Warnings/mentions: no use of y/n ,depictions on chronic illness, (ie: pain, medication, care, fatigue), mentions of a limp (self indulgent 🫣), drinking, hearts2hearts quoted, mentions/allusions to sex (not actually depicted)
*my works are all black reader/black OC. These creations are my own and you do not have permission to repost or use my works as your own. *REBLOGS ARE WELCOME* You do not have permission to feed my creations to AI to make your slop.*
🫐 you had met each other at the pub, her seeing you from across the bar.
🫐in your drunken state, you approached her first, going on about a man calling you rude “you know what he said to me? He was like you’re soooo rude’ and I was like ‘boy, do I look like I could care? I couldn’t even care LESS!’
🫐 and she just looks at you fondly nodding her head to whatever you say. She's been hooked ever since.
🫐 sometimes you would go 24 hours or more without replying to her text messages.
🫐 not that she was checking her phone so much that Dana was giving her a look. She wouldn't do that, she's a very busy doctor you know!
🫐 it's not that you didn't care to answer, you were just sleeping. Or so stiff in your bones that picking up your phone hurt too.
🫐 When the fog clears from your brain, and your body isn't as heavy, your heart jumps at seeing the text messages from her (yes, multiple)
🫐 At first she has no idea, I mean a limp could be from anything.
🫐 It’s when she actually gets to go to your apartment (you usually go to hers, but huckleberry has been complaining of sleep recently) that she notices the cabinet of meds, and the kettle labelled (do not drink!)
🫐 When she gets up to use the bathroom, she takes the opportunity to look at the medications on the shelves; all linked to chronic illness
🫐 she goes home to look at some journals, even enlisted huckleberry to help with the research
BONUS- for sickle cell huckleberry would go into detail/ recount his experience treating a patient with the disease (and be able to tell her what not to do)
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All I ever wanted was to be ordinary. I've always known, instinctively, that I was not normal. It's never been easy being this sensitive—having superlative feelings that threaten to consume me. And yet, to survive it, you must become something more: you must not let it consume you, but instead offer it to the world. This is the nature of artists; they live on the edges, and in those extremes, they find more of themselves—material they fashion with beautiful sincerity to gift the world.
'Sei troppo sensibile".Chi si è sentito rivolgere questa frase almeno una volta nella vita sa bene che raramente viene pronunciata come un complimento. Più spesso suona come una diagnosi medica o, peggio, come una condanna: un modo elegante per dirti che non sei abbastanza forte, abbastanza cinico o abbastanza "corazzato" per affrontare il mondo fuori dalle mure domestiche.
Se nella vita privata l'ipersensibilità può essere tollerata (e talvolta persino apprezzata nelle relazioni intime), è nel mondo del lavoro che si trasforma nel nemico numero uno. L'ambiente aziendale medio è ancora tarato su vecchi standard competitivi: vince chi grida più forte, chi mostra meno emozioni e chi riesce a farsi scivolare tutto addosso.
In questo contesto, la persona sensibile viene spesso vista come una palla al piede, colui o colori che deve essere stimolato al fine che renda al meglio. (Parlo per recente esperienza diretta)
Confondere la sensibilità con la debolezza è l'errore più comune,nonché quello in cui mi sono imbattuta io,infatti se tu dipendente ci rimani male per un feedback espresso con troppa durezza, o se mostri empatia verso un collega in difficoltà, vieni subito etichettato come "problematico" o instabile.
Chi è molto sensibile nota tutto: il tono di voce del capo, la tensione silenziosa tra i colleghi, l'ingiustizia di una decisione. Questo costante assorbimento di stimoli può portare a un sovraccarico emotivo, che i superiori spesso scambiano per scarsa resistenza allo stress o mancanza di leadership portando gli stessi a dirti quell'irritante "sei troppo sensibile".
Il vero paradosso è che le aziende che penalizzano la sensibilità stanno rinunciando a una delle risorse più preziose sul mercato,almeno secondo il mio personale pensiero e secondo diverse ricerche.
Quella che viene definita "troppa sensibilità" è, in realtà, un pacchetto di competenze straordinarie (le famose soft skills), quali:
Intelligenza emotiva
Creatività e intuito
Ascolto profondo
Certo, vivere con i sensori sempre accesi non è facile. Chi ha questa caratteristica deve imparare a mettere dei confini sani per evitare che l'empatia si trasformi in spugna emotiva, assorbendo anche la tossicità altrui.
In conclusione, se vi dicono che siete "troppo sensibili", la risposta corretta non è scusarsi come in tanti, io compresa, abbiamo fatto.
La sensibilità non inficia il valore di una persona; sono semmai gli ambienti di lavoro troppo rigidi a non saperla valorizzare. In un mondo che viaggia a colpi di algoritmi e fredda efficienza, restare umani e capaci di emozionarsi non è un limite: è un atto di resistenza.
University can teach you skill and give you opportunity, but it can't teach you sense, nor give you understanding. Sense and understanding are produced within one's soul.
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“After one has abandoned a belief in God, poetry is the essence which takes its place as life’s redemption.”
“The major poetic idea in the world is and always has been the idea of God.”
“The poet becomes ‘the priest of the invisible."
- Wallace Stevens
as quoted in 'The Age of Atheists: How We Have Sought to Live Since the Death of God by Peter Watson
"The modern view says we weep because we feel sad, and in weeping we get that sadness 'out of our systems.' Based on essentialist assumptions about 'human nature,' the modern view leads to the evaluation of some feelings as more genuine, more fully human than others--which leads inexorably to the denigration of the emotional experience of persons whose cultural or social marginality marks their feelings as 'different.' Perhaps the most unexpected aspect of the Victorian view is the easy alliance it forms with postmodernism, in that both reject essentialism as a way of accounting for interior experience. Furthermore, the Victorian idea that we feel sad because we weep puts a radically different spin on weeping's ultimate effect. This means that from the Victorian perspective, crying over Uncle Tom's Cabin or Little Women did not drain a reservoir of stored feelings, nor did it debilitate readers from taking action in the extratextual world. Instead, crying was seen as creating and promoting the feelings, which then might presumably serve as goads to acting, or indeed to being, in the 'real world.'"
Robyn R. Warhol, Having a Good Cry: Effeminate Feelings and Pop-Culture Forms
