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the way ivan aivazovsky looks at the sea…i think…i think that’s what love looks like.
d'you ever just. think about gideon and harrow as two people who lost everything, had nothing their entire lives, and then just when they had each other in a more positive way. another sacrifice. another loss. and then in htn they still have nothing. a fucked up temporal lobe and a well to stick a soul in to show for it all. DO YOU EVER JUST ---
You know, it was a very interesting perspective change to see Gideon from the outside. This was literally the first time we’ve ever had scenes with Gideon where we’re not hearing her internal thoughts, and it really changes her character.
Like, I know Muir consistently described Gideon as a “dirt bag” in tumblr posts and interviews when the first book came out.
And this is someone who kicked Harrow when she fainted rather than catching her; this is someone who, when carrying an unconscious Harrow intentionally bumped her into walls and doorways in the hopes that she’d wake up with mysterious bruises on her head or maybe even a concussion. But, you know, we heard her internal narrative at that time, we heard about how she was holding back from doing worse, but also about how she’d been so consistently abused that maybe this was all justice anyway.
But we saw her grow and change, we saw her be kind to Harrow at the end (…and then not), we saw her stop hating on the teens and actually care when they died. Corona liked her (Corona pretty much never heard her speak), Magnus liked her (Magnus literally never heard her speak), Jeannemary liked her (Jeannemary was a teen looking for a role model and would have latched on to her no matter what her personality). So when she came back and never had a good thing to say to anyone at the end of the second book, we were all rooting for her anyway–she was awesome and they all deserved her wrath and her snark, because we’d been in her head for two books.
And now we have… she’s rude to Nona, because Nona is possessing Harrow’s body, and because Nona kissed her based on her body-language reaction to thinking she was seeing Harrow. If it were Gideon’s narrative still, we’d be told how well and truly justified she is, how sketchy and even villainous Nona is; but it’s Nona’s narrative so instead we hear about how rude Gideon is in her body language, not even her conscious choice of words.
We have, she’s about to give Paul her jacket but gets awkward and doesn’t. Nona sees her fail to help; in Gideon’s narrative her instinct was to help but she just felt too awkward.
We have, she says the same rude jokes to everyone that she did in the first two books, but even though Pal and Cam are still putting up with that, even though Ianthe still thinks she’s funny, we’re getting it from Nona’s perspective and Nona doesn’t like her and so doesn’t like her rude jokes.
Ianthe actually does like her, and it’s not clear whether that’s a point in her favor or not.
It’s the same Gideon through and through, she even gets mad at Alecto usurping her place in service to Harrow. But what a difference an uncharitable reading makes.
More than 11,000 years ago, young children trekking with their families through what is now White Sands National Park in New Mexico discovered the stuff of childhood dreams: muddy puddles made from the footprints of a giant ground sloth.
Few things are more enticing to a youngster than a muddy puddle. The children — likely four in all — raced and splashed through the soppy sloth trackway, leaving their own footprints stamped in the playa — a dried up lake bed. Those footprints were preserved over millennia, leaving evidence of this prehistoric caper, new research finds.
The finding shows that children living in North America during the Pleistocene epoch (2.6 million to 11,700 years ago) liked a good splash. “All kids like to play with muddy puddles, which is essentially what it is,” Matthew Bennett, a professor of environmental and geographical sciences at Bournemouth University in the U.K. who is studying the trackway, told Live Science. Read more.
IDGAF if the women in my fiction are empowering or aspirational, I'm an adult, I don't need role models, I want the women in my fiction to be interesting, and if that involves being pathetic, hypocritical, amoral, or trapped in a delightfully dysfunctional relationship so be it
they/them, 20s | locked tomb brainrot
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