Justice with Pockets

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277k ratings

See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
jeaniefranklins
catmask

i dont think that people actually dislike 'fluff' in writing its just that not many people know how to write characters well when nothing high stakes is happening and therefore the scenes feel bland or wasted (tucks and rolls offstage) because they can only imagine people to be interesting during high action scenes and not during the slower moments in between (slides on a tomato) likely because they consider their own life and the people around them uninteresting and cannot imagine characters they want to like to be anything less than larger than life when in reality the quiet humanity between action is the core of all good character writing (gets shot)

catmask

to be good at writing fiction you must first stop looking at it as an escape from reality but a mechanism through which to process it

snakewife
keresacheron

image

Dinosaur cartoon.

cryoverkiltmilk

Important reminder

geeky-fuckery

This reminds me of the fact that "Ancient Egypt" goes back so many thousands of years, that the most recent "Ancient Egyptians" were already studying (even more) Ancient Egypt.

charlesoberonn

Not even the most recent ones. It was an Egyptian prince from the 13th century BCE studying and restoring artifacts from the 26th century BCE.

charlesoberonn

For context, the last Pharaoh, Cleopatra VII, lived in the 1st century BCE. Prince Khaemweset, known as "the first egyptologist", was as ancient to her as the pyramids and tombs he was studying were ancient to him.

sashayed
sashayed

Asterisks

Reading a book by a respected poet,
I come to a poem that I don’t understand.
It’s one of many, really, but as this one
is particularly famous, I surrender my pride
to the internet and conduct a quick search
from which I learn that the piece
is about the death of the author’s father.

More confused than ever, I return to the book,
wondering how I could miss something so essential.
It’s here somewhere in all these words,
this tangled rosary of stanzas linked by asterisks.
But I could never find Waldo in his red and white world,
the crown among the zigzags in Highlights’ hidden pictures—
and even now, I concede, I am not clever enough
to find the death of this man’s father in his poem.

As a boy, I was in special education,
pinched into tiny cinder-block rooms that stank
of citric cleanser and earwax.
We studied the mathematics of bananas
and apples, fought with prepositions,
tried our hands at haiku,
converting syllables into one
too many blackbirds, while in other rooms
students turned numbers into music and made
chemicals react in puffs of natural magic.

Monumental! blurbs one writer.
Resonating! raves another. Erudite! Unflinching!
I stare into the page the way one stares into a 3D poster,
waiting for an image to emerge,
but nowhere can I see a dead father.

Frustrated, I lay the volume aside
and begin tidying the room,
anxious to shake off this sense of inadequacy,
as I was once so eager to escape
the syndromes and impediments
and congenital hygienes of my classmates,
when I stared into the night sky
of a workbook—
the constellations, dots I couldn’t connect,
figures I couldn’t grasp,
which existed, I was told,
somewhere above me.

Martin Vest
Rattle, October 2020