cloudsinvenice

Hannibal + alignments; a collaboration with quinnsharleys

ethical axis: the degree to which a person follows rules and order. a lawful person is honourable and reliable. a neutral person is neither obedient nor rebellious. a chaotic person is unpredictable and free.

when you see this shit, that goes “you need like 10 years experience and all this other qualifications nobody with all that would ever apply for a job like this with”, that means one thing: they are weeding out people who don’t believe they can achieve that level. They go “sigh, I can’t even compete, fuck it.” and don’t apply, saving the company the trouble.

What you, as a fresh new student, need to do- is apply anyway with a Luffy-like optimism that you will get that fucking job!! You don’t have a million years experience BUT YOU’LL TRY AND NEVER GIVE UP ETC. You write an opener letter with that in it, submit your shit, and get that goddamn job because they just found somebody who’s willing to give it a try anyway, who has the confidence and the ability to play with the big boys and they will train you to become a master because fresh meat is vital to the industry. 

And guess what?  They still get hired, because a lot of job descriptions are total garbage.  These aren’t crafted masterpieces handed down from the divine goddess of Human Resources.  These are things that were thrown together at the last minute 3 years ago by some manager with too many more important things to do, and they’ve been used untouched ever since.

Think about this, and think about those numbers, ladies.  Think long and hard about this statistic next time you are looking at a job description and telling yourself that you can’t cut it.  You probably can, and applying is free.

the killer responsible of the call which destroyed her family to wanting to start a new life with the same killer in one episode? Saying that it wouldn’t be smart is really not a big resistance compared to the guilt that she felt earlier in the plane with Will when she mentioned regretting the fact that she didn’t oppose more her father and let him ruin her life and kill her mother. You said that those are Hannibal’s interpretations of real events, but he’s bringing back thoses memories 2/4

at a chosen point in his life with a very specific goal: he’s trying to comfort himself after deducing that Will has made his own family during these last 3 years and being hurt again. Nurturing for himself a perfect image of his time with Abigail, including creating an idea of her being ready and even excited at the idea of leaving with Will and him, makes it more easy to blame Will for destroying this dream. He’s manipulating the facts to soften the pain, maybe not consciously but still ¾

He’s manipulating the facts to soften the pain, maybe not consciously but still without regards for who she was and what she really wanted. 4/4

No worries re: realness. I tend to be a lot looser with my language in tags, because I’m not writing them to be understood so much as just keysmashing out my feelings. It’s very flattering to know that people are taking the time to read and think about what I write there, so thank you.

Abigail’s relationships with her past, with her father, and with her violence are all immensely complicated: marked by conflicting feelings, deep ambivalence, so much shame and guilt. Abigail doesn’t know whether she is a monster or a victim. She doesn’t know whether she loved her father or hated him. She can’t be certain whether she enjoyed killing Nick Boyle or whether it was a traumatic experience. Because all of these things are true at once for Abigail, which is what makes her such a fascinating character.

Hannibal believes Abigail can only resolve these conflicting impulses by embracing her love for her father and by accepting her own capacity for violence. You and I are in agreement that Hannibal sees only what he wants to see in Abigail, much as he sees only what he wants to see in Will. I think Hannibal’s perception is accurate (what he sees is really there) but also immensely selective. If left alone, Abigail would not become a killer. But in extreme circumstances, she adapts, because she is a survivor. Abigail adapts to the life Hannibal wants her to lead, just as she adapted to become her father’s accomplice. She is used to surviving under the roof of a powerful, demanding, violent man, a man who does what he does out of feelings of what he calls love, a man who inspires feelings of love inside Abigail despite herself. Abigail becomes complicit in what’s going on inside that house. Adapting to those terrible circumstances comes so naturally to her that she fears there’s a part of her that likes violence, a part of her that thrives on it – a part of her that returns this annihilating love in kind. Is this affinity for violence something instilled inside Abigail by the trauma she endured, or is it a natural and integral part of herself? We (and she) can never know.

“The decriminalisation, seen as a major victory for gay rights groups in Africa, now places Mozambique within a minority of African countries where homosexuality is not punishable by law.

Even though homosexuality-related acts were punishable by up to three years of hard labour, no known prosecutions took place in the country after independence in 1975.  According to EWN, the penal code dates back to 1886.

This event almost coincides with the nationwide legalisation of same sex marriage in the US, as ordered by the country’s Supreme Court last week.

GO MOZAMBIQUE!

The Descent of Ishtar to the Underworld

To the place where those who enter do not depart, to the road whose journey does not end, to the house where those who enter are deprived of light, where dust is their sustenance, clay their food…

Written in Akkadian, this tablet from the famed library of Ashurbanipal, the last Neo-Assyrian king, tells the mythological story of the goddess Ishtar’s descent to the underworld. Upon her arrival, she finds its first gate shut and threatens to break it down until the gatekeeper, acting on the orders of Queen of the Underworld, lets her through. At each of the seven gates of the Underworld, she must shed a layer of clothing or jewelry, leaving her powerless upon her arrival before the Queen. Ishtar, the goddess of love and fertility (…and war), was thus trapped in the underworld, and her absence left the world above in suffering and chaos. Eventually, by the agency of gods greater than the Queen of the Underworld, Ishtar is released and her apparel restored to her, and order is restored to the world. (Source)

The work is a beautiful piece of Akkadian poetry with roots in the much earlier Sumerian myth of the Descent of Inanna, the Sumerian name for the goddess of love and fertility.

To hear a recording of the poem in Akkadian alongside one English translation, see here.

Neo-Assyrian (c. 900-600 BCE), Nineveh.