Anonymous Freak

“Hope you’re a harvest god,” Arepo said, and set up an altar and burnt two stalks of wheat. “It’d be nice, you know.” He looked down at the ash smeared on the stone, the rocks all laid askew, and coughed and scratched his head. “I know it’s not much,” he said, his straw hat in his hands. “But - I’ll do what I can. It’d be nice to think there’s a god looking after me.”

The next day he left a pair of figs, the day after that he spent ten minutes of his morning seated by the temple in prayer. On the third day, the god spoke up.

“You should go to a temple in the city,” the god said. Its voice was like the rustling of the wheat, like the squeaks of fieldmice running through the grass. “A real temple. A good one. Get some real gods to bless you. I’m no one much myself, but I might be able to put in a good word?” It plucked a leaf from a tree and sighed. “I mean, not to be rude. I like this temple. It’s cozy enough. The worship’s been nice. But you can’t honestly believe that any of this is going to bring you anything.”

“This is more than I was expecting when I built it,” Arepo said, laying down his scythe and lowering himself to the ground. “Tell me, what sort of god are you anyway?”

“I’m of the fallen leaves,” it said. “The worms that churn beneath the earth. The boundary of forest and of field. The first hint of frost before the first snow falls. The skin of an apple as it yields beneath your teeth. I’m a god of a dozen different nothings, scraps that lead to rot, momentary glimpses. A change in the air, and then it’s gone.”

The god heaved another sigh. “There’s no point in worship in that, not like War, or the Harvest, or the Storm. Save your prayers for the things beyond your control, good farmer. You’re so tiny in the world. So vulnerable. Best to pray to a greater thing than me.”

Arepo plucked a stalk of wheat and flattened it between his teeth. “I like this sort of worship fine,” he said. “So if you don’t mind, I think I’ll continue.”

“Do what you will,” said the god, and withdrew deeper into the stones. “But don’t say I never warned you otherwise.”

Arepo would say a prayer before the morning’s work, and he and the god contemplated the trees in silence. Days passed like that, and weeks, and then the Storm rolled in, black and bold and blustering. It flooded Arepo’s fields, shook the tiles from his roof, smote his olive tree and set it to cinder. The next day, Arepo and his sons walked among the wheat, salvaging what they could. The little temple had been strewn across the field, and so when the work was done for the day, Arepo gathered the stones and pieced them back together.

“Useless work,” the god whispered, but came creeping back inside the temple regardless. “There wasn’t a thing I could do to spare you this.”

“We’ll be fine,” Arepo said. “The storm’s blown over. We’ll rebuild. Don’t have much of an offering for today,” he said, and laid down some ruined wheat, “but I think I’ll shore up this thing’s foundations tomorrow, how about that?” 

The god rattled around in the temple and sighed.

A year passed, and then another. The temple had layered walls of stones, a roof of woven twigs. Arepo’s neighbors chuckled as they passed it. Some of their children left fruit and flowers. And then the Harvest failed, the gods withdrew their bounty. In Arepo’s field the wheat sprouted thin and brittle. People wailed and tore their robes, slaughtered lambs and spilled their blood, looked upon the ground with haunted eyes and went to bed hungry. Arepo came and sat by the temple, the flowers wilted now, the fruit shriveled nubs, Arepo’s ribs showing through his chest, his hands still shaking, and murmured out a prayer. 

“There is nothing here for you,” said the god, hudding in the dark. “There is nothing I can do. There is nothing to be done.” It shivered, and spat out its words. “What is this temple but another burden to you?”

“We -” Arepo said, and his voice wavered. “So it’s a lean year,” he said. “We’ve gone through this before, we’ll get through this again. So we’re hungry,” he said. “We’ve still got each other, don’t we? And a lot of people prayed to other gods, but it didn’t protect them from this. No,” he said, and shook his head, and laid down some shriveled weeds on the altar. “No, I think I like our arrangement fine.”

“There will come worse,” said the god, from the hollows of the stone. “And there will be nothing I can do to save you.”

The years passed. Arepo rested a wrinkled hand upon the temple of stone and some days spent an hour there, lost in contemplation with the god.

And one fateful day, from across the wine-dark seas, came War.

Arepo came stumbling to his temple now, his hand pressed against his gut, anointing the holy site with his blood. Behind him, his wheat fields burned, and the bones burned black in them. He came crawling on his knees to a temple of hewed stone, and the god rushed out to meet him.

“I could not save them,” said the god, its voice a low wail. “I am sorry. I am sorry. I am so so sorry.” The leaves fell burning from the trees, a soft slow rain of ash. “I have done nothing! All these years, and I have done nothing for you!”

“Shush,” Arepo said, tasting his own blood, his vision blurring. He propped himself up against the temple, forehead pressed against the stone in prayer. “Tell me,” he mumbled. “Tell me again. What sort of god are you?”

“I -” said the god, and reached out, cradling Arepo’s head, and closed its eyes and spoke.

“I’m of the fallen leaves,” it said, and conjured up the image of them. “The worms that churn beneath the earth. The boundary of forest and of field. The first hint of frost before the first snow falls. The skin of an apple as it yields beneath your teeth.” Arepo’s lips parted in a smile.

“I am the god of a dozen different nothings,” it said. “The petals in bloom that lead to rot, the momentary glimpses. A change in the air -” Its voice broke, and it wept. “Before it’s gone.”

“Beautiful,” Arepo said, his blood staining the stones, seeping into the earth. “All of them. They were all so beautiful.”

“Oh, poor god,” she said, “With no-one to bury your last priest.” Then she paused, because she was from far away. “Or is this how the dead are honored here?” The god roused from its contemplation.

“His name was Arepo,” it said, “He was a sower.”

Sora startled, a little, because she had never before heard the voice of a god. “How can I honor him?” She asked.

“Bury him,” the god said, “Beneath my altar.”

“All right,” Sora said, and went to fetch her shovel.

“Wait,” the god said when she got back and began collecting the bones from among the broken twigs and fallen leaves. She laid them out on a roll of undyed wool, the only cloth she had. “Wait,” the god said, “I cannot do anything for you. I am not a god of anything useful.”

Sora sat back on her heels and looked at the altar to listen to the god.

“When the Storm came and destroyed his wheat, I could not save it,” the god said, “When the Harvest failed and he was hungry, I could not feed him. When War came,” the god’s voice faltered. “When War came, I could not protect him. He came bleeding from the battle to die in my arms.” Sora looked down again at the bones.

“I think you are the god of something very useful,” she said.

“What?” the god asked.

The god sat in his peaceful home, staring out at the distant road, to pedestrians, workhorses, and carriages, raining leaves that swirled around bustling feet. How long had it been? The world had progressed without him, for he knew there was no help to be given. The world must be a cruel place, that even the useful gods have abandoned, if farms can flood, harvests can run barren, and homes can burn, he thought.

He had come to understand that humans are senseless creatures, who would pray to a god that cannot grant wishes or bless upon them good fortune. Who would maintain a temple and bring offerings with nothing in return. Who would share their company and meditate with such a fruitless deity. Who would bury a stranger without the hope for profit. What bizarre, futile kindness they had wasted on him. What wonderful, foolish, virtuous, hopeless creatures, humans were.

So he painted the sunset with yellow leaves, enticed the worms to dance in their soil, flourished the boundary between forest and field with blossoms and berries, christened the air with a biting cold before winter came, ripened the apples with crisp, red freckles to break under sinking teeth, and a dozen other nothings, in memory of the man who once praised the god’s work on his dying breath.

“Hello, God of Every Humble Beauty in the World,” called a familiar voice.

The squinting corners of the god’s eyes wept down onto curled lips. “Arepo,” he whispered, for his voice was hoarse from its hundred-year mutism.

“I am the god of devotion, of small kindnesses, of unbreakable bonds. I am the god of selfless, unconditional love, of everlasting friendships, and trust,” Arepo avowed, soothing the other with every word.

“That’s wonderful, Arepo,” he responded between tears, “I’m so happy for you—such a powerful figure will certainly need a grand temple. Will you leave to the city to gather more worshippers? You’ll be adored by all.”

“No,” Arepo smiled.

“Farther than that, to the capitol, then? Thank you for visiting here before your departure.”

“No, I will not go there, either,” Arepo shook his head and chuckled.

“Farther still? What ambitious goals, you must have. There is no doubt in my mind that you will succeed, though,” the elder god continued.

“Actually,” interrupted Arepo, “I’d like to stay here, if you’ll have me.”

The other god was struck speechless. “…. Why would you want to live here?”

The doctors call him touch-averse but the truth is he’s starving for it. The truth is he aches for something he’s been taught he cannot have, and that’s nothing new: in another lifetime he was taught he couldn’t have another man’s touch the way he wanted, too.

But when it’s offered he feels his old bones shake so hard the metal in them rattles, and it leaves him shocked and reeling, on the verge of panic when Steve thinks the wrong thing and takes his hand away.

But fuck fear, fuck pain and all its lessons: he wants like a forest fire. With his heart in his throat he catches the retreating wrist and draws Steve’s hand to his cheek. The fingers curl around him and he can breathe again, like he’s been suffocating for decades. He turns his face into the palm because he can’t meet the fragile glass wonder on his friend’s face. Steve takes the hint, finally, and strokes deft fingers through his hair, traces the shell of his ear, the line of his neck.

You feel a cold breath on your neck as you get in the car. It won’t leave until you fasten your seatbelt. An unseen force catches your foot as you pass the fourth step every time you walk up the stairs. During a renovation, you find out the wood is rotten. You can never find a pack of cigarettes - even ones guests bring disappear from their pockets and are found weeks later on the lawn, empty. Your daughter is giggling and laughing at something unseen, chasing after it away from the cliffside on your family hike. You don’t know why, but you feel compelled to leave a spare hairband and some stickers on a picnic table as you leave the park. Tribute? A thank you? The items are gone by next time you visit, and you swear a happy child’s hum follows you home on the breeze.

Turns out the house had massive structural issues and was just one door-slam away from caving in on itself and the ghost was trying to keep people safe

Once the house did finally collapse the ghost moved on to the old abandoned factory that never had its industrial waste properly disposed of

“kill it,” the captain says, but the ice is melting in his eyes.

“we can’t,” the first mate says desperately, praying she won’t have to fight her captain on this. “we can’t. we - i won’t. we won’t.”

“i know.”

x

“daddy,” she says, floating in a tub of seawater in the hold, “daddy, la-la, la-la-la.”

her voice rings like bells. her accent is strange; her mouth isn’t made for human words. it mesmerises even the hardiest amongst them and she wasn’t even trying. the crew has taken to diving for shellfish near the shorelines for her; she loves them, splitting the shells apart with strength seen in no human toddler, slurping down the slimy molluscs inside and laughing, all plump brown cheeks and needle-sharp teeth. she sometimes splashes them for fun with her smooth, rubbery brown tail. even when they get soaked they laugh. they love her.

“daddy,” she calls again, and he can hear the worry in her voice. the storm rocking the ship is harsh and uncaring, and if they go down, she would be the only survivor.

“don’t worry,” he says, and goes over, sitting next to the tub. the first mate, leaning against the wall, pretends not to notice as he quietly begins to sing.

x

“father,” she says, one day, as she leans on the edge of the dock and the captain sits next to her, “why am I here?”

“your mother abandoned you,” he says, as he always has. “we found you adrift, and couldn’t bear to leave you there.”

she picks at the salt-soaked boards, uncertain. her hair is pulled back in a fluffy black puff, the white linen holding it slipping almost over one of her dark eyes. one of her first tattoos, a many-limbed kraken, curls over her right shoulder and down her arm, delicate tendrils wrapped around her calloused fingertips. “alright,” she says.

x

“why am I really here?” she asks the first mate, watching the sun set over the water in streaks of liquid metal that pooled in the troughs of the waves and glittered on the seafoam.

“we didn’t know any better,” the first mate says, staring into the water. “we didn’t know- we didn’t know anything. we didn’t understand why she fought so viciously to guard her treasure. we could not know she protected something a thousand times more precious than the purest gold.”

she wants to be furious, but she can’t. she already knew the answer, from reading the guilt in her father’s eyes and the empty space in her own history. and she can’t hate her family.

“it’s alright,” she says. “i do have a family, anyways. i don’t think i would have liked my other life near as much.”

x

her kraken grows, spreading its tendrils over her torso and arms. she grows too, too large to come on board the ship without being hauled up in a boat from the water. she sings when the storms come and swims before the ship to guide it to safety. she fights off more than one beast of the seas, and gathers a set of scars across her back that she bears with pride. “i don’t mind,” she says, when the captain fusses over her, “now i match all of you.”

the first time their ship is threatened, really threatened, is by another fleet. a friend turned enemy of the first mate. “we shouldn’t fight him,” she says, peering through the spyglass.

“why not?” the mermaid asks.

“he’ll win,” the first mate says.

the mermaid tips her head sideways. Her eyes, dark as the deep waters, gleam in the noon light. “are you sure?” she asks.

x

the enemy fleet surrenders after the flagship is sunk in the night, the anchor ripped off the ship and the planks torn off the hull. the surviving crew, wild-eyed and delirious, whimper and say a sea serpent came from the water and attacked them, say it was longer than the boat and crushed it in its coils. the first mate hears this and has to hide her laughter. the captain apologizes to his daughter for doubting her.

“don’t worry,” she says, with a bright laugh, “it was fun.”

x

the second time, they are pushed by a storm into a royal fleet. they can’t possibly fight them, and they don’t have the time to escape.

“let me up,” the mermaid urges, surfacing starboard and shouting to the crew. “bring me up, quickly, quickly.”

they lower the boat and she piles her sinous form into it, and uses her claws to help the crew pull her up. once on the deck she flops out of the boat and makes her way over to the bow. the crew tries to help but she’s so heavy they can barely lift parts of her.

she crawls up out in front of the rail and wraps her long webbed tail around the prow. the figurehead has served them well so far but they need more right now. she wraps herself around the figurehead and raises her body up into the wind takes a breath of the stinging salt air and sings.

the storm carries her voice on its front to the royal navy. they are enchanted, so stunned by her song that they drop the rigging ropes and let the tillers drift. the pirates sail through the center of the fleet, trailing the storm behind them, and by the time the fleet has managed to regain its senses they are buried in wind and rain and the pirates are gone.

x

she declines guns. instead she carries a harpoon and its launcher, and uses them to board enemy ships, hauling her massive form out of the water to coil on the deck and dispatch enemies with ruthless efficiency. her family is feared across all the sea.

x

“you know we are dying,” the captain says, looking down at her.

she floats next to the ship, so massive she could hold it in her arms. her eyes are wise.

“i know,” she says, “i can feel it coming.”

the first mate stands next to the captain. she never had a lover or a child, and neither did he, but to the mermaid they are her parents. she will always love her daughter. the tattoos are graven in dark swirls across the mermaid’s deep brown skin and the flesh of her tail, even spiraling onto the spiked webbing on her spine and face. her hair is still tied back, this time with a sail that could not be patched one last time.

“we love you,” the first mate says simply, looking down. her own tightly coiled black hair falls in to her face; she shakes the locs out of the way and smiles through her tears. the captain pretends he isnt crying either.

“i love you too,” the mermaid says, and reached up to pull the ship down just a bit, just to hold them one last time.

“guard the ship,” the captain says. “you always have but you know they’re lost without you.”

“without you,” the mermaid corrects, with a shrug that makes waves. “what will we do?”

“i don’t know,” the captain says. “but you’ll help them, won’t you?”

“of course i will,” she scoffs, rolling her eyes. “i will always protect my family.”

x

the captain and the first mate are gone. the ship has a new captain, young and fearless - of the things she can afford to disregard. she fears and loves the ocean, as all captains do. she does not fear the royal fleet. and she does not fear the mermaid.

“you know, i heard stories about you when i was a little girl,” she says, trailing her fingers in the water next to the dock.

the mermaid stares at her with one eye the size of a dinner table. “is that so?” she hums, smirking with teeth sharper than the swords of the entire navy.

“they said you could sink an entire fleet and that you had skin tougher than dragon scales,” the new captain says, grinning right back at the monster who could eat her without a moment’s hesitation. “i always thought they were telling tall tales.”

“and now?”

“they were right,” the new captain says. “how did they ever befriend you?”

Part 1 - The Banquet

Part 2 - Aftermath

Part 3 - Memories

Part 4 - Gentleness

Are you or a loved one among the many people who have difficulty sleeping? This tea recipe of mine may help!

-ingredients-

• 1 part Chamomile

• 1 part Mugwort

• 2 parts Lemon Balm

• 1/2 part Lavender

Steep in hot water for 15 minutes, strain, then enjoy about an hour before bed as you wind down to prepare for sleep! This blend brings feelings of euphoria and helps you to deeply relax. The Mugwort in this blend can also help you to remember your dreams as well as increase how vivid they are.

kangaroo^

wallaby^

kangaroo^

Unless they wanna beat your ass:

Like.

No?

Why is it such a big deal to want to read stories where women have sex and then don’t die at the end? Jesus Christ.

Why is the concept of female characters being happy seen as less creative than female characters suffering? (Trust me, creating a world where women win in the end takes a lot more creativity and artistic vision lmfao)

And that’s a very important fantasy.  To have your feelings, your pain, be made so absolutely central to the narrative, to someone else’s world.  You could call it a power fantasy, but I don’t think that’s exactly right.  It’s a significance fantasy.  A romance story is a story in which the woman is the most significant damn thing in the book.

1) The dragons are real.

2) The adults don’t believe you.

when you are a child you are aware of the terrible things in the world and terrified by them, and you feel everything so intensely. Before you learn to manage your emotions, they are consuming, incandescent experiences that are almost impossible to access again as an adult. You are small but your emotions and experiences are as large and as vivid as anyone else’s, but they are not taken as seriously as everyone else’s. You recognize that adults condescend to you and dismiss you.

As a child, you know that the world ought to be fair, that people ought to be helped, and you ask “Why?” And you ask “What is the point?” And as you become an adult you learn to repress those things. The answer to every question you ask as a child is “Because you have to” or “Because that’s the way it is,” and these are bullshit answers and we all know it, but defending an authoritarian relationship to someone weaker is easier than defending things about our world that are indefensible if we look at them honestly.

In The Lion, the Witch and the Wardrobe, when Lucy first enters Narnia, she is not believed. Narnia has so much about it that makes it THE quintessential children’s book series, the archetype for children’s book series, and it all centers around how Narnia cannot be understood by adults.

Imitators have reduced this down to something about the Wonder of Childhood, something about how children are innocent and special that means only they can see magic because only they are able to believe in it. This is Not Correct. Books that do this are saccharine and awful because this is fake and we all know deep down that it’s fake.

Here’s the truth. Children do not live in an idyllic fantasy land where bad things aren’t real, adults do. For kids who have dealt with grief, abuse, trauma of all kinds—and let’s be real, that’s most of us—it’s condescending and idiotic to treat children as if they’re innocent about the evils in the world. Almost every child experiences evil early and is unable to communicate that experience to adults, whether this is in the form of a relatively innocent childhood fear or deeply damaging abuse.

There is much that has been said about how the Narnia books are about the trauma of World War 1, but most of that can also be said about how Narnia is about childhood in general—the traumatic nature of the return to the Real World is left unstated, because it is understood by the audience. Children have a vivid inner world that they do not have the vocabulary to explain to adults, and this is what Narnia is about.

There’s a reason why Neil Gaiman’s children’s books are so memorable, and it’s the same reason that they scared the living shit out of adults. There’s a reason why Where the Wild Things Are and Shel Silverstein’s poetry have had such a long cultural shelf life. These are not cozy, comfy stories that affirm adult perceptions of the childhood world as flat and innocent; they are troubling and ambiguous.

There’s also a reason why the children’s books that are so important often piss adults off. The best example I can think of is the Captain Underpants series. I never read any of them and yet I remember the extraordinary disdain people had for those books; they were the poster child for What Terrible Thing Has Become Of Literature.

And sure, maybe to an uncritical adult eye the adventures of misbehaving kids thwarting the rules of the world with poop jokes has no value, but I would argue the opposite—the poop jokes are, in fact, fundamental to the anti-authoritarian message. Adult attempts to suppress the scatological sense of humor children have hold a very important message about power.

Because here’s the thing: poop and farts are funny because they’re taboo, and especially so to children because we are constantly telling children what they Can and Can’t say. It’s not about poop, it’s about how adults betray themselves every time they get in a tizzy about a seven year old saying “turd,” because the fact that “turd” gets such a reaction means that uptight adults don’t have the power over kids that they want kids to think they have.

Scatological subjects embarrass adults, and the more uptight and controlling those adults are, the more devastating the embarrassment is. Kids are super conscious of the power dynamics in all their dealings with adults—how could they not be? And the explosion of raucous laughter that results from an elementary school teacher saying something that sounds sort of like “doody” wouldn’t happen if elementary school teachers weren’t constantly trying to reassert and solidify their position of power.

I think its possibly more important that in a children's story, especially a children's fantasy, it doesn't matter if the adults believe you.

a lot of places have a culture that valorizes never sleeping and not eating right and not taking breaks and stuff like that. 

fuck that. I want like

look at how comfortable and well rested I am. I am well-nourished, I take bubble baths, and I have a good work-life balance. 

self-care has made me strong. has running yourself into the ground made you strong?

I will destroy you. and then I will have a pleasant lunch.

So, your landlord/parents/home inspector/favorite movie star is dropping by, and your place is a disaster. You don’t have much time to clean it up. You’re in emergency mode. Let’s get started.

Don’t panic. Panic leads to fear, fear leads to procrastination, procrastination leads to the dark side. You can do this, but you have to stay calm.

Unlike maintenance cleaning, we’re not looking to completely unfuck one space at a time. Instead, we want to decrease the overall mess in stages, spread evenly across the whole area that we’re concerned about. If you think your home is at Level 10 filth, we want to bring the whole thing down to a Level 9, and then down from there. One really clean spot in an otherwise messy home is not going to be helpful here.

Get prepared. You’ll want to shut the computer down (or turn the modem off if you need your computer to play music). Trust me. Get your music going. Gather up trash bags, your vacuum and mop, some rags or paper towel, sponges, and other cleaning supplies. Use what you have on hand. Don’t get distracted running to the store and spending an hour browsing cleaning supplies. A multi-purpose cleaning concentrate or a jug of vinegar will be just fine.

Breaks are very important. Depending on your time constraints, work in 20/10s (20 minutes working, 10-minute break) or 45/15s. But take breaks because otherwise you’re marathoning, and marathon cleaning is no one’s friend. Keep hydrated, don’t forget to eat, and check in with yourself frequently to make sure you’re physically doing OK.

Make your bed. This will be your home base if you get overwhelmed or need somewhere clear to take a break.

Start with the garbage. Going from room to room, throw out anything that is obvious trash. Once you fill a bag, take it out. Repeat as many times as necessary.

Move on to dishes. Gather the dishes from all over your house and bring them to the kitchen. If you can, start them soaking in a sink of hot, soapy water or start loading the dishwasher. After the dishes are all in one place, spend one 20/10 getting started getting them under control.

Now it’s time for your flat surfaces. Countertops, tables, dresser tops, etc. Clear them off and wipe them down. Don’t get distracted in too much sorting and organizing. We’re in crisis mode here. There will be time to get in-depth once this is all done. The same applies to cabinets and closets. Unless you have reason to believe people will be opening closed doors, leave these alone for now.

Attack the floordrobe and shoe pile. Get your clothes either put away or in the hamper. Start a load of laundry if you need to, but keep in mind that laundry and dishes have three steps: wash, dry, and put it away, goddammit!

Get random stuff up off the floors. If something is trash-worthy, throw it away now rather than just move it around a bunch of times. Otherwise, put stuff where it belongs.

Take another 20/10 or 45/15 to catch up on more dishes, if needed.

Head into the bathroom. Pour some cleaner in the toilet bowl, fill the sink with hot water and cleaner, and either spray the tub and shower with cleaner, or fill the tub up with some hot water and add cleaner and let it soak. Put everything away that’s out and shouldn’t be, clean the mirror, counters, and toilet seat. Sweep or dry mop the floor. Wipe down the sink and tub/shower, and give the toilet bowl a scrub. Mop the floor.

Sweep and mop the kitchen floor.

Vacuum everything you can, and sweep everything you can’t.

Walk outside of your house (don’t lock yourself out, please). Walk back in and see what catches your eye first. Go and deal with that.

If you’re being inspected or your landlord is coming in for repairs, spend time on whatever area they’ll be focusing on.

Give the whole place one more once-over and pay attention to anything you’ve missed so far.

It’s an old trick, but if your place is a little funky-smelling, put a pan of water on the stove on low heat and add some citrus or cinnamon or vanilla. Don’t leave it unattended or forget about it.

Take a shower, put on something clean, and eat something.

You can do this. It’s overwhelming, yes, but it is not impossible. You just need to do it. You have a list. You have directions. You have a whole bunch of Internet strangers who have been there before and who are cheering you on. You can do this, but you need to get started.

How fucked up would it be if they chose your first name for that storm