he/it/(they). physically disabled. genderqueer lesbian. french classics student. ao3.
poetry on @autometaphorical / supernatural posting on @dean-interrupted / mutuals only sideblog @elektrainterrupted
i talk a lot about greek myths, greek girls, sexuality & violence & gender in greco-roman literature. i write short stories and poems about that too. i probably think too much about kallisto, antigone, kassandra, iphigeneia, philomela and elektra.
writing, trauma, sex & violence, sexual violence, queerness, lesbianism, art, literary fiction, tolkien, poetry, horror, familial horror, disabilities/disorders. and my daily woes and whines
i frequently reblog and post things about incest, sexual violence, trauma, sex, kinks, and similar topics. you can ask me to tag something if you want to avoid some topics, i don’t usually use warnings otherwise. i’m chronically online and i can be awkward or lack the energy to socialize sometimes but i’m more than ok with comments/messages/interactions and getting to know people if you want to talk about writing or about shared interests
no "dni" but i block for transmisogyny, transphobia, racism, antisemitism, islamophobia, ableism, etc. and for terrible takes on abuse or just things that upset me
mutuals can follow my personal sideblog, ask for my instagram, and add me on discord (transbutchblues)
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completed weaving of the penelope skyphos from chiusi:
the header is tablet-woven linen, with the linen weft for the band used as the warp for the rest of the piece on a warp-weighted loom, which you can see in the photos below (there is also a previous post with more process photos here). the reverse is a negative mirror image of the front, since I wove this as double-weave pickup rather than tapestry:
additional details below the cut:
the bottom and side borders of the finished piece are tablet-woven with a mixture of linen and mercerized cotton. the sides are a classic meander motif, while the bottom border includes the "X" square from the skyphos itself. the bottom border was woven directly onto the piece using the remainder of the warp beneath penelope's feet (tablet draft for anyone interested—I designed it to be twist-neutral and everything). the side borders are sewn on because I didn't set up the side borders when I started the project, but ellen harlizius-klück previously executed a stunning version here that has the side borders woven in, as well as a really helpful video on this technique.
I was originally planning to leave part of the black warp threads unwoven to serve as penelope's warp, the way I did a few years ago with the amasis painter vase:
but I couldn't figure out how to execute it well in this version, especially since I was doing double-weave and not tapestry. perhaps next time! overall, this was a complicated and fun project as a first warp-weighted loom piece. I learned a lot of important lessons—chief among them being to actually calculate warp lengths instead of eyeballing them and to increase the loom weights on the warps for better tension. unfortunately, I also learned I want to build a large warp-weighted loom (the one I have now was made by jennifer marcus at fiber paintings studio and it is lovely, but I would like to weave larger pieces.)
the original pot also features telemachus standing over a grieving penelope (I had room only for his spear), perhaps a reference to the scene in book 1 when he reprimands his mother and orders her back upstairs:
Odysseus was not the only one
who did not come back home again from Troy.
Many were lost. Go in and do your work.
Stick to the loom and distaff. Tell your slaves
to do their chores as well. It is for men
to talk, especially me. I am the master.
οὐ γὰρ Ὀδυσσεὺς οἶος ἀπώλεσε νόστιμον ἦμαρ
ἐν Τροίῃ, πολλοὶ δὲ καὶ ἄλλοι φῶτες ὄλοντο.
ἀλλ᾽ εἰς οἶκον ἰοῦσα τὰ σ᾽ αὐτῆς ἔργα κόμιζε,
ἱστόν τ᾽ ἠλακάτην τε, καὶ ἀμφιπόλοισι κέλευε
ἔργον ἐποίχεσθαι: μῦθος δ᾽ ἄνδρεσσι μελήσει
πᾶσι, μάλιστα δ᾽ ἐμοί: τοῦ γὰρ κράτος ἔστ᾽ ἐνὶ οἴκῳ.
Od. 1.354–359. Emily Wilson translation.
my plan is to eventually create a larger version of this piece that includes telemachus and the meta aspect of unwoven warp threads. it would also be interesting to figure out if I can weave a different image on the back of the cloth, since the reverse of the pot itself depicts eurycleia recognizing odysseus as she washes his feet.
it’s about to be 6am. my mother is starting to wake up. i’m going to sleep. everything is fine. a "normal sleep schedule" is a myth. it simply doesn’t exist
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i feel like i’ve been eating a lot (i’ve missed a few meals sometimes with the heat and my fucked up sleep schedule but i’ve made up for it by eating lots of snacks) but i’m still a little under 43kg and it’s getting annoying. i was at 41 a few months ago so it’s better but my regular weight is 45-46 and even then i’ve been hoping to gain some more with hrt. but i’m eating and barely gaining. i need to eat more nutritious meals etc etc and to get better snacks i guess but i just want my body to be nicer and healthier and to feel better already.
‘bread is bad for you’ ‘rice is bad for you’ sorry im not subscribing to the idea that staple grains that have been integral to cultures for centuries are evil. i love you carbs
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"Daniel Mendelsohn's 2025 translation [of the Odyssey] begins, 'Tell me the tale of a man, Muse, who had so many roundabout ways / to wander, driven off course, after sacking Troy's hallowed keep.' Fourteen words in Greek have become twenty-four in English, through the addition of words and phrases that correspond to nothing in the Greek, though they often draw on the phrasing of earlier English translations: 'the tale' is an addition also found in the 1929 translation of Herbert Bates; 'off course' is a nautical phrase, not corresponding to anything in the Greek but also found in Robert Fagles' version, and in tune with the modern misconception of the poem's subject as a set of maritime misadventures; 'ways' expands the original epithet polytropos and is also found in the Loeb translation and Lattimore. Following Lattimore in his courageous defiance of contemporary English idiom, Mendelsohn presents Odysseus as if he were enduring a journey very much like driving through Milton Keynes—a nauseating and banal passage through one traffic circle after another."
Emily Wilson, Crossing the Wine-Dark Sea: Journeys Through Ancient Literature
they're making the omelas child go to therapy so it can learn about interpersonal accountability and realize the impact that its confusing and antisocial behavior has on the people around it
I suppose what I'd really like to see, one of these days, is one of these articles about the decline of reading that does the following things:
Acknowledges that if children and college students are struggling with reading comprehension, this is an outcome propelled by societal changes that are not their fault (balanced reading pedagogies, the ubiquity of screens, children having to stare at a laptop for 7 hours a day during COVID lockdown, the effects that COVID itself might have had on students' brains)
Examines the changes in adult reading habits in as much depth as child reading habits
Does not seek to make grave pronouncements about liberal society based on claims about literacy—or, at least, backs such pronouncements up with arguments stronger than "these two things happened to occur at the same time"
Acknowledges that text can lie, and that rhetoric, as old as language, was used to inflame, mislead, and bamboozle people centuries before inflammatory TikToks
Does not cite Amusing Ourselves to Death, a book which I had to stop reading because Postman made no real arguments in it after a certain point
Avoids being, on the whole, an agony-wank about how people are inexorably getting dumber and there's nothing we can do
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