#pluraljerma

you WILL listen to ozomatli

GOOD QUESTION

everyone unless stated otherwise lives in the suburbs (sebastian: the most unrealistic part of this story is not that there’s a psychic it’s that these people can afford to live in the suburbs of southern california) <- word

psy lives in a nice little one story house with their mama and navi :3 just a master bedroom, another bedroom, a hallway bathroom, and the kitchen and living room are connected. v cozy

melody lives with her dads, her 16 year old little sister, and her cat in a pretty sizable two-story house.

jett lives in a (one room bigger than psy’s) one story house with his mom and her dog, kevin. his 29 year old brother’s room was turned into a craft room when he moved out

tate currently lives in a dorm on campus with a roommate that hates him, but at home he’s with his mom and dad and 26 year old sister in a two story house

guy lives with his 6 siblings and his mom and dad (who are never home) in a (cramped for the number of people it houses) two story house

aaaand i’ll list the other ones too why not

conner lives in a studio apartment all by himself.

i was talking to ollie about the fact that i sent u a music rec ask a while ago but it sounds like tumblr ate it 😔

I need to listen to more riot grrl,, what would you recommend??

also i’ll rec you something back bc yr in the rock sphere but i didn’t see it when i skimmed yr playlists: pup !!

What do you think of Cat’s Cradle?

I love Cat's Cradle and rate it very highly, along with Player Piano.

I haven't read any of the others (I should), and am hesitant to make any sort of blanket judgment because I've only read the two. But there are a few things that make Cradle and Player Piano distinctive.

In all Vonnegut's work, it seems to me that the characters' mundane foibles make them appealing, while their quirks and failings make them distinctive. Cat's Cradle especially is filled with characters who do very stupid, petty, egotistical things, yet you can't stop thinking about them and the emotional issues they're enmeshed in. Hbehn may be a smug and self-centered wife and mother, but when she says "Joe isn't dead, and we're all together again, and it's going to be all right," her voice is full of pathos.

These characters also feel different than other fiction's stock characters. For instance, there's a character in Cradle called "Kilgore Trout," a ghostly recluse writer who drifts in and out of people's lives, sometimes even being called a sort of spirit guide or messenger from beyond the grave. He is also pretty clearly meant to be a stand-in for Kurt Vonnegut himself, the "real" Kilgore Trout having written a novel called "Mother Night" and a book called "Armageddon in Retrospect," both of which are in fact the titles of Vonnegut's own short stories. But instead of feeling like an authorial avatar or a special unique person who can be appreciated for being some sort of "alternative to regular people," Trout feels like the sort of guy who might show up in your town and be your next-door neighbor. (And what could be more poignant, in this respect, than the fact that he is in fact a recluse who "doesn't even have a telephone") His specialness is immediately undermined and cut down to size.

In other words, the characters' distinctive qualities are treated as real and as interesting even as they are incorporated into a plot that treats the characters as small, dumb, ordinary people. This seems especially important to me about Trout -- his story is one of drug addiction, followed by a simple rural life in which he goes to the grocery store, drinks, and writes, but the book is never fawning about how cool or pure his lifestyle is, or about how the vastness of his worldview makes his comments seem profound or even relevant to the mundane characters around him. I really like this aspect of his character.