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@justavulcan
A friend stopped by
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Deep Water Prompt #3198
There are Angel eggs everywhere, perfect delicate white pearls in the river, stuck to trees and the woolly coats of our sheep. Itās a shame to crush them, but we canāt risk it. They hatch hungry.
āWhy do we crush them?ā Annalee asked, big blue eyes studying the angel egg.
I leaned down and took it from her, gently cradling the pearly white egg in my palm.Ā It was just smaller than my thumb and forefinger touched together, and in my hand it felt silky-smooth.
I held it toward her, but drew my hand back when she reached for it, simply showing it to her.Ā āHave you ever seen an angel, Annalee?ā
My charge hopped enthusiastically.Ā The blessing of the young- energy to spare.Ā āYeah!Ā Theyāre really tall and pretty with big wings and lots of eyes and-ā
āThatās right,ā I interrupted.Ā āThey are really pretty when theyāre all grown up.ā
āAnd theyāre really nice!Ā They help people who lose sheep, or get lost, or get hurt, or-ā
āThatās right,ā I interrupted.Ā āThey are really nice when theyāre all grown up.Ā Nothing is kinder than a grown-up angel.ā
Deep Water Prompt #3198
There are Angel eggs everywhere, perfect delicate white pearls in the river, stuck to trees and the woolly coats of our sheep. Itās a shame to crush them, but we canāt risk it. They hatch hungry.
āWhy do we crush them?ā Annalee asked, big blue eyes studying the angel egg.
I leaned down and took it from her, gently cradling the pearly white egg in my palm.Ā It was just smaller than my thumb and forefinger touched together, and in my hand it felt silky-smooth.
I held it toward her, but drew my hand back when she reached for it, simply showing it to her.Ā āHave you ever seen an angel, Annalee?ā
My charge hopped enthusiastically.Ā The blessing of the young- energy to spare.Ā āYeah!Ā Theyāre really tall and pretty with big wings and lots of eyes and-ā
āThatās right,ā I interrupted.Ā āThey are really pretty when theyāre all grown up.ā
āAnd theyāre really nice!Ā They help people who lose sheep, or get lost, or get hurt, or-ā
āThatās right,ā I interrupted.Ā āThey are really nice when theyāre all grown up.Ā Nothing is kinder than a grown-up angel.ā
Tbh germ theory DOES sound crazy. Like if you told a regency-era nobleman that tiny creatures lived on the surface of everything and THATāS what causes consumption, theyād be like āah, I see you are a lunatic. Would you reside in my hermitage? Rantings and ravings do so amuse my guestsā
But if you told a Medieval person this they would probably go "Ah, so when the miasma settles on surfaces it gains evil life. I understand."
Yeah, actually, it would probably be pretty easy to explain germ theory to a Medieval person as tiny evil spirits that live on everything, but they can be purified by soap and water, or by alcohol, because that is why God has granted us those things. And because they can float in the air, if you cough or sneeze after they have infested you, that can cause them to infest others. And when you are sick, the angels God has deputized to defend the bodies of His beloved children are at war with the evil spirits, and, sadly, sometimes they lose, but the best way to help your angels win their battle is to rest, drink plenty (this would probably be small beer in this time period, not water, because the water was also infested), stay clean, and for the sake of God do not allow anyone to let your blood, for the angels need that blood in their war against the evil spirits. Bloodletting is good for some types of illnesses but not the kinds caused by the tiny evil spirits.
boiling as a sterilization measure is also easy to explain. water returns to the air when heated and it rises as steam back up to the floodgates of heaven; we know God created the world in seven days, He's not up there making more water every time it rains. it circulates. the returning of water to heaven also purifies the water of unclean and malign influences. you know wormy water from a muddy puddle will kill your kid. you know you wouldn't wade into a bog and have a slurp. water that remains in the low places of earth absorbs all that is unclean from our waste and it may also sponge up new diseases from hell, we're not totally sure about that one, but it seems likely. God set up the heavenly water cycle so that the earth's waters wouldn't totally fill up with gunk.
what does this have to do with boiling your surgical tools? well look, the boiling water releases bubbles of steam which carries the malign influences up to heaven. you boil a knife, you send all the miasmic particles off with the steam to heaven. if you rinse the knife off in a bucket the water isn't hot enough, the particles go into the water and then right back on to the knife. you gotta boil it to get the particles all the way away. how can a tool or rag or a bed have miasmic particles on it when you can't smell them? humans have a lousy sense of smell. look at your dog on the hunt. are there no rabbits in the woods just because you can't smell them? we know that miasma is carried on the air, and is what makes stench so dangerous, and we know that humans can't smell worth a damn compared to dogs cats horses etc. a dog can smell if a rat died in a corner of the room last week. you can't. do you think licking the spot where the rat died is going to go well for you? luckily, what humans lack in snout we make up for in brains. we have extra brains where our sniffers should have been. God set that up for a reason.
and why does a rinse with wine spirits work? man, look how fast alcohol evaporates. my guess is that because wine contains a lot more vice than water, it evaporates a whole lot faster, in sort of an equal and opposite way that a rock falls faster than a feather. if you want the miasmic particles to get off there FAST, you dunk it in something that's going back to heaven at a gallop.
what's up with honey? it just preserves things against corruption. doesn't clean them off. honey doesn't evaporate at all. probably because bees don't sin. it's not good for ridding a tool of particles-- it's sticky-- but fine for preserving anything you don't want to go to heaven OR hell. this is why you wash the wound with wine spirits or purified water FIRST, to sluice the miasma out, then slap the honey on AFTER. and boil the damn bandage, too. you wouldn't put a rotten door in a sound doorframe and expect it to keep out bandits, would you? cmon.
Reblogging for insurance against time travel to pre-germ theory Christian regions. These explanations could save a life- and might even save yours!

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he was flirting!
did you know that they coo? it's rather lovely, actually
Tucson, AZ March 16, 2026
āNo one is finally dead until the ripples they cause in the world die away, until the clock wound up winds down, until the wine she made has finished its ferment, until the crop they planted is harvested. The span of someoneās life is only the core of their actual existence.ā
ā Sir Terry Pratchett (28 April 1948 ā 12 March 2015), Reaper Man
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wikipedia no longer being anywhere near the top of search results when looking up anything feels eviscerating
#they really said āyou canāt use wiki as an academic source-use our garbage AI thatās even less reliableā#and you canāt even opt out of it
no but you can FORCE it away. use ublock origin and copy paste the blacklist i made into the filters to be able to remove the bullshit AI overview that google forces. it also removes youtube's forced ads (at least until they fix it)
you can also use the ublacklist extension and use this blacklist of AI image generation websites to curate your google image results
there are ALWAYS ways around stuff. it's just a matter of looking into it and asking around
I'M FREE
FOR WIKIPEDIA!!!!
Text: Whatever death is like, human language is useless there. Ghosts therefore speak a tongue precious few living are trained to understand. I translate between parties, for a price.
āWhatever death is like, human language is useless there.Ā Ghosts therefore speak a tongue precious few living are trained to understand.Ā I translate between parties, for a price.ā
āThree denarii.ā
āFour.ā
āDone.ā
Damn.Ā I should have pushed for five.Ā Ah well.Ā I knelt in my circle, wax poured over the concrete floor, candles at the points of the pentagram inside.Ā I checked the flames, the seals of the wax Iād poured.Ā All in order.Ā I held the scrap of cloth the client gave me to the flame- a cutting of the deceasedās favorite shirt.Ā āStep back,ā I murmured in the tongue of the living, āyouāre too close to the circle.ā

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Text: Whatever death is like, human language is useless there. Ghosts therefore speak a tongue precious few living are trained to understand. I translate between parties, for a price.
āWhatever death is like, human language is useless there.Ā Ghosts therefore speak a tongue precious few living are trained to understand.Ā I translate between parties, for a price.ā
āThree denarii.ā
āFour.ā
āDone.ā
Damn.Ā I should have pushed for five.Ā Ah well.Ā I knelt in my circle, wax poured over the concrete floor, candles at the points of the pentagram inside.Ā I checked the flames, the seals of the wax Iād poured.Ā All in order.Ā I held the scrap of cloth the client gave me to the flame- a cutting of the deceasedās favorite shirt.Ā āStep back,ā I murmured in the tongue of the living, āyouāre too close to the circle.ā
This is the world capitalists want to return to.
Text: The monster in the mountain is hurt, blood running from cracks in the stone and into the streams, begetting strange red flowers, and mushrooms that smell of raw meat.
I lie in the dark, and I wait, and I bleed.
Iām pinned, the legendary spear piercing my breast and nailing me to the floor, faceup so all I can see is the jagged ceiling and the carved shaft, hewn from whalebone and joined with glue from the sap of trees.
Itās not a fatal wound to me, but the hero that struck it was unable to remove the spear from the stone afterward despite his soldierās muscle, and so proclaimed himself satisfied after he saw I could not break free for all my gnashing and struggling.
Just because itās not fatal doesnāt mean itās not agonizing.Ā The spear pierced my skin, shattered my bones, punctured a lung, and nicked my heart before chipping my spine as it exited my back.Ā I cannot remove it, so I cannot heal; I barely dare move, for while I cannot die from this, to move and to feel the carvings rub against my deflated lung and shattered bone, is an agony mortals would only need to bear for moments before death.
If there was another, they would have the leverage; but for all my great strength, I am not equal to the task of removing the spear from my chest or hauling myself up the shaft to escape.Ā I have screamed in agony trying.
As I lie, I bleed.Ā I feel it pool beneath me and run away, fleeing down the uneven cavern floor to lose itself in the spring buried with me here in the mountainās heart.Ā I crane my neck and look, and see that I taint the water more and more by the day.Ā I know that people live in villages downstream, and wonder at their fortune, ill or otherwise, to drink a monsterās blood.
I have shed my blood upon the soil before; and as it drinks it up, strange things spring forth.Ā So too, now, as my blood runs forth from me, I can feel things growing downstream.Ā I feel flowers like those of my lost homeland growing on streambanks, in sand bars; luscious red like the kiss of sunset on horizon, the nights the sailors say bode well.Ā I feel eyes on them, and can taste wonder as farmhands give them to sweethearts and maidens tuck them into their braids.
It's more connected to the world than Iāve felt for ages.
As I lie there bleeding, I think of what it must be like for the common people.Ā I wonder if the hero who nailed me here came from those lands.Ā If he came back, alive but bloodied by my claws and gnashing teeth, was he praised?Ā Did he say he had slain me, struck a clean blow with the ancient heroās spear and laid my corpse to cool in my dark lair? Was he celebrated, for slaying the Monster of Hooktongue Mountain?Ā Was he given medals by rulers domestic and allied?Ā Was he hoisted on shoulders, and feasted, and offered sons and daughters as concubines or spouses?Ā Did he accept, and feel the first brushes of guilt as he surrendered to tender touches in the warm dark of a cottage with a low fire?
And what of him now that the water runs with my blood?
Does the guilt eat him?Ā Does he realize the flowers give evidence to his lie?Ā Will he return, and try to haul off the stones he brought down to close my homeās door forever?Ā Will he take his sword from the war he fought and try to sever my head?Ā Will he scream, and gnash his farmboyās teeth, and yell at me for not being yet dead?
Will I laugh, or just wish he were right?
Time passes.Ā The rhythms of the earth, the heartbeat of the world, give me little knowledge of time save that much passes.Ā The stones at the door to my home settle, and more of my blood taints the stream.
The day comes that I can feel something else growing on the streambeds- small at first, then like a manās finger, then his hand, and later his whole arm, toadstools wherever the sun does not touch, and through these I can see.
The first is in a gap between fallen tree and streambank, and I see little but slowly rotting wood and the small creatures about the business of rotting it slightly faster.
The next is trod under by a child, and I wince twice- once for the feeling of my hand being stepped on, and once for the spearās grating against my chest.
It is the third that tells me that the hero will not be returning.
When the hero came, the people of this land were stout and curly-haired, with pale skin and light eyes.Ā They wore sheepās wool robes with sheepās leather sandals, and hats made from reeds to shield them from the sun.
Now the people are different.Ā They are taller, and darker.Ā Their hair is long and straight, and they wear it tied up while they work.Ā Their clothes cling to their shapes, with separate legs and leather boots.Ā I watch as some work the field and I watch as a group in armor- unfamiliar in shape, but still armor- walk by, trading jests.
I see them wrinkle their noses at the mushrooms, and I see them avoid eating them after a week.
I see the stream running red as blood and wonder how much of it is me, leached over generations into the bankās clay and silt.
It is only a few days later that a group- men, women, all wearing heavy cloaks and coats- comes upstream.Ā They look at where the stream exits the mountain.Ā The mushrooms are many eyes for me where the stream breaks ground again, and an old woman with them picks one, tastes it gingerly, and spits it out before gesturing to a younger man; he has a familial resemblance, perhaps a grandson.
The grandson undresses and the others tie a rope to him, and then he jumps in and swims.Ā I lose sight but I feel my blood in the water disturbed by his travel.Ā The passage is long, though, and before heās even halfway to me they must pull his half-drowned body from the water to drain.
They separate then, taking walking sticks in hand, and leave the old woman and the young man to walk back to town.Ā I see them passing other streams that feed from the spring I bleed into, and they remark on the mushrooms.
None have the skill to spy the entrance, buried now under what must be generations of dead grass, bushes, and vines.Ā A week later they reconvene and shake their heads.Ā The old woman looks upset but says nothing.
Time passes.Ā My agonies wax and wane as I spend less and less time in my own body, preferring to remind myself of the pleasures of sun and sky, watching from the caps of the mushrooms I water with my entrapment and pain.Ā I watch couples flirt as they work the fields, I watch the planting come and go.
I watch the old woman, who little by little, explores the mountain herself.
In a beaten wool shawl and with a gnarled cane clutched in a gnarled hand, I watch her roam the slopes, peering closely at the mountain that became my tomb.Ā I watch her look curiously at the mushrooms and follow the densest growths.Ā She searches for me, unknowing, through the summer, through the harvest.Ā She stops for winter, but I see her mark her place with pieces of bent metal and she returns in spring.
Through the flowers, I feel her.Ā Her tenacity.Ā A lifetime of clawing life from rocky earth- itās hard living so close to a mountain, and mine is so barren and rich with obdurate granite.Ā I feel the sureness of each slow step, a deliberation even I, ageless, can appreciate.Ā I even come to know her health, as she stops to rest and drink of my waters.Ā I can feel my blood within her, and sharply, suddenly, know she is ill- but having only grandchildren now, and them with their own lives and spouses and children, she wishes not to be a burden.
I also know suddenly, after she passes water too close to the stream, that she is mine.
It comes to me suddenly, a revelation that makes me thrash and gasp as the legendary spear digs deep, but not nearly deep enough to cut like this knowledge.Ā As they have drunk of my blood from the stream, over the ages, as they have washed their dishes in it, and grown their food with it, and little by little taken me into themselves, that they are all my children, by blood bond if not the truth of the flesh- nearly as much of mine as their own mothersā and fathersā blood in their veins.
For the first time in eons, I weep to watch one of my children struggle over rock and stone in search of me.Ā She does not give in, although she tires and weakens; when she falls one day, breaking an ankle, mine twinges in sympathy, and when she returns with a second cane and a great-grandchild at her side, my heart sings to see them both, children of my blood, searching for me.
When they find the remains of my door, they consider.Ā They stop to think and drink of my blood, and I send to them the first true message I have sent in many an age, as my cracked throat croaks instructions, the places where the waterways are shortest.Ā Both shiver, and make signs against evil, but my strength is spent and there is no more.
I watch, and I feel; the town argues.Ā My flowers are everywhere, beloved as the mushrooms are reviled, and through them I know the people below argue.Ā They doubt the word of the elderly, in this age, dismissing hard-fought wisdom and long life as the foolishness of those out of step with the world.Ā But her family pushes back, and they stand by her; and her grandson is alderman and commands respect of his own; and as they say she speaks the truth it becomes grudgingly known.
They find the way to the door.Ā Masons and quarrymen come, to measure the blocks and assess their weight.Ā I do not know their tools, but at the sight of these men, men as stern and solid as my mountain, with the grit of the land in their skin and my blood in their veins, I know them.Ā They say it will be difficult.Ā They say the work will be long and the mountain uncertain.Ā But they do not say it cannot be done.
Time passes.Ā At the door to my mountain a camp grows- first only the men, but later their families and children, as all are needed to do the job of living while the stonemen do their work.Ā And begin they do.Ā The mountain is tested.Ā Tools of dark metal, no bronze I have ever seen, come and chip the stone from my door.Ā They work slowly, carefully, erecting great wooden frames to bear the weight if it should shift suddenly.
The old woman comes every day, and eventually the masons build her a cottage too, among their longhouses and tents.Ā She has the only hearth for miles.
When they break through I hear them.Ā With my ears, I hear them- the first sound that has pierced my tomb for ages is stone falling from the door.Ā I turn.Ā Slowly and agonizingly, I turn so that my feet lay closer to the door, and the spear does not move with me.Ā My sounds of exertion do not panic them, but instead they move steadily on- perhaps they do not hear.Ā I watch them dig.Ā I feel their excitement, tempered by caution.Ā The legends of Hook Mountain still speak of a monster, it seems.
These days, I am more mountain than monster.
When they break through, none want to be the first until the old woman is called.Ā Then they all want to be first, to shield her from what may be a hard walk.Ā In the way of the elderly, she cracks her tongue like a whip, and the masons and their men stand back, ashamed like she was their own mothers.
And she enters my mountain alone, leaning on her canes.
She walks for some time, the light gone behind her.Ā There are no forks, and I leveled the floor myself- she doesnāt stumble, but takes her time, same as she ever did hunting my door down when younger eyes failed.
When I hear her cane tap on the floor in my room, I wheeze a greeting, and she stops, before coming closer.Ā I still have power enough for this, at least, and I bring light to the mountainās heart for her.Ā She doesnāt gasp, but her hands tighten on her cane to see me speared to the floor.
āYou areā¦the Monster of Hooktongue Mountain?ā
I wheeze, āOnce, perhaps.āĀ Itās true enough.Ā I have done little monstrous these pastā¦āHow long has it been?Ā Since the hero came to slay me?ā
She grimaces, looks around the room, and seats herself on a nearby rock.Ā I turn my head to look at her, although the sight is familiar now.Ā She takes a moment to do the same before saying, āA long time.Ā His people had these lands before us.Ā Perhaps nine generations of my family came before me, all living in the house I gave to my son, and he to his son.ā
I grimace.Ā Nine generations of mortals, two hundred years at least.Ā āI see.ā
āHeās supposed to have slain you,ā she says, āwith that spear there.ā
āAnd yet,ā I wheeze.
āHow do you still live?ā
I shrug, then wince.Ā āIn pain.Ā But he did not choose his strike well, and so robbed himself of another.Ā And so he did what a farmerās boy turned soldier would do with any wounded beast- he trapped it and waited for it to die.Ā But the passing of ages is as moments to one such as I, and time did not take its course for me as it has for him.ā
She nodded, slowly, and then looked to the blood, which in the light I now realized was a vast stain, hewn into a shallow channel of its own trickling into the spring.Ā āAnd that is you, as well?ā
I grin.Ā āAnd you.Ā The spring, its waters, the flowers, the mushrooms, and all they touch and feed.ā
She startles at that, and I croak a laugh- painful, and awful to hear.Ā āFret not, my dear child.Ā The blood of monsters is strong and hearty.Ā Your family have drunk deep of me for generations, and now you are as monstrous as I.ā
I concentrate, and sniff deeply- and there she is, my child, and my other children waiting outside.Ā I feel their hands and weight leaning against the tunnel mouth; I see the sweat on their brow, and I can feel the worry in their hearts for their elder.Ā I look to her, and hear her heart calm, and see recognition in her face.
She regains her voice and says, quietly, āYou do not look monstrous.ā
I sigh.Ā āNo.ā
āWhat happened?Ā To declare one such as you a monster?ā
I wave a hand, despondent.Ā āWhat always happens in war.Ā The enemy cannot be as you are, or they may merit some humanity.Ā But his prejudice demanded I die, and he was a war hero, so the hunt was permitted and I was declared a monster.ā
She nods, slowly.Ā āIāve lost a son to a foreign war.Ā It was a terrible thing, and a terrible time.Ā You do not seem such to me.ā
āI am.āĀ I look her steadily in the eye.Ā āI was in that same war as he, and I killed my share.Ā More than my share, perhaps.Ā I made no secret of my home, and boasted to serve my kind.Ā It was pride that kept me fighting until I was the last, and when it broke, I ran.Ā But I was a monster all the same, for war makes monsters of us all.ā
āAnd now,ā she asked, āare you still?ā
I sigh again, the spear digging into my spine as Iāve rotated to face prospective guests more clearly.Ā āNow Iām more land than anything.Ā Monster or no, my blood has soaked this ground, and the streams that trickle from this pool, for generations.Ā My blood has fed crops, livestock, and you.Ā It is no accident you look like me.ā
She nods, accepting her eyesā proof- and I marvel.
When the men come to wrench the spear from my chest, I am beyond screaming.Ā When I take my first steps in an age beyond mortal grasp, I weep with gratitude to them.
And when my eyes see sunlight for the first time in eons, the tears blind me more than the light does.
Iām welcomed as old family, and tell my story.Ā And an agreement is reached- I am not the Monster of Hooktongue Mountain.
He died long ago, a soldier buried in a forgotten grave.
I still go back to my prison, to shed my blood into the pool.Ā After all, we all seek to have a family, donāt we?
Text: The monster in the mountain is hurt, blood running from cracks in the stone and into the streams, begetting strange red flowers, and mushrooms that smell of raw meat.
I lie in the dark, and I wait, and I bleed.
Iām pinned, the legendary spear piercing my breast and nailing me to the floor, faceup so all I can see is the jagged ceiling and the carved shaft, hewn from whalebone and joined with glue from the sap of trees.
Itās not a fatal wound to me, but the hero that struck it was unable to remove the spear from the stone afterward despite his soldierās muscle, and so proclaimed himself satisfied after he saw I could not break free for all my gnashing and struggling.
Just because itās not fatal doesnāt mean itās not agonizing.Ā The spear pierced my skin, shattered my bones, punctured a lung, and nicked my heart before chipping my spine as it exited my back.Ā I cannot remove it, so I cannot heal; I barely dare move, for while I cannot die from this, to move and to feel the carvings rub against my deflated lung and shattered bone, is an agony mortals would only need to bear for moments before death.
If there was another, they would have the leverage; but for all my great strength, I am not equal to the task of removing the spear from my chest or hauling myself up the shaft to escape.Ā I have screamed in agony trying.
As I lie, I bleed.Ā I feel it pool beneath me and run away, fleeing down the uneven cavern floor to lose itself in the spring buried with me here in the mountainās heart.Ā I crane my neck and look, and see that I taint the water more and more by the day.Ā I know that people live in villages downstream, and wonder at their fortune, ill or otherwise, to drink a monsterās blood.
I have shed my blood upon the soil before; and as it drinks it up, strange things spring forth.Ā So too, now, as my blood runs forth from me, I can feel things growing downstream.Ā I feel flowers like those of my lost homeland growing on streambanks, in sand bars; luscious red like the kiss of sunset on horizon, the nights the sailors say bode well.Ā I feel eyes on them, and can taste wonder as farmhands give them to sweethearts and maidens tuck them into their braids.
It's more connected to the world than Iāve felt for ages.
As I lie there bleeding, I think of what it must be like for the common people.Ā I wonder if the hero who nailed me here came from those lands.Ā If he came back, alive but bloodied by my claws and gnashing teeth, was he praised?Ā Did he say he had slain me, struck a clean blow with the ancient heroās spear and laid my corpse to cool in my dark lair? Was he celebrated, for slaying the Monster of Hooktongue Mountain?Ā Was he given medals by rulers domestic and allied?Ā Was he hoisted on shoulders, and feasted, and offered sons and daughters as concubines or spouses?Ā Did he accept, and feel the first brushes of guilt as he surrendered to tender touches in the warm dark of a cottage with a low fire?
And what of him now that the water runs with my blood?
Does the guilt eat him?Ā Does he realize the flowers give evidence to his lie?Ā Will he return, and try to haul off the stones he brought down to close my homeās door forever?Ā Will he take his sword from the war he fought and try to sever my head?Ā Will he scream, and gnash his farmboyās teeth, and yell at me for not being yet dead?
Will I laugh, or just wish he were right?
Time passes.Ā The rhythms of the earth, the heartbeat of the world, give me little knowledge of time save that much passes.Ā The stones at the door to my home settle, and more of my blood taints the stream.
The day comes that I can feel something else growing on the streambeds- small at first, then like a manās finger, then his hand, and later his whole arm, toadstools wherever the sun does not touch, and through these I can see.
The first is in a gap between fallen tree and streambank, and I see little but slowly rotting wood and the small creatures about the business of rotting it slightly faster.
The next is trod under by a child, and I wince twice- once for the feeling of my hand being stepped on, and once for the spearās grating against my chest.
It is the third that tells me that the hero will not be returning.
When the hero came, the people of this land were stout and curly-haired, with pale skin and light eyes.Ā They wore sheepās wool robes with sheepās leather sandals, and hats made from reeds to shield them from the sun.
Now the people are different.Ā They are taller, and darker.Ā Their hair is long and straight, and they wear it tied up while they work.Ā Their clothes cling to their shapes, with separate legs and leather boots.Ā I watch as some work the field and I watch as a group in armor- unfamiliar in shape, but still armor- walk by, trading jests.
I see them wrinkle their noses at the mushrooms, and I see them avoid eating them after a week.
I see the stream running red as blood and wonder how much of it is me, leached over generations into the bankās clay and silt.
It is only a few days later that a group- men, women, all wearing heavy cloaks and coats- comes upstream.Ā They look at where the stream exits the mountain.Ā The mushrooms are many eyes for me where the stream breaks ground again, and an old woman with them picks one, tastes it gingerly, and spits it out before gesturing to a younger man; he has a familial resemblance, perhaps a grandson.
The grandson undresses and the others tie a rope to him, and then he jumps in and swims.Ā I lose sight but I feel my blood in the water disturbed by his travel.Ā The passage is long, though, and before heās even halfway to me they must pull his half-drowned body from the water to drain.
They separate then, taking walking sticks in hand, and leave the old woman and the young man to walk back to town.Ā I see them passing other streams that feed from the spring I bleed into, and they remark on the mushrooms.
None have the skill to spy the entrance, buried now under what must be generations of dead grass, bushes, and vines.Ā A week later they reconvene and shake their heads.Ā The old woman looks upset but says nothing.
Time passes.Ā My agonies wax and wane as I spend less and less time in my own body, preferring to remind myself of the pleasures of sun and sky, watching from the caps of the mushrooms I water with my entrapment and pain.Ā I watch couples flirt as they work the fields, I watch the planting come and go.
I watch the old woman, who little by little, explores the mountain herself.
In a beaten wool shawl and with a gnarled cane clutched in a gnarled hand, I watch her roam the slopes, peering closely at the mountain that became my tomb.Ā I watch her look curiously at the mushrooms and follow the densest growths.Ā She searches for me, unknowing, through the summer, through the harvest.Ā She stops for winter, but I see her mark her place with pieces of bent metal and she returns in spring.
Through the flowers, I feel her.Ā Her tenacity.Ā A lifetime of clawing life from rocky earth- itās hard living so close to a mountain, and mine is so barren and rich with obdurate granite.Ā I feel the sureness of each slow step, a deliberation even I, ageless, can appreciate.Ā I even come to know her health, as she stops to rest and drink of my waters.Ā I can feel my blood within her, and sharply, suddenly, know she is ill- but having only grandchildren now, and them with their own lives and spouses and children, she wishes not to be a burden.
I also know suddenly, after she passes water too close to the stream, that she is mine.
It comes to me suddenly, a revelation that makes me thrash and gasp as the legendary spear digs deep, but not nearly deep enough to cut like this knowledge.Ā As they have drunk of my blood from the stream, over the ages, as they have washed their dishes in it, and grown their food with it, and little by little taken me into themselves, that they are all my children, by blood bond if not the truth of the flesh- nearly as much of mine as their own mothersā and fathersā blood in their veins.
For the first time in eons, I weep to watch one of my children struggle over rock and stone in search of me.Ā She does not give in, although she tires and weakens; when she falls one day, breaking an ankle, mine twinges in sympathy, and when she returns with a second cane and a great-grandchild at her side, my heart sings to see them both, children of my blood, searching for me.
When they find the remains of my door, they consider.Ā They stop to think and drink of my blood, and I send to them the first true message I have sent in many an age, as my cracked throat croaks instructions, the places where the waterways are shortest.Ā Both shiver, and make signs against evil, but my strength is spent and there is no more.
I watch, and I feel; the town argues.Ā My flowers are everywhere, beloved as the mushrooms are reviled, and through them I know the people below argue.Ā They doubt the word of the elderly, in this age, dismissing hard-fought wisdom and long life as the foolishness of those out of step with the world.Ā But her family pushes back, and they stand by her; and her grandson is alderman and commands respect of his own; and as they say she speaks the truth it becomes grudgingly known.
They find the way to the door.Ā Masons and quarrymen come, to measure the blocks and assess their weight.Ā I do not know their tools, but at the sight of these men, men as stern and solid as my mountain, with the grit of the land in their skin and my blood in their veins, I know them.Ā They say it will be difficult.Ā They say the work will be long and the mountain uncertain.Ā But they do not say it cannot be done.
Time passes.Ā At the door to my mountain a camp grows- first only the men, but later their families and children, as all are needed to do the job of living while the stonemen do their work.Ā And begin they do.Ā The mountain is tested.Ā Tools of dark metal, no bronze I have ever seen, come and chip the stone from my door.Ā They work slowly, carefully, erecting great wooden frames to bear the weight if it should shift suddenly.
The old woman comes every day, and eventually the masons build her a cottage too, among their longhouses and tents.Ā She has the only hearth for miles.
When they break through I hear them.Ā With my ears, I hear them- the first sound that has pierced my tomb for ages is stone falling from the door.Ā I turn.Ā Slowly and agonizingly, I turn so that my feet lay closer to the door, and the spear does not move with me.Ā My sounds of exertion do not panic them, but instead they move steadily on- perhaps they do not hear.Ā I watch them dig.Ā I feel their excitement, tempered by caution.Ā The legends of Hook Mountain still speak of a monster, it seems.
These days, I am more mountain than monster.
When they break through, none want to be the first until the old woman is called.Ā Then they all want to be first, to shield her from what may be a hard walk.Ā In the way of the elderly, she cracks her tongue like a whip, and the masons and their men stand back, ashamed like she was their own mothers.
And she enters my mountain alone, leaning on her canes.
She walks for some time, the light gone behind her.Ā There are no forks, and I leveled the floor myself- she doesnāt stumble, but takes her time, same as she ever did hunting my door down when younger eyes failed.
When I hear her cane tap on the floor in my room, I wheeze a greeting, and she stops, before coming closer.Ā I still have power enough for this, at least, and I bring light to the mountainās heart for her.Ā She doesnāt gasp, but her hands tighten on her cane to see me speared to the floor.
āYou areā¦the Monster of Hooktongue Mountain?ā
I wheeze, āOnce, perhaps.āĀ Itās true enough.Ā I have done little monstrous these pastā¦āHow long has it been?Ā Since the hero came to slay me?ā
She grimaces, looks around the room, and seats herself on a nearby rock.Ā I turn my head to look at her, although the sight is familiar now.Ā She takes a moment to do the same before saying, āA long time.Ā His people had these lands before us.Ā Perhaps nine generations of my family came before me, all living in the house I gave to my son, and he to his son.ā
I grimace.Ā Nine generations of mortals, two hundred years at least.Ā āI see.ā
āHeās supposed to have slain you,ā she says, āwith that spear there.ā
āAnd yet,ā I wheeze.
āHow do you still live?ā
I shrug, then wince.Ā āIn pain.Ā But he did not choose his strike well, and so robbed himself of another.Ā And so he did what a farmerās boy turned soldier would do with any wounded beast- he trapped it and waited for it to die.Ā But the passing of ages is as moments to one such as I, and time did not take its course for me as it has for him.ā
She nodded, slowly, and then looked to the blood, which in the light I now realized was a vast stain, hewn into a shallow channel of its own trickling into the spring.Ā āAnd that is you, as well?ā
I grin.Ā āAnd you.Ā The spring, its waters, the flowers, the mushrooms, and all they touch and feed.ā
She startles at that, and I croak a laugh- painful, and awful to hear.Ā āFret not, my dear child.Ā The blood of monsters is strong and hearty.Ā Your family have drunk deep of me for generations, and now you are as monstrous as I.ā
I concentrate, and sniff deeply- and there she is, my child, and my other children waiting outside.Ā I feel their hands and weight leaning against the tunnel mouth; I see the sweat on their brow, and I can feel the worry in their hearts for their elder.Ā I look to her, and hear her heart calm, and see recognition in her face.
She regains her voice and says, quietly, āYou do not look monstrous.ā
I sigh.Ā āNo.ā
āWhat happened?Ā To declare one such as you a monster?ā
I wave a hand, despondent.Ā āWhat always happens in war.Ā The enemy cannot be as you are, or they may merit some humanity.Ā But his prejudice demanded I die, and he was a war hero, so the hunt was permitted and I was declared a monster.ā
She nods, slowly.Ā āIāve lost a son to a foreign war.Ā It was a terrible thing, and a terrible time.Ā You do not seem such to me.ā
āI am.āĀ I look her steadily in the eye.Ā āI was in that same war as he, and I killed my share.Ā More than my share, perhaps.Ā I made no secret of my home, and boasted to serve my kind.Ā It was pride that kept me fighting until I was the last, and when it broke, I ran.Ā But I was a monster all the same, for war makes monsters of us all.ā
āAnd now,ā she asked, āare you still?ā
I sigh again, the spear digging into my spine as Iāve rotated to face prospective guests more clearly.Ā āNow Iām more land than anything.Ā Monster or no, my blood has soaked this ground, and the streams that trickle from this pool, for generations.Ā My blood has fed crops, livestock, and you.Ā It is no accident you look like me.ā
She nods, accepting her eyesā proof- and I marvel.
When the men come to wrench the spear from my chest, I am beyond screaming.Ā When I take my first steps in an age beyond mortal grasp, I weep with gratitude to them.
And when my eyes see sunlight for the first time in eons, the tears blind me more than the light does.
Iām welcomed as old family, and tell my story.Ā And an agreement is reached- I am not the Monster of Hooktongue Mountain.
He died long ago, a soldier buried in a forgotten grave.
I still go back to my prison, to shed my blood into the pool.Ā After all, we all seek to have a family, donāt we?
If you're in Maine or Philly or wherever the fuck Vance claimed DHS is going next, I BEG you to look at the rapid response and mutual aid networks and how they've been built in Portland, Chicago, and the Twin Cities, and start building your own version NOW.
Download signal if you haven't already. Pick a resistance pseudonym. Make a proton email that has no indicators to your real name. Start buying and printing whistles and whistle zines.
Organize your school patrols and foot patrols NOW. Talk to your community and your mercados and your Hmong and Somali grocery stores, ask them what support they need. Get "ICE are not welcome here" signage for businesses and homes. Familiarize yourself with the difference between an administrative warrant and a judicial warrant.
Learn how to take down a SALUTE report. PRACTICE salute reports. Learn, memorize, and embody radio etiquette for rapid response work.
Pick your lane: rapid response or mutual aid-- you can't do both, because rapid response often puts you in direct contact with ICE. They've been taking down plate numbers and leading responders back to their own homes here in the Twin Cities.
Remember that being under siege is a marathon, not a race. Try to remember that while your neighbors are being kidnapped in their underwear, from their own homes.
Meet your neighbors. Attend your city council meetings and demand separation ordinances NOW. Tell your congress people and representatives not to give ICE more money.
Prepare yourself to see high school children being stopped and harassed. 5 year olds being used as bait for their mothers. Old men being dragged out of their houses in underwear and Crocs simply because all of them are not white.
Be flexible, be ready to pivot on a dime as situations change. Be ready to be paranoid. Be ready to be distrusting of every Texas, New York, California, or Illinois license plate. Be ready to be suspicious of EVERY out of state license plate. Dark sedans and SUVs with extremely illegally tinted windows. Unreadable or missing plates.
No one will save you, save us, or save our neighbors but ourselves. No one is coming to help or protect us but us.
Signal for Beginners
MN Community Response Resources
ICE Are Not Welcome Here sign
Private Property Sign
Know Your Rights Sign
Judicial Warrant vs Administrative Warrant
SALUTE Report Graphic Rapid Response Patrol Handbook
Legal Observer Basics MSP Whistle Hub
Whistle 3D printing File
Talking to children about ICE actions
OG Whistle Zine in ENGLIGH || SPANISH
MSP whistles which also have zines in Somali, Amharic, Oromo and Mandrin
Hmong Whistle Zine
Karen Whistle Zine

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You know technology literacy is dying because I saw this meme with 76k likes
F11 the full screen button? Youāre scared of the full screen button? F10?? It opens the menu bar???
Computers are so scary what if I accidentally hit F12 in a steam game and it takes a screenshot. What if I press shift + F12 while in word and accidentally save my document š
If you had to learn what the F keys on your computer do through me reblogging this post, then I'm glad you did. Computer literacy is not a skill that gets taught anymore, and it is absolutely one that needs to be taught in order to be learned. Don't ever feel bad for not knowing something, but āļø don't ever stop learning learning about your environment, the tools you use, and especially the people around you
Congratulations! You have been Isekaiād to the Pokemon World and you are now a Pokemon Trainer! Spin here! to find out your new Trainer Class!
How do you feel about your result?
HELL YEAH THIS IS SO COOL AND SO PERFECT FOR ME
Iām not sure if it really fits meā¦. But it is REALLY GREAT
This is awesome!
Itās pretty cool!!
Itās nice, I guess
I feel totally indifferent about it
This has a lot of positives and a lot of negatives, not sure how I feelā¦
ā¦Ehā¦
Could be worse, I guess?
This is perfect for me (derogatory)
This SUCKS, but⦠at least itās better than NOT being a Pokemon Trainer, right?
THIS IS TERRIBLE THIS IS ACTUALLY WORSE THAN NOT BEING A POKEMON TRAINER
Yeah I can live with being rich xD
ha. duchess. you are like a little baby- watch this: