. The coven and sorceress’ table call back to the cloaks and daggers Swift threw out in “Daylight,” signaling that she has found herself yet again in the darkness or night which, of course, is the only time the moon would be visible to howl at.
As an aside, this is not dissimilar from the picture she paints of herself in “seven” from folklore, screaming “ferociously anytime [she] wanted,” another song tied to 1989 via The Eras Tour in which Swift had previously (and has now removed) a “seven” x “Wildest Dreams” spoken interlude (or poem!) before the folklore set, further linking the two albums with the woods and darkness motifs, as well as the concept of “wildness” in both songs.
Overall, “The Prophecy” seems to describe the version of Swift we see in the “Out of the Woods” music video before she reaches acceptance. Swift is constantly battling against natural elements and forces, fighting back against her true and fated self or the path she finds herself on.
There is, however, still a happy ending. The wolves eventually reach the end of the woods together. The heat dies down, the monsters are just trees, and the parents come around. What “The Prophecy” represents are the moments when that journey through the woods seems neverending, not necessarily Swift's current feelings about her life.

It’s (almost) over

When discussing her short film for “All Too Well (Taylor’s Version),” Swift talks about how she would have been unable to create this kind of art without the perspective she’s gained in the years since. The fictionalized version of Swift in Tavi Gevinson’s “Fan Fiction” also comments on the “Taylor’s Version” element of the rerecording, which I find to be an apt description of what it must be like to create and have others consume the art in this context—that listeners should be made to feel uncomfortable with the added context that has come from the retrospective wisdom of the artist in hindsight.
In it, Swift says:

Her unrealistic expectations should only emphasize the gulf between their experiences. Her capacity for remembering, compared to his, is a symptom of youth. And her need for control, to tell the story, might also be seen as a trauma response. The line “The idea you had of me—who was she?” indicates that he was the first to dehumanize-by-idealizing. It should be unsettling to relisten to the 2012 version with the understanding that they had been living in his fantasy.

(Don't even get me started on "Fan Fiction." Or do. Maybe it'll be fun.)
In summary, my theory is this: Inserting Tortured Poets between the sequential release of 1989 (Taylor’s Version) and reputation (Taylor’s Version) serves as the necessary lens and context to properly read reputation for what it is and what it represents to Taylor Swift. Not only is Tortured Poets a commentary on fame, identity, and this highly vulnerable process and moment she finds herself in, but the lens through which all her rerecordings must be listened to through.

Yesterday I found a cute little crossover comic of Deadpool and Astarion which I then shared here because it made me smile and felt like everyone would appreciate it, but it totally got me thinking. I said in the comments of that post (and it was later confirmed by another user) that I saw or heard in an interview that Stephen Rooney had based some aspects of Astarion on Deadpool and now I can’t help but compare the two, so here is my little comparative analysis.
I want to first establish that I will be using the comics as the basis for Deadpool’s “canon” (a term I use loosely which I will address later). I do enjoy the Deadpool movies and view them as their own unique take on his story, but being who I am as a person and my personal exposure to Deadpool, I’m going with comics.
Rogue, Mercenary/Hitman. What’s the difference, really?
One of the most obvious similarities that comes to mind, is their proclivities for murder. Now we all know that Astarion is a rogue and a vampire, both of which are pretty good at killing. Those of you who are not as well versed in comics should know that Deadpool is a mercenary and hitman by trade. He is frequently paid to kill people for money and is typically pretty good at it. (I’d also like to point that assassin is an archetype of rogue in 5e)
Our Boys do be Fuckin’
The next similarity I’d like to address is that both these boys are canonically pansexual in their respective multiverses. Our bloody boys love everyone, no matter what parts you may or may not have, they do not discriminate.
With Great Power comes Great Torture (I guess…)
A less fun but equally interesting similarity is that both of our (anti)heroes have suffered greatly for their power. We all know that Astarion suffered at the hands of Cazador for centuries as a slave in exchange for his vampirism/immortality and if you do choose to go through with the ascension, that’s still some 7000 souls, which isn’t exactly a small price to pay for power.
Deadpool also went through gruesome experimentation to gain his powers. In an attempt to cure his cancer, he joined the Weapon X program and was given Wolverine’s healing factor. This did save this life but instead of stopping the cancer, it just made it so that all his cells regenerated over and over including the cancer (which is why he looks the way he does). He failed out of the Weapons X program and was sent to a facility that experimented on Weapon X wash outs. It was there that he was tortured continuously and although he longed for death (even fell in love with the personification of her in the form of Lady Death) he never could, eventually taking the name Deadpool, as the people there had a “dead pool” taking bets on which of the test subjects would be the next to die.
Driven by Revenge!
Both Astarion and Deadpool were eventually able to escape their torturers but become hellbent on revenge. Astarion is initially just elated to be free of Cazador’s control but soon realizes he can destroy him and possibly usurp his power with the profane ritual.
Deadpool also frees himself from the clutches of Dr. Killbrew, only to hunt him down intent of torturing and killing him but was actually convinced to spare him.
Smart mouths, smooth brains
Both of these beloved chaos gremlins have notoriously smart mouths but smooth brains. We know Astarion has a particularly silver tongue and is proficient in both deception and persuasion while Deadpool is famously known as the “Merc’ with the Mouth”. We also know that when we, the player, go full ilithid, Astarion’s tasty brain is a little less wrinkly than the others and he’s always been more of a “doer than a planner” kind of a guy. The same can definitely be said for our boy, Deadpool. He’s been known to shoot first and ask questions never.
Does killing thousands of people really make you Evil?
There exist both “good” and “evil” versions of these characters. Obviously, there is a lot of back and forth about AA vs UA and good vs evil interpretations of the character and routes and play throughs, so I’m going to use my own personal interpretation of my own personal AA and UA’s from my games. My AA was very heavily influenced and manipulated by my Durge. They sought to bring the world to its knees and bathe in its blood until they were the only two living things left.
Something similar happened to Deadpool as well in the “Deadpool kills…” series. Things get a little complicated here, but a Deadpool gets brainwashed to kill all the Marvel heroes which he does, he eventually goes on to realize, that isn’t enough, he must kill the very stories the Marvel characters are based on. Then he must kill the writers. And then every version of himself in every universe etc...
Who needs a past when the future looks so bright?
Another very interesting similarity, is that both Astarion and Deadpool have pretty murky pasts. We know that Astarion was a magistrate in Baldur’s Gate and was beat near to death by some Gur, but other than that, he doesn’t seem to remember much.
This is also true for Deadpool. He believes his name is Wade Wilson and that he is from Canada, was in the army and eventually became part of the Weapons X program, but it’s later revealed that he can’t really trust his own memories and his actual backstory isn’t as cut and dry as he thought. This is one of the reasons I said I was using the term “canon” loosely.
With a lot of comics, when a new writer comes in, they may retcon and change a lot and this is especially true for Deadpool but one of the best things about this character is that he exists in infinite realities so, really, anything you imagine could, theoretically, be considered “canon”.
Conclusion
This leads me to my final thoughts. Not only could there be a universe where they are in love but there could also be a universe where they are the same person.
You’re welcome for the fanart I had to create for this.
Anyway. I'm sure there are more that I've missed but if you made it this far, thank you for coming to my TED talk. Feel free to leave your thoughts below!
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To be, or not to be - ah, weighty question! Yet the answer rings clear as morning bell: To be! And in that choice make full confession Of life's resplendent glories none can quell.
What riches lay before us, souls unbounded, If we but open hearts to drink them in? The raptures of creation, beauty-rounded, Whisper to our depths where small joys begin.
For in the crimson-petaled bloom unfurling, The bird's sweet-lilting melody at dawn, The mighty forests in their grandeur whirling, Life's tapestries by Nature's hand are drawn.
To be, and bear the wondrous weight of being! To thrill at the vastness of this cosmos bright, Where marvels lie past mortal minds' far-seeing, Unveiling grace immanent to our sight.
What ecstasies await the vibrant spirit! The fired muse's rush, the lover's bliss, The seeker's quest for truths we may inherit, The radiance of service's warm abyss.
Let those who will embrace the darksome ending Turn their gaze inward to the void's cold blight - My path is upward to the zenith wending, Aflame with faith to be, and dwell in light!
For is not each sweet pulsing breath we savor A gift unmatched, a miracle to embrace? And in this fleetingness what nobler favor Than living to ennoble our brief sojourn's trace?
To be! What crowns upon that choice lie waiting For those whose ardor burns to serve life's plan? Glories outshining reason's feeble mating With mysteries beyond the reach of man.
Compassion's compass ever pointing outward, Guiding us toward the good we all may seed, Love's unifying essence ever-southward Flowing, quenching anguished souls in need.
Ah yes, to be! What wealth beyond all measure Is ours to claim with open arms embraced! To drink the draughts of every fiery pleasure And wear joy's brilliant diadem rightly graced.
To be, and be, and evermore still being - This is the path my steadfast soul has willed. Pursuing deathless valor's sacred freeing, The cup of life's ambrosia shall be filled!

An Ode to Existence

This powerful poem is an exaltation of life and all the profound beauty, joy, and meaning that comes with choosing to embrace our existence fully. Through vivid imagery and soaring language, it makes a compelling case for why "to be" is the answer to that famous existential question posed by Hamlet. Let me walk through the key themes and messages in an uplifting, inspirational way:

Affirming the Choice of Life

The poem opens by presenting the iconic question "to be, or not to be" and immediately affirms that the clear and resounding answer is "to be!" To choose life over the void of non-existence. This sets an optimistic, life-embracing tone.

Reveling in Nature's Grandeur

It then launches into a celebration of the wonders and "resplendent glories" of the natural world that surround us - the blooming of flowers, melodies of birds, grandeur of forests. The poem paints these as "life's tapestries" woven by the skilled hand of Nature itself. This reminds us with captivating imagery of the profound beauty we're blessed to behold simply by being alive.

Exalting Human Experiences

The poet then exalts the personal joys and transcendent experiences available to us - the "raptures" of artistic creativity, romantic love, intellectual discovery, and selfless service. These speak to the vast realm of meaningful human experiences awaiting those who choose "to be."

Rejecting Nihilism

With compelling passion, the poem contrasts its vibrant, life-affirming stance against those who would "embrace the darksome ending" of nihilism or negation of existence. The poet fiercely declares life the superior path, one leading towards an "upward zenith" of light, glory and self-actualization.

The Miracle of Existence

Each breath we take is reverently called "a gift unmatched, a miracle to embrace." This simple yet profound truth encapsulates the optimistic message - our very existence is a privilege and a wonder we should appreciate fully.

A Call to Compassionate Living

The poem uplifts our ability "to ennoble our brief sojourn's trace" through compassionate living aligned with "life's plan." It depicts an inspiring vision of love's "unifying essence" flowing outward to "quench anguished souls in need." This promotes using our energy for good to create an uplifting legacy.

An Eternal Affirmation

Ultimately, the narrator proclaims they have chosen "to be, and be, and evermore still being" - an endless affirmation of existence itself. The closing crescendo calls the "cup of life's ambrosia" something to be relished, elevating our fleeting lives to a sublime, almost mythical level of significance.

Conclusion: A Tapestry of Optimism

In summary, this poem is a rich tapestry of exuberant humanity, romantic reverence for nature's majesty, and an emphatic endorsement of life's inherent beauty. Through captivating words, it makes an impassioned case for choosing "to be" as the path to fulfillment, meaning, wonder and soul-nourishing experiences. It's a powerful ode to optimism, appreciation for existence, and humble gratitude for the extraordinary gift of being alive.
Newsu