Creative minds preschool & childcare center

I hate working in childcare

2023.06.01 01:10 Iyanoo I hate working in childcare

No matter what center, church affiliated or just a plain ole daycare, they suck. They expect PERFECTION and I’m fucking tired of it. There’s no room for error, for learning.. they’re so understaffed and yet have no issues firing staff over petty bullshit. You have medical emergencies? Oh well. You have to leave early due to a migraine? Nope. Suffer in silence!! You need help with overwhelming tasks? Don’t ask your director!! Staff is awful.. bunch of gossipers who rather watch you fail and laugh at you than offer you help. I’m so tired of being the one to train and offer help when it just bites me in the ass. Coworkers will throw you under the bus to save themselves. You’re underpaid. These kids are terrible and aren’t disciplined at home and yet I’m responsible for them listening and following rules? Yeah right.
It’ll never be good enough. I will never be good enough. No matter how good I am as a teacher, I will NEVER amount to anything. we are overworked, underpaid, and treated like nannies when in reality I’m with these kids ALL DAY, EVERYDAY, and their parents barely see them. They drop them off at 6 am and pick up at 6 pm. They wonder why their kids are regressing.. maybe because they see me more than their own family? Stop having kids if you’re just gonna park them at daycare all day. This is the most crucial part of their developmental stage and it’s going to hurt when they get older and want nothing to do with you.
Don’t work in childcare, no matter how much you love kids. You won’t be respected. Your job will become your entire life and you will go home lifeless, depressed, and wanting to call out because you’re just so mentally exhausted.
Before anyone says, “don’t work there then!” It’s not that simple. I’m not going to quit and work somewhere even worse with LESS pay. Not in this economy.
Parents, be mindful of how long your kids are at school. Be mindful and kind and respectful to your children’s teachers because we are SO CLOSE to losing it.
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2023.06.01 00:57 TheConstipatedCowboy Spring ‘77 Time Machine: which shows/bands would you catch

Spring ‘77 Time Machine: which shows/bands would you catch
I was way too young to appreciate it, but it blows my mind that you could catch Led Zeppelin at the Capital Center on May 25, 1977, and the Dead a short drive away in Baltimore the next night on May 26. I have yet to meet anyone who was at both or a combination of Zep and Dead in spring 77 but it coulda been if you were resourceful & had tickets. Not to mention the ungodly other shows happening that spring: that month was the 2nd leg of Fleetwood Mac’s tour for “Rumours”, from the end of April straight through the summer was Skynyrd’s “Street Survivors” tour (until their untimely plane crash in October), Parliament-Funkadelic played a handful of dates that spring on the Earth Tour which woulda been face melting, and Pink Floyd was right in the middle of their US tour for “Animals” (the infamous In The Flesh tour that would come to a climax in Montreal with Roger having an almost meltdown). And if you were in the UK and Europe, you could see Sabbath on their last original tour with Ozzy (with a very young AC/DC opening!?!?), the Clash, the Sex Pistols, and Bob Marley & the Wailers ALL TOURING SIMULTANEOUSLY. So if you could go back to spring 77, would you just follow the whole Dead spring tour, or ..?
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2023.06.01 00:19 quokkchidna 37 [M4R] Australia/Anywhere - Active/creative & caring soul looking to connect with someone with similar values either near or far!

Hi there I’m a easy-going, caring, open minded, committed individual looking to connect with someone that shares similar values either near or far!
I like to keep active with going to the gym, running, cycling, participating in team sports, occasionally swimming laps and in the warmer months snorkeling and scuba diving. I also enjoy being creative with drawing cars, playing the guitar & landscape and portrait photography.
When I need to decompress I enjoy listening to music (mostly Alternative pop/rock/folk/electric) lying in the spa/chilling in a sauna or randomly flicking on some TV shows (usually comedy/drama/docos/Sci-fi) I do enjoy abit of gaming with VR.
If any of that resonates with you, I'd be delighted in hearing from you soon!
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2023.06.01 00:11 jamieee1220 WELCOME

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2023.05.31 23:30 JonathanRedding Ghost Word Pt. 2

Continued from Pt. 1, which can be found at:
Pt 1: https://www.reddit.com/Horror_stories/comments/13wymkl/ghost_word_pt_1/
WARNING: This story contains depictions of non-consensual sex and gun violence.
---------------------------------
Lyle found himself on foot, the valise at his side, the night air crisp and noisy. He realized he was ravenous. No surprise there, he hadn’t had anything to eat or drink in twenty-six hours. The late evening traffic was brisk around the campus, and as he passed a roving pack of students Lyle realized it was Thursday night*. Thirsty Thursdays*.
In keeping with ancient tradition, the majority of undergraduates avoided Friday morning classes at all costs, preferring to begin their weekend revels on Thursday nights. Lyle followed his feet. He imagined power emanating from the briefcase at his side, thrumming up his arm. He felt, for perhaps the first time in a life of shrinking uncertainty, boundless.
And it felt extraordinary.
Somewhere inside of him a notion was forming that he did not dare articulate. But he followed his feet. The easy ebb and flow of walk signals, the pleasantly cool night air, the passing chatter, even the occasional car-horn—which in the past had never failed to startle him, jittery as he was—seemed buoyant and agreeable. The night was his. He realized he was sloping gently downhill, as he followed his feet. He realized he knew exactly where he was going. He found himself before O’Flaherty’s Pub, with its sandwich-board blaring LADIES NIGHT 1/2 WELL DRINKS -- TRUST ME YOU CAN DANCE in electric pink loops. It felt only natural to step beneath the awning, swing wide the knotted mahogany door, and enter the din.
The ham-hock manning security—probably a redshirt lineman in his off-season—turned toward Lyle on autopilot, one hand reaching out as a question formed on his lips, lemme see some ID. Lyle made no attempt to reach for his wallet because he knew the inevitable would happen when the bouncer took in his face, which he did a half second later. A tiny beat of recognition flickered and was gone, and the bouncer turned away. No need to card the old dude. Good luck navigating the vicissitudes of adult life, you Mongoloid, Lyle thought. The jag off had a Black & Mild tucked up behind one ear, Lyle felt an insane urge to snatch it off his head and break it in half. He did not do well with the pretend authority of chunky, dead-eyed adolescents.
But I’m not here for him.
Lyle wove his way into the evening crush with the delicate, shuffling little steps he always used in crowds. By fits and starts he made his way deeper, deeper, winding toward the back bar, the one with the full-length mirror. That was her favorite. O’Flaherty’s had a Crosley jukebox, wood-paneled and coin-operated, reaching for vintage but stuffed to the gills with Bluetooth and wi-fi and digital memory and whatever else. A woman’s voice was booming out of it, an empty pop ballad gussied up by her big, operatic sound. Lyle tried to think of the singer’s name, but couldn’t. He squeezed into a narrow gap at the back bar.
Darby was flirting as she mixed a rum-and-coke for a gawky, dough-faced kid in a flat-cap and a Harrington jacket. On the few occasions he had come out on Darby missions, Lyle had stayed well back from the bar, waiting for drink service at one of the small cafe tables lining the billiard room. But tonight, he wasn’t here to watch.
Darby handed off the drink and caught sight of Lyle. He winced—he could read the surprise, even discomfort, on her face. But she was tending bar, and she was quick on her feet, and she rearranged her expression into a smile. She held up a finger—*one sec—*to which Lyle nodded, as she took flat-cap’s (father’s) Amex back to the register and opened up a tab.
Lyle enjoyed watching her walk. Enjoyed looking at her from the back, or in profile. He usually saw her face, in class, big brown doe eyes and very pale, freckled skin. A shade away from clear, he had heard her joke once, to James, as she had invited him to touch the roadmap of blue veins on her inner arm. That had enraged Lyle—the sudden, unwelcome image of James with those long creamy legs locked over his waist, his long, slow thrusts.
Because he restrained himself from ogling her in class, it was a pleasure to come to O’Flaherty’s during her shifts and watch her as she worked. Darby was not the first of what Lyle thought of as his “favorites”. Every year or two there was a fresh, irresistible young thing, for him to think about, alone, late at night. One of the unspoken perks of professordom was the constant influx of eye-candy, of short skirts and long legs and high asses and pert young tits. In his mind’s eye it was an endless profusion of imagined aureoles, of wondering about their panties—boy-briefs or frilly little whatsits or g-strings or none at all—and even if Lyle never slept with them there was an intense eroticism in holding power over these girls he could never have bedded in his own college years. In pushing that term paper over the failing line and waiting, deliciously waiting, for them to come to his office hour and plead. Only Darby’s work was reasonably competent, so even that grimy thrill was denied him.
Darby finished up with the register and came over, the pale of her neck stark against her tight black t-shirt. O’FLAHERTY’S was printed on it in green, the name stretched to accommodate her bust. Her hair frazzled at the temples; she’d been working hard.
Just a little dirty, that’s how I like you, he thought.
“Dr. L! We missed you today, thought maybe you caught the gunk. You all right?” Darby beamed her big smile at him, a gift of the gods (and of immaculate orthodontics).
“I’m fine, Darby, thanks. Just a communication mix-up. I’m sorry you all waited.”
She kept smiling, seemed to be waiting for more. He didn’t give it to her.
“Well—can I get you anything?”
Lyle hesitated, trying to think of a manly drink, something urbane and—professorial.
“Scotch-rocks. A double.”
Darby continued to stare at him, expectantly. “Any… particular poison, or-?”
Lyle glanced up, made a show of studying the bottles arrayed behind her. He knew nothing about scotch. Stupid. He settled on Johnnie Walker Black, and Darby poured his drink.
Lyle realized his heart was racing. Darby set the drink in front of him and he downed half of it in one swallow. He managed to keep his face neutral as the liquor seared his throat.
“This is a—little bit of a departure, for you, huh?” Darby indicated the scotch.
“What?”
She must have known he heard her but she raised her voice anyway. The music had changed to a British pop group with a lot of electronic undertones, trying to sound haunting.
“The scotch,” she said. “Don’t you always order lemon drop martinis? When you come in?”
Busted. Two bright red circles appeared high on his cheeks.
“You know, it, it depends,” he replied. “Depends on my mood. And you—you make a hell of a lemon drop martini, here.”
Fucking idiot, he thought. They make the same Goddamn lemon drop martini as everybody else and she knows it.
Darby was smooth, though. Graceful. She rolled right past it. “I wondered why you never came over and said hi.”
“Well I don’t want to, you know, be a bother. You’re working. It’s always busy. And I’ve been coming here for years, off and on. You get used to seeing students out on the town. I try to give them their space.”
“Oh.” Her smile reappeared. “Well I’m glad you came over. Let me know if I can get you anything else?” She was already angling away.
“How was class today?” Lyle didn’t want to let her go. She glanced down the bar, she had customers waiting.
“It was great, really great,” she hurried her answer. She was giving him the brush-off. “James did great. He’s an awesome teacher. Awesome guy.”
“You know, I’d been meaning to ask you, about James…” Lyle leaned in, conspiratorially. Darby’s smile was faltering, but courtesy won out and she leaned in to hear.
“Are you fucking him?”
Darby recoiled, as though he had spit on her.
What?”
“Do you laugh at me, when you do it? When you fuck, do you laugh at the scabby, horn-dog professor?”
Darby’s breath hitched in her chest, she looked like she was about to cry. She took a step back. She looked down the bar, and then past him—toward the door.
Bouncer, he thought. She’s looking for the bouncer.
“I think you need to—” she began.
Then Lyle said the Word. The alien Word, meant to be moaned, easy as pie, really, when you thought about it, how the sounds flowed together. The Word that meant libido.
Darby froze. Her pupils flickered, Lyle saw, they constricted down to pinpricks, and then dilated as wide as they could go, swallowing the puppy-dog brown of her irises. Her face went slack. That wide, expensive smile vanished, and her mouth hung slightly open.
“Moisten your lips, Darby,” he said.
Her tongue slid out, pink and supple, and she obeyed.
Oh, my God, she OBEYED.
Lyle’s penis twitched in his pants, he realized he was painfully erect, his balls aching. He realized he had been, had been since—since I said the Word—since he had her and a cruel, savage sense of triumph shook him, he felt his pulse hammering in his veins, he felt like standing up on the bar and—
ROARING I want to ROAR at this dewy twat and all her imbecilic peers—
But instead, he took his cock firmly in his hand, through the cheap fabric of his Ross trousers, squeezed himself, and said—
“What are we going to do with you, Darby?”
#
Lyle fucked her in the alleyway behind O’Flaherty’s. That meant hurrying more than he liked, the dumpster provided cover but the blocks surrounding the campus were too well policed. It was all right, though. Now that he was armed with the libido-Word, the next time could be more leisurely.
He took her in. All of her. The small, surprisingly dark nipples, nothing like he’d imagined. The fine, black hairs on the nape of her neck, the peach fuzz of her freckled low back, her inner thighs. Her panties were white briefs with green stitching, they were covered with tiny frogs. He tugged them down, and nuzzled her there. He left hickeys, on her ass, her mons. Her smooth, exquisite young cunt.
Lyle took her from behind and saw the groggy confusion in her dilated eyes, the amazement*—*and through that the pleasure, the unsuspected, unwanted, violating pleasure that jolted moans out of her.
Lyle sucked her neck, bit it, hard enough to sting. She gave a tiny mewl as she came, and her spasm triggered him also. Lyle buried himself to the hilt in her, finished in her, and felt—
Like a king. Like a GOD.
They stayed there as the minutes stretched out, panting, still joined. He savored her, until his own tumescence vanished, and he slipped out. Lyle patted her derriere.
“Get dressed and get back to work, Darby,” he said. “We don’t want you to get in trouble.”
She jerked her head, drunkenly, from side to side, as though she were trying to shake water out of her ears. Lyle breathed deep, in through his nose, the fine scents of the city. Fried food nearby, probably the Thai joint catty-corner to the pub. He stood and admired, as Darby tugged her frog-panties back up those long pale legs.
“I’ll see you in class.”
Darby stared blankly at him as he took up his suitcase, turned, and strode into the night.
#
When Lyle opened his eyes the next morning, he was only mildly surprised to discover that he felt no guilt at all. The sun streamed in, the world was up and running, coffee was calling, and by God he felt fine.
He sat up in bed, stretched. He glanced at the alarm clock, that hateful sentinel, now toothless—10:27AM. The mattress was bare, beneath him. He’d never washed the sheets. Puddled on the floor were yesterday’s clothes. He resisted the urge to tidy them up. Later. He padded to the bathroom and went about his ablutions, brushed his teeth, took out his shaving kit. He had used the sleep-Word on himself again, last night. After.
After! He let the memories wash over him. Her smell: the tang of sweat, bar-odors, the undercurrent of peach soap. The taste of her! And then the feast, afterward. He had followed his nose to Great Elephant Thai, wolfed down a plate of kai thot, fried to a crisp and dripping oil*.* It may have been the finest meal of his life.
And he had had such dreams! Dreams of Darby, and of favorites past. Dreams of fucking and of wealth and of slights avenged and of respectful, deferential looks, dreams of voices falling silent when he entered a room, of every eye on him. A song lyric drifted into his head, something from his childhood, a favorite of his father’s one long summer, repeated ad nauseam on the fourteen-hour drive down to Savannah.
Twenty years a’crawlin’… were bottled up in Tommy… he wasn’t holding nothin’ back, he let ‘em have it all…” Lyle sang, full voice, into the morning. A stupid grin spread over his face, as he wicked away the last patch of Barbasol, the careful spot right over his Adam’s apple, and rinsed his razor. He took a long look at Mirror-Lyle, looked into his eyes. He almost always avoided a close examination of his reflection, force of habit, but today he was a new man, and he wanted to take that man’s measure.
Everyone… considered him… THE COWARD OOOF… the COUNTYYYY…”
Something else surfaced, then, in his memory, something that cranked the wattage down on his smile. He didn’t get all of it, just a glimpse, like a dorsal fin rising above the water. He had dreamed of more than power and sex. There had been something else. Lyle had a vague red recollection of tangled depths and faceless figures. His mind offered up a fleeting image of a crumbling stone structure, of keening wind and squat pillars; and of a great broken vault overhead, through which could be seen a blasted sky.
Lyle charged his phone as he brewed up a fresh pot. It had run out of juice somewhere during yesterday’s festivities, and when it finally powered up again it began to vibrate against the Formica tabletop in his dining nook. He ignored the first two pulses, but the phone insistently continued, not with the regular rhythm of an incoming call, but rather the inconsistent bursts of message notifications trickling in from the cloud. He tapped the touchscreen, and saw he had seven missed calls: one from a colleague, yesterday; and six from James, each one with a voicemail attached. The most recent of these had come just twenty minutes ago.
Lyle sipped on his coffee as he retrieved the briefcase from beneath his bed. He sat at his dinette and removed the fascicle, easily finding the rigid page. He opened it, and this time the new Word was waiting for him below the first, long entry: the entry corresponding to the letter “A” itself. This Word was angry, Ks and Zs, a hornet-word, serpent-word. Lyle looked to the white space, where the definition would arise. He pricked his forefinger with the tip of a steak knife and squeezed out two droplets of blood.
der zorn
Lyle sipped. Lyle thought. Greek, then Latin, now German. Was it moving forward in time? He wondered again about those first shapes he had seen, in the library. The more he tried to remember the more he doubted they had been in Greek. Something older, maybe. Phoenician syllabary? He would likely never know. But the Words were changing. The book was changing.
And there was this: both of the—*spells, they’re spells, let’s cut the shit—*both of the Words it had given him so far had been…
“Intuitive,” he said finally. “Useful. Like it knew.”
Lyle took down the last foil sleeve of blueberry Pop Tarts from his cupboard. Pauper’s breakfast, he thought, but not for much longer. He searched through his contacts until he found the number for the Chancellor’s office. He thumbed the little blue phone icon beside it.
#
Lyle had just started boxing up his things when James burst into his office, perfectly symmetrical face distorted by fury, his generous features made ugly. Ah, the righteousness of youth. James took in the dense sheaf of Staples boxes, waiting to be folded; took in the bare walls, the stacked diplomas and photographs.
“What the fuck is this?” he demanded.
“Emergency leave,” Lyle answered with a dismissive wave. “I’ve had a family crisis. I’m afraid I have to attend to it. Professor Chole will be taking over my workload for the remainder of the semester, I’m sure she’ll be in touch—"
“What did you do to Darby? What the fuck did you do?” James spoke with the husky, quaking tone of pure adrenaline. He was just barely restraining himself from lunging across the desk, Lyle realized. He took the younger man in with bemused calm. He let the moment stretch out.
“Therese called me,” James continued, the words throttling out of him. “Darby’s roommate. She came home last night, she has—bruises, all over her, little, little *bites—*she won’t speak, she just sits there and cries, but she said your name. It’s the only thing she said. What did you do to her, Lyle? Did you rape her?”
“Dr. Hereford,” Lyle replied.
James craned forward. “What?”
*“*You don’t get to call me Lyle.”
Lower, now, almost a whisper: “Tell me what you did to her.”
“I made her come,” Lyle said. “And she fucking loved it.
James did lunge then, he screamed and he leapt across the desk, coming down on Lyle in a tangle of thrashing limbs and rabbit punches, the two of them toppling Lyle’s chair, compressing awkwardly into the tight space between desk and wall. James kicked hard off of the gray metal drawers, managing to end up on top. His hands found Lyle’s throat and began to squeeze. Lyle felt himself constricting, felt the energy draining out of him, pinned, as he lost oxygen. He noticed the curds of spittle at the corners of James’s snarling mouth. He started to see spots in the periphery of his vision, and as he slapped ineffectually at James’s face he thought am I going to die here—?
Lyle dug down for the last of his strength. The Word chose me. This wasn’t the end. Couldn’t be the end. He extended his leg as far as it would go, and used the distance to drive his knee, hard, into James’s crotch. A grunting exhale was propelled out of the younger man*.* Lyle pulled back to do it again; James squeezed his thighs together to block, and when he did, he compromised his balance. He took one hand off Lyle’s throat and thrust out his arm to catch himself as be began to roll, allowing Lyle to draw in a long, ragged breath.
Then Lyle spoke the Word.
The der zorn-Word.
The word that meant anger, that meant rage, that meant WRATH.
#
“Son. Son, you’re bleeding, let me—let me help you, come on. Son, it’s gonna be okay, come on, now— “
The campus policeman approaches James like a dog that might be rabid, that slow hunched posture with arms wide, except for the policeman it’s only one arm because his right hand is flush up against his service weapon and his thumb snaps the little thumbsnap and it’s a very small noise but it’s so loud in James’s head and he shakes it, his head, does James, from side to side, in herks and jerks, like a dog that might be rabid, now, like there’s water in his ears and he’s trying to shake it out, is James, and the policeman is coming on and speaking in clear precise syllables that explode behind James’s temples, clusterbomb-words, and the cop is speaking but he’s hearing another voice, is James, and it’s Lyle’s voice, it’s Dr. L’s voice, not Lyle never Lyle, and Dr. L’s voice is saying snakebit you’re snakebit she fucking LOVED it and James touches his own face now and it must be true because there’s blood on his face and when he blinks his blink is heavy and liquid like he just dropped Visine in there but the thing is but only but except it’s blood and he’s bleeding from the eyes, is James, and now the policeman is right on top of him saying “son what happened can you hear me respond if you can hear me” and James hears the exploding words all right and he blinks and blood oozes from the corners of his eyes and the cop is changing now, in the blood, his face is BOILING and now it’s Darby’s face on the policeman and she opens her mouth and her head cranes back and she’s ruined inside OH FUCK SHE’S RUINED INSIDE SHOT HERSELF SHE SHOT HERSELF SHE’S SHOT and now it’s DR L IT’S DR L SCREAMING SNAKEBIT SNAKEBIT SNAKEBIT—
James rears back and head-butts the campus cop as hard as he can, the smooth acne-less center of James’s forehead connecting with the soft cartilage of the policeman’s nose. A sick crunch echoes in the lobby of the Humanities building, a young woman close enough to hear it vomits on the floor, it is the first puking incident of the day but not the last.
The cop recoils with a sick moan, in his surprise clapping his hands to his shattered nose; in that moment James bellows, an awful inarticulate animal sound of hate, and yanks the policeman’s service piece free of his holster.
The handful of rubbernecking students freeze as James shoots the policeman in the face.
The policeman’s name is (was) Lou, the students know, and he is (was) genial and well-liked. A silent second passes in the lobby, and then the screaming begins.
James dips down and pulls two spare clips out of Lou’s belt. He pockets them. When James looks up, he doesn’t see fleeing students.
He sees Dr. L.
A gaggle of Dr. L’s. A school, a clutch, a murder. He sees laughing Dr. L’s running in every direction, diving behind furniture, breaking for the street or hurtling into the stairwells. One Dr. L dives behind the reception desk. James starts after him on wooden legs.
When he reaches the desk, there is Dr. L beneath it, a cell phone in his hand, cackling. James shoots him in the stomach. Dr. L keeps right on laughing, howling with it now, whatever it is must be hilarious, a real knee-slapper, then James remembers its him, Dr. L is laughing at him so James shoots him again, shoots him so he’ll stop but there are so many more
#
Lyle Hereford, Ph.D., rested his browning forearms on the wrought iron railing of his third-floor balcony. He looked out over the Gulf of Mexico. The breeze was warm and gentle, suffusing, but it no longer calmed him. He took no notice of it. He was lost, as he was always now lost, in thought.
The one, lone thought.
It had taken a little less than two weeks for James’s horrific shooting spree to drop out of the news. The demands for GUN CONTROL NOW (or, conversely, for guns in every classroom) receded and were shelved for the next go-round. Politicians took to the field and unfurled their heraldry for the usual pro-forma skirmishes. Then, mercifully, a Cabinet official fucked somebody he really shouldn’t have and the national discourse (such as it was) barreled off, like a dog chasing a ball that its owner had only pretended to throw. As to why a handsome, popular, well-adjusted student should suddenly snap and murder sixteen of his fellows? The theories ranged from medically reasonable (an inoperable tumor which could not be verified via autopsy, as James’s brains had been removed by the responding tactical unit); to the paranoiac (James had been the subject of a Manchurian Candidate-style CIA/NSA/Acronym-of-your-choice experiment gone horribly wrong); to the Occult (the Devil made him do it).
Lyle had enjoyed that last one.
What Lyle had not enjoyed was that some of the conspiracy theorists, and even some of the legitimate press, had mentioned him by name. He had disappeared, after all, on an auspicious and chaotic day, to manage a crisis no one could verify involving a family no one could find. It had not been difficult to remain ahead of any enterprising investigators, though. Not with the Words.
And there had been so many more Words. Words in French and Finnish and Russian and Spanish and Mandarin. Words that meant envy and silence and fear and blindness and, perhaps the most potent yet, a Word that meant stupid. Lyle had employed that one against a statie who pulled him over as he crossed the Louisiana line, coming through Vicksburg. The guy had been six-two, maybe two-twenty, with sharp, curious eyes sunk deep in his skull. Lyle hadn’t liked the way he had looked at him, so he used the Word. Now the statie—*Edmonds was his name, Trooper Edmonds—*was six-two, two-twenty of drooling simpleton, probably staring at a wall somewhere in the nearest brain injury ward and driving the resident neurologists absolutely bugshit.
By the time Lyle made it to a quiet, lazy town on the Cajun Riviera and decided to set a spell, he had traded in his Acura for a Beemer and was carrying close to a hundred and twelve thousand dollars in cash. He had also acquired a 9mm Ruger and a shotgun with a pistol grip (the dealer had called it a snake charmer just before Lyle killed him).
None of that matters now, though.
All that mattered was the Word. Which, he had come to realize, was the last Word.
Because the book was alive, of course, had always been alive, Lyle knew that. Hadn’t let himself come right out and say it, but he knew. It had slept, maybe, possibly, until he woke it, with his touch, with his blood, but if it slept, it woke up thirsty*.* The book was always ready with the next Word, the next thing he would need. The book was collaborating with him. It was dancing with him, and at first he had thought he was the one leading, but now he knew better.
Lyle felt it. Felt it—pulling on him. All the time. Felt it in the room behind him, pulling, knew that he would go back in, sooner or later, go back in, and open the book, the book that has been leading him. Knew that he would open its hundreds of pages, because it was longer now, because it had grown, because it was three inches thick and the front plating had vanished and it wasn’t pretending to be a dictionary anymore.
He knew that he would open it and on every single page, centered, would be a single Word, the last Word, the Word that he will say, that he must say, sooner or later, and under it swirling in blood, blood that must be the book’s own, the final explication, the final command, the final meaning, and God, oh God, Lyle was afraid, because the last Word was
DOOR
submitted by JonathanRedding to Horror_stories [link] [comments]


2023.05.31 22:56 quokkchidna 37M - Active/creative & caring Australian looking to connect with someone with similar values either near or far!

Hi there I’m a easy-going, caring, open minded, committed individual looking to connect with someone that shares similar values either near or far!
I like to keep active with going to the gym, running, cycling, participating in team sports, occasionally swimming laps and in the warmer months snorkeling and scuba diving. I also enjoy being creative with drawing cars, playing the guitar & landscape and portrait photography.
When I need to decompress I enjoy listening to music (mostly Alternative pop/rock/folk/electric) lying in the spa/chilling in a sauna or randomly flicking on some TV shows (usually comedy/drama/docos/Sci-fi) I do enjoy abit of gaming with VR.
If any of that resonates with you, I'd be delighted in hearing from you soon!
submitted by quokkchidna to MakeNewFriendsHere [link] [comments]


2023.05.31 22:53 quokkchidna 37M [friendship] Sydney Australia /Anywhere - Active, creative & caring soul looking to connect with someone with similar values either near or far

Hi there I’m a easy-going, caring, open minded, committed person in looking to connect with someone!
I like to keep active with going to the gym, running, cycling, participating in team sports, occasionally swimming and in the warmer months snorkeling and scuba diving. I also enjoy being creative with drawing cars, playing the guitar & landscape and portrait photography
When I need to decompress I enjoy listening to music (mostly Alternative pop/rock/folk/electric) lying in the spa/chilling in a sauna or randomly flicking on some TV shows (usually comedy/drama/docos/Sci-fi) I do enjoy abit of gaming with VR.
If any of that resonates with you, I'd be delighted in hearing from you soon!
submitted by quokkchidna to MeetPeople [link] [comments]


2023.05.31 22:51 MountainMushroom3596 Visiting Alaska in June :D Need Help with Itinerary please!

Hello all :D Ill be in Alaska 3-4 days!
Things I want to do for sure :
  1. Whale Watching
    1. What the best excursions for me to book to see these beautiful creatures up close?
      1. I know Harv's & Marv's is great but its in Juneau which I need to fly 1 and half hour too :(
      2. Anything near Ancourage?
  2. Beautiful trails and scenic drives
  3. Helicopter tours?
  4. Amazing food!!! PLEASE!!
  5. Anything else I MUST SEE or TASTE or WITNESS?
** I don't mind driving 1 - 11/2 hr to some place if its worth it :)
--------
Here is the schedule my ChatGPT Generated for me (lol) (let me know if anything to AVOID)
Day 1: Morning:
  1. Start your day with a visit to the Anchorage Museum, which showcases Alaskan history, art, and culture.
  2. Head to the Tony Knowles Coastal Trail, a scenic 11-mile trail along the coast. Rent a bike or simply enjoy a leisurely walk while taking in the beautiful views of the ocean and mountains.
  3. Grab lunch at one of the local seafood restaurants downtown, such as Simon & Seaforts or Orso.
Afternoon:
  1. Visit the Alaska Native Heritage Center to learn about the indigenous cultures of Alaska through exhibits, demonstrations, and performances.
  2. Take a short drive to Earthquake Park, where you can learn about the 1964 earthquake that devastated Anchorage and enjoy panoramic views of the city.
Evening:
  1. Have dinner at one of the popular restaurants in downtown Anchorage, like Snow City Cafe or Sourdough Mining Company.
  2. If you're interested in live performances, catch a show at the Alaska Center for the Performing Arts.
Day 2: Morning:
  1. Embark on a day trip to the stunning Chugach State Park. Explore hiking trails, such as Flattop Mountain or Eagle River Nature Center, to enjoy breathtaking views of the surrounding mountains, glaciers, and wildlife.
  2. Pack a picnic lunch to enjoy amidst the scenic landscapes.
Afternoon:
  1. Visit the Alaska Wildlife Conservation Center, located within Chugach State Park. Get up close to native Alaskan animals, including bears, moose, caribou, and musk oxen. Take a guided tour or explore on your own.
  2. Return to Anchorage and consider a visit to the Anchorage Market and Festival, held on weekends during the summer. Browse local crafts, food stalls, and live entertainment.
Evening:
  1. Enjoy dinner at one of the trendy restaurants in the Spenard neighborhood, such as Bear's Tooth or Moose's Tooth. They are known for their delicious pizza and craft beer.
  2. If you're interested in nightlife, explore the bars and breweries in downtown Anchorage, such as 49th State Brewing Co. or Humpy's Great Alaskan Alehouse.
Day 3: Morning:
  1. Take a day cruise or flightseeing tour to explore the breathtaking scenery of Prince William Sound or Kenai Fjords National Park. These tours often depart from Anchorage and offer opportunities to spot whales, glaciers, and other wildlife.
Afternoon:
  1. Visit the Alaska Native Medical Center Healing Totem Park, which features intricately carved totem poles representing various native cultures of Alaska.
  2. Explore the Alaska Botanical Garden, where you can stroll through beautiful gardens, learn about native Alaskan plants, and enjoy the tranquil surroundings.
Evening:
  1. Have a farewell dinner at a restaurant with a scenic view, such as the Simon & Seaforts or the Crow's Nest at the top of the Captain Cook Hotel, to enjoy a delicious meal while taking in the panoramic views of Anchorage.
submitted by MountainMushroom3596 to alaska [link] [comments]


2023.05.31 22:45 AutoModerator *FREE* Andrew Tate - The Real World, HU1/2, All Personal Courses etc, Iman Gadzhi - Agency Navigator/Incubator, Copy Paste Agency, 6 Figure SMMA etc, Biaheza Dropshipping, Montell Gordon - Agency Transmutation, Sebastian Esqueda - Ecom Revolution, Hamza Ahmed, Sneako + more Leaked Free Download

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2023.05.31 22:37 goldenschool Infant Care Corte Madera Golden Poppy School

Infant Care Corte Madera Golden Poppy School submitted by goldenschool to u/goldenschool [link] [comments]


2023.05.31 21:45 AutoModerator *FREE* Andrew Tate - The Real World, HU1/2, All Personal Courses etc, Iman Gadzhi - Agency Navigator/Incubator, Copy Paste Agency, 6 Figure SMMA etc, Biaheza Dropshipping, Montell Gordon - Agency Transmutation, Sebastian Esqueda - Ecom Revolution, Hamza Ahmed, Sneako + more Leaked Free Download

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2023.05.31 21:24 EffortAccomplished37 Letters of Recommendation

I have a professor in mind to ask for a letter of recommendation, but I'm not sure if he would be the best choice, and any advice on the situation is greatly appreciated.
My professor taught my english I & II classes. He is one of the greatest writers I know, and he knows me better than any professor I've dealt with. The class sizes were very small, and he happened to be the head of english and creative writing in a five week long (and completely unrelated from the class) academic camp I attended.
What worries me is the length of time. He was my dual credit professor in high school, so he hasn't taught a class I was in for about four years. He knows me very well and would be more than happy to do it. I just don't know if med schools would view this favorably. None of the schools I plan on applying to have any rules prohibiting him from authoring a letter, but I figured it couldn't hurt to ask.
Thanks in advance for any responses!
submitted by EffortAccomplished37 to premed [link] [comments]


2023.05.31 21:23 SparkVenom Tinynat [Vanilla] {Anarchy} {1.19.x-1.8.x} {Bedrock}

Unleash Chaos! Brand New! Join Tinynat.com - The Anarchy Minecraft Server for Java (1.8-1.19.4) and Bedrock!
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Rules: Try to keep lag down, but there are none! You may use mods/modded clients or "hacks".
Java: Launch your Minecraft Java client (versions 1.8 to 1.19.4) and enter tinynat.com as the server IP.
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Join Tinynat.com today and unleash the chaos that awaits! Connect with like-minded players, build epic structures, and conquer the anarchy. Remember, there are no limits and no rules on Tinynat.com!
submitted by SparkVenom to mcservers [link] [comments]


2023.05.31 20:45 AutoModerator *FREE* Andrew Tate - The Real World, HU1/2, All Personal Courses etc, Iman Gadzhi - Agency Navigator/Incubator, Copy Paste Agency, 6 Figure SMMA etc, Biaheza Dropshipping, Montell Gordon - Agency Transmutation, Sebastian Esqueda - Ecom Revolution, Hamza Ahmed, Sneako + more Leaked Free Download

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2023.05.31 20:40 Standard-Ad1356 BEGINNER PORTFOLIO HELP!!!

Hey, I’m a rising high school senior (class of 2024) about to apply for colleges in the fall and im very interested in Visual/Design Communication a Graphic Design. I want to be a Creative/ Art Director. I’m not particularly interested in going to an art school (wouldn’t mind though) but rather a university with a good art/design college like Sams Fox School of Design in WashU (at least I heard it‘s good) . However, I’m a very VERY beginner artist who‘s interested in this profession. I have a lot of creative ideas but no way to illustrate them in my portfolio. I currently only have three things (logo + tshirt design, magazine inspired poster, sustainable architecture project) I could include although I’m worried it’s more amateur work that wouldn’t impress any colleges. I know I need a good one to get into these schools as well.Overall, I’m wondering If anyone has my tips of what to include in a graphic design portfolio. And any help on how to improve my art skills and begin my portfolio as a beginner within 4-5 months. I know I’m not necessarily going to be the bet artist by then but I want to know how I can get halfway there. Currently I’m thinking of trying out colored pencils but I don’t know where to go from there or how to use them effectively. ANY TIPS COMMENTS & ADVICE IS HELPFUL.also if any has any uni recommendations with good art programs that would be helpful
submitted by Standard-Ad1356 to ArtistLounge [link] [comments]


2023.05.31 20:26 KingStona420 NightLife Serious RP BETA Testing Gangs Racing 10+ Jobs Whitelisted Jobs HIRING (Staff/EMS/PD/Judge) More!

NightLife Serious RP BETA Testing Gangs Racing 10+ Jobs Whitelisted Jobs HIRING (Staff/EMS/PD/Judge) More!
https://preview.redd.it/loqqeed5493b1.png?width=676&format=png&auto=webp&s=edb116a2a1a71f783637705d2a1f51e0a0105055
📷 Discover all the endless possibilities in the city that NightLife offers! 📷
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NightLife is a brand new community that will be in the beta stage for roughly two weeks. We are allowing anybody to join this testing to provide quality feedback to make the server a better place. Our development team will be handling all issues that occur! Our goal is to close beta testing with tons of feedback, and take the provided feedback an enhance the servers gameplay before we launch to the public.
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📷 Activities: Looking for a dose of adrenaline? NightLife RP offers a plethora of thrilling activities to get your heart racing. Engage in high-speed street races, drag racing, or join a gang and indulge in bad activities around the city.
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📷 Realistic Economy: NightLife RP’s dynamic and realistic economy forms the backbone of its immersive role-playing experience. We made sure that our economy was the 1# priority, as we wanted to make sure that everything was balanced from purchasing weapons, vehicles, housing, along with making sure selling items is balanced with the buying prices.
📷 Welcoming Community: At NightLife RP, you’ll find a warm and inclusive community of like-minded individuals who share a passion for role-playing. Make new friends, forge alliances, and collaborate with fellow players to create captivating stories and unforgettable memories. The community is committed to providing a safe and respectful environment for all, ensuring that everyone feels welcomed.
Discord: Discord
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2023.05.31 19:45 AutoModerator *FREE* Andrew Tate - The Real World, HU1/2, All Personal Courses etc, Iman Gadzhi - Agency Navigator/Incubator, Copy Paste Agency, 6 Figure SMMA etc, Biaheza Dropshipping, Montell Gordon - Agency Transmutation, Sebastian Esqueda - Ecom Revolution, Hamza Ahmed, Sneako + more Leaked Free Download

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- All of Iman Gadzhi Courses (Agency Incubator & Navigator, Pen to Paper, Six Figure SMMA, Infuencer Ignited, Kaizen Cure etc.)
- Biaheza's Dropshipping Course
- Montell Gordon - Agency Transmutation
- Sebastian Esqueda - Ecom Revolution
- Hamza Ahmed - Aesthetic Body Course
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submitted by AutoModerator to imangadzhisagency [link] [comments]


2023.05.31 19:33 Background_Raisin830 On what direction the world should move

I think the world need all the humans to let go of their greed & lust, and start working with and for each other. No concept of money, just a world where every human do creative work (for all other work we have robots and ai). We can control our population by this and evenly distribute the basic resources amoung us. A world where new discoveries are common happening. A world with bright future and knowledge. A collective mind to control the world, which lead it to a self sustainable architecture and development of human race into the next cattagory of civilization.
submitted by Background_Raisin830 to humanity_talks [link] [comments]


2023.05.31 19:22 M_Tootles "Cargos, Slatterns & Butchery" with Helya & Grisel (Spoilers Extended)

This post is part of a series looking at the massive amount of 'rhyming' (and occasionally rhyming) recursivity I believe exists between (a) the homecoming of Petyr Baelish to the Fingers and (b) the homecoming of Theon Greyjoy to Pyke.
While this series/post can be read simply as a study 'for its own sake' of the curious recursion between these storylines, it is my belief that the 'rhyming' explored here between the stories of Petyr and Theon exists (at least in part) to foreshadow that, like Theon, Petyr Littlefinger, is (among other things) a scion of ironborn kings, because Petyr is Hoare-ish: I.e. because Petyr's blood is (in some part) the blood of the ironborn kings of House Hoare of Orkmont and, later, Harrenhal.
You can find an index of every post I've made on the topic of a Hoare-ish Littlefinger (including every post in this sub-series) [HERE].
Even if I'm wrong about Littlefinger's lineage, the 'rhyming' recursivity between the homecomings of Theon and Petyr detailed in this series remains, and certainly merits attention.
NOTE: In what follows, all uncited quotes are from ASOS Sansa VI, which describes Petyr's homecoming to his "Drearfort" tower of the 'Smallest Finger', or ACOK Theon I, which describes Theon's homecoming to "drear" Pyke.
As in past posts, I sometimes use "→" as shorthand for "'prefigures' and/or 'informs' and/or 'is reworked by' and/or 'finds a recursive rhyme in'.
As in: ACOK Theon I ASOS Sansa VI.
This post picks up straight-away from where Part 8 left off. You can read Part 8 [HERE].
If you want to begin at the beginning, Part 1 is [HERE].

The Myraham's Prophetic Cargo

After Theon makes port, the captain of the Myraham announces his cargo to the people on the docks of Lordport and we read about the offloading of the Myraham:
"We're out of Oldtown," the captain called down, "bearing apples and oranges, wines from the Arbor, feathers from the Summer Isles. I have pepper, woven leathers, a bolt of Myrish lace, mirrors for milady, a pair of Oldtown woodharps sweet as any you ever heard." The gangplank descended with a creak and a thud. "And I've brought your heir back to you."
Most of what we read there seems to be reworked in and around Littlefinger's homecoming in ASOS Sansa VI, when the Merling King brings the Dreadfort its heir, Littlefinger, as well as the seeming heir to Winterfell, Sansa. This begins with the Arbor wine and fruit we see off-loaded from the Merling King:
Oswell made two more trips out to the Merling King to offload provisions. Among the loads he brought ashore were several casks of wine. Petyr poured Sansa a cup, as promised. …
… The wine was very fine; an Arbor vintage, she thought. It tasted of oak and fruit and hot summer nights, the flavors blossoming in her mouth like flowers opening to the sun. She only prayed that she could keep it down. Lord Petyr was being so kind, she did not want to spoil it all by retching on him.
… "Grisel," he called to the old woman, "bring some food up. … Oswell's brought some oranges and pomegranates from the King." …
Grisel reappeared…, balancing a large platter. … There were apples and pears and pomegranates, some sad-looking grapes, a huge blood orange.
Besides the straight repetition of Arbor wine, oranges, apples, and heirs, the repeated Oldtown motif is baldly reworked by Sansa's description of the wine, which is patently Oldtown-summer-esque, per the only substantive pre-AFFC description of Oldtown, which associates it with hot, fruity summer nights:
"King Maekar's summer was hotter than this one, and near as long. … [T]he heat was fierce while it lasted. Oldtown… came alive only by night. … I remember the smells of those nights, my lord—perfume and sweat, melons ripe to bursting, peaches and pomegranates, nightshade and moonbloom." (AGOT Eddard V)
The Myraham's "mirrors for milady" prefigure Sansa being figuratively groomed by Petyr and literally grooming herself in Petyr's Eyrie after he takes over:
When Gretchel fetched her Lysa's silvered looking glass, the color seemed just perfect with Alayne's mass of dark brown hair. (AFFC Alayne I)
The Myraham's "woodharps sweet as any you ever heard" presage Sansa being attacked by Marillion, whose "voice was strong and sweet", (AFFC Sansa I) after he sings a song (about blowjobs?) called "Milady's Supper" (supper a la the Myraham-ish fruit Sansa eats for supper when she lands) during Petyr's wedding bedding:
Lady Lysa's singer launched into a bawdy version of "Milady's Supper"….
The Myraham's "woven leathers" and "Myrish lace" are reworked into the "laces unlaced" i.e. unwoven during said wedding:
By the time they had gotten him into the tower and out of his clothes, the other women were flushed, with laces unlaced, kirtles crooked, and skirts in disarray.
That it's a "bolt of Myrish lace" is interesting: After Sansa boards the Merling King, she sees a singular "bolt" from a crossbow strike Dontos, and then two more:
Lothor Brune dipped his torch. Three men stepped to the gunwale, raised crossbows, fired. One bolt took Dontos in the chest as he looked up…. The others ripped into throat and belly. (ASOS Sansa V)
Three crossbow bolts? What does that remind us if not… a Myrish crossbow:
"The king is playing with his new crossbow," Tyrion said. Ridding himself of Joffrey had required only an ungainly Myrish crossbow that threw three quarrels at a time…. (ACOK Tyrion VI)
What about the Myraham's "pepper"? I suspect this gets box-checked first by Sansa trying not to "retch" as she is off-loaded along with the wine with which Littlefinger tries to settle her tummy, as just two chapters later peppers are tightly linked to "retching" of the sort Sansa feels like doing:
[Tyrion] found himself on his knees retching… that double helping of fried eggs cooked up with onions and fiery Dornish peppers. (ASOS Tyrion X)
GRRM seems to play off the "pepper" motif in other ways, as well. Consider that the gathering to meet the Myraham and the shouted questions that prompt her captain to announce her cargo—
A handful of Lordsport merchants had gathered to meet the ship. They shouted questions as the Myraham was tying up.
—get reworked by Petyr's household all gathering "to meet" the Merling King and by their peppering one another with questions:
Servants emerged from the tower to meet them; a thin old woman and a fat middle-aged one, two ancient white-haired men, and a girl of two or three with a sty on one eye. When they recognized Lord Petyr they knelt on the rocks. "My household," he said. "I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."
She's a "popper", then, in case we didn't catch that retching → peppers. (This also reworks Theon "popping one off" with the captain's daughter, who is in many ways reworked by Kella, as will be discussed below.)
… [Petyr]… gave the old woman a kiss on the cheek and grinned at the younger one. "Who fathered this one, Kella?"
The fat woman laughed. "I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."
"It is good to have you home, my lord," said one old man. … "How long will you be in residence?"
"As short a time as possible, Bryen, have no fear. Is the place habitable just now, would you say?"
"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung." Petyr turned to Sansa. "Grisel was my wet nurse, but she keeps my castle now. Umfred's my steward, and Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord.…"
… Petyr gestured toward the fat woman. "Kella minds my vast herds. How many sheep do I have at present, Kella?"
A gathering, and questions, questions, questions, as when Theon docks.
Recall that Bryen and Umfred come from shore to offload Sansa (who's just been promised a cup of wine to help with her upset "tummy") from the Merling King's rowboat:
The two old men waded out up to their thighs to lift Sansa from the boat so she would not get her skirts wet.
This reworks the "shorehands… off-loading… casks of wine" from a Tyroshi trader docked with the Myraham
[Theon] spied a Tyroshi trading galley off-loading
Shorehands rolled casks of wine off the Tyroshi trader, fisherfolk cried the day's catch, children ran and played. A priest in the seawater robes of the Drowned God was leading a pair of horses along the pebbled shore, while above him a slattern leaned out a window in the inn, calling out to some passing Ibbenese sailors.
—which itself prefigures the above-quoted off-loading of the Merling King (when "Oswell made two more trips out to the Merling King to offload provisions" including "several casks of wine", from which Petyr immediately "poured Sansa a cup, as promised").

Kella & The Slattern

What about that "slattern lean[ing] out a window" to greet "some passing… sailors" while "children ran and played"? I submit that she is one of several motifs from Theon's homecoming prefiguring Petyr's servant Kella. I'll explain.
Consider that Petyr's servant Kella has many bastards i.e. children, popping one out every few years:
"I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."
We only see one; presumably the others are off somewhere, running and playing, perhaps.
Kella happily greets Petyr as he comes ashore, much as Lordsport's slattern "call[s] out to some passing Ibbenese sailors". Note that the sailors on the Merling King are likewise 'passing' — passing through:
"From here the King turns east for Braavos. Without us."
Consider most of all that Kella's something of a slattern herself: She's "not one for telling them no".
"I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."
Indeed, something Lysa says pretty clearly codes Kella as a verbatim "slattern", underlining the recursion:
"How would you like to spend your life on that bleak shore, surrounded by slatterns and sheep pellets?" (ASOS Sansa VII)
So I think the vignette with the slattern and the children in Lordsport pretty plainly prefigures Kella. But I think she's prefigured by two more pieces of Theon's homecoming.

Kella & The Captain's Daughter

Keeping in mind that Kella has a bunch of bastards ("she pops one out every few years) and that she's "not one for telling them no", consider also that she is (a) literally 'with child' — or rather, with a child—
a girl of two or three with a sty on one eye
—that she's (b) "fat"—
"Who fathered this one, Kella?"
The fat woman laughed.
—and that she's (c) coded as a bit stupid:
"Kella minds my vast herds. How many sheep do I have at present, Kella?"
She had to think a moment. "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."
All like Theon's "captain's daughter".
The captain's daughter is "plump", as Kella is "fat":
The girl was a shade plump for his taste…
She is likely pregnant with Theon's bastard, a la Kella the bastard-popper.
She tells Theon…
"You can put it in me again, if it please you…"
…and accedes to his request for a blowjob, so she's "not one for telling them no."
She thereby helps Theon 'pop one off', a la Kella "pop[ping] one out".
Like Kella, she seems a bit stupid:
She looked rather stupid when she smiled, but he had never required a woman to be clever.
The stupid girl did not seem to be listening.
She… learned quickly for such a stupid girl….
She looked at him stupidly, so he left her there.
And finally, she offers to work in Theon's castle
I'd work in your castle, milord.
just as Kella works for Petyr.

Kella: The Spreading Patch of the Smallest Finger?

Besides the "slattern" and the captain's daughter, I suspect Kella may also riff on — of all things — the "spreading patches" of "lichen" on "wet" Pyke as Theon sails by:
[Pyke was] wet by the same salt waves, festooned with the same spreading patches of dark green lichen, speckled by the droppings of the same seabirds.
Get it? A spreading 'patch'? In combination with "lichen" a la "licking" and Pyke being "wet"? And not just wet, but "wet by… salt waves", when as we know from the captain's daughter, semen tastes "salty", "like the sea". It's like Pyke is being described as a turned-on "slattern" with her legs spread.
A Hoare, we might say.
This connects to Kella, specifically because of her name: Kella is a near anagram for "kale", a dark green plant, like the "dark green lichen".
Actually, the name Kella may have anothere precursor in Theon's story: "Qalen", the maester Theon asks Helya about upon his arrival at Pyke:
"And what of Maester Qalen, where is he?"
Qalen would be pronounced Kalen. Qalen → Kalen → Kale → Kela → Kella. Anyway…

Grisel & The Captain's Daughter

Something similar is going on with Petyr's servant Grisel, the "thin old woman" who was his wet nurse but who "keeps [his] castle now":
"Grisel was my wet nurse, but she keeps my castle now.
Grisel is similarly prefigured by two people from Theon's homecoming, including first the captain's daughter who wants to work in Theon's castle as Grisel works in Petyr's "castle".
Consider first that Grisel, like the captain's daughter, seems slightly stupid (but eager to please), as she fails to grasp Petyr's sarcasm and takes his derisive joke about gulls' eggs and seaweed soup as an order:
"Ah, cold salt mutton. I must be home. When I break my fast on gulls' eggs and seaweed soup, I'll be certain of it."
"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face.
Then there is the captain daughter's resume:
"I'd work in your castle, milord. I can clean fish and bake bread and churn butter. Father says my peppercrab stew is the best he's ever tasted. You could find me a place in your kitchens and I could make you peppercrab stew."
This surely prefigures what we're told about Grisel making a sea-based soup of her own (i.e. the just mentioned "seaweed soup"), baking bread, and churning butter for Petyr:
Grisel reappeared before he could say more, balancing a large platter. She set it down between them. … The old woman had brought a round of bread as well, and a crock of butter.
Grisel climbed up to the bedchamber to serve the lord and lady a tray of morning bread, with butter, honey, fruit, and cream.
Where Grisel used to be Petyr's wet nurse, Theon suckles the captain daughter's nipple as if she's a wet nurse:
Theon's finger circled one heavy teat, spiraling in toward the fat brown nipple. … He took her nipple in his mouth….
"You can put it in me again, if it please you," she whispered in his ear as he sucked.
And finally, where Theon kisses the captain's daughter on the ear—
[Theon] drew the captain's daughter close and kissed her on her ear.
—Littlefinger kisses Grisel on the cheek:
Oswell and Lothor splashed their way ashore, as did Littlefinger himself. He gave the old woman a kiss on the cheek and grinned at the younger one.

Helya & Grisel (& Gretchel)

Grisel also rhymes with and reworks Helya, who keeps Balon's castle:
A bentback old crone in a shapeless grey dress approached him warily. "M'lord, I am sent to show you to chambers."
"And who are you?"
"Helya, who keeps this castle for your lord father."
Get it? "Helya and Grisel", a la "Hansel and Gretel".
(Gretel is a variant of "Greta". "Grisel" sounds like gristle, whereas in Hansel and Gretel the witch is trying to fatten Hansel up — she don't want no stringy meat! Note the thematic symmetry as well: By treating Hansel kindly and feeding him delicious treats, the witch is essentially "grooming" him for her own benefit/consumption, as Theon and Petyr groom the captain's daughter and Sansa, respectively, for their own benefit. Finally, note that "pebbles" are a key motif in Hansel and Gretel, prefiguring the proliferation of "pebbles" on Pyke, the 'rhyming' "pellets" on Petyr's Finger, and the isle of "Pebble" that leads to Petyr's Finger.)
The two "old" castle keepers neatly invert one another. Consider Grisel's comments about the old rushes and fire in Petyr's tower:
"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung."
That's a recursive reversal of Helya's (lack of) preparation for Theon's visit: Where Grisel has a fire going even though she didn't know Petyr was coming, and where she proactively apologizes for not changing the rushes, telling him "we would have laid down fresh rushes… if we knew you were coming", Helya neither lit a fire nor changed the heavily foregrounded "old and brittle" rushes in the rooms Theon is given—
"I'll have a basin of hot water and a fire in this hearth," he told the crone. "See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."
—despite having ample forewarning of his coming:
It was not as though they had no word of his arrival. Robb had sent ravens from Riverrun, and… Jason Mallister had sent his own birds to Pyke….
The joke is underlined by the introduction of "Gretchel" — Gretel with a borrowed H from Helya/Hansel — who fetches washbasins of water (which, see below), "la[ys] a fire in the hearth" and "tend[s] to the fire", brings food and discusses food storage in Petyr's Eyrie in AFFC Sansa I & Alayne I. (In other words, she 'keeps his castle.')

'Rhyming' Interiors

That's just the beginning of the reversals in the many recursions between Theon's lodgings at Pyke and Sansa's in the Drearfort.
Where Helya leads Theon to his rooms on his orders—
"Show me to my chambers, woman," he commanded. Bowing stiffly, [Helya] led him across the headland to the bridge. …
Whenever he'd imagined his homecoming, he had always pictured himself returning to the snug bedchamber in the Sea Tower, where he'd slept as a child. Instead the old woman led him to the Bloody Keep.
—it's Petyr who leads the way into his tower, casually inviting Grisel (and everyone else) to follow him:
"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face. "Come, let's see if my hall is as dreary as I recall." He led them up the strand…
Petyr jokes about his hall being "dreary", and perhaps it is, but while it's "small" and "even smaller" within, his tower is also home to his servants, and hence very well lived-in.
Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs. Above that was a modest hall, and higher still the bedchamber.
(Note that the "mastiff", which we see as Petyr leads Grisel in, recalls Helya bowing "stiffly" before leading Theon to his rooms.)
This sharply reverses the situation Theon finds at Pyke, when he's deposited not in a single room shared by a bunch of people who've lived in it forever and warmed by a hearth with a burning fire, a la Sansa, nor in the "snug bedchamber" in the Sea Tower he'd anticipated (which sounds like Littlefinger's little "tower" by the sea), but in the Bloody Keep, in a whole-ass "suite" of large but "chilly", even "cold" rooms with incredibly high ceilings — rooms which haven't even been opened, much less lived-in, for "years", and which are the very definition of "dreary":
The halls here were larger and better furnished, if no less cold nor damp. Theon was given a suite of chilly rooms with ceilings so high that they were lost in gloom. [Omitted but see below.]
[Omitted but see below.] It was not fear of ghosts that made him glance about with distaste. The wall hangings were green with mildew, the mattress musty-smelling and sagging, the rushes old and brittle. Years had come and gone since these chambers had last been opened. The damp went bone deep. "I'll have a basin of hot water and a fire in this hearth," he told the crone. See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."
A ton of the motifs here (including the omitted stuff, which I'll return to) get recycled and reworked in Petyr's tower.
Most obviously, Theon's request for hot water prefigures Sansa's request for a hot bath:
"Might I have a hot bath as well?" asked Sansa.
"I'll have Kella draw some water, m'lady."
Note that Kella fulfills the request, not Grisel. This 'fits', as it's not Helya who brings Theon's water, but "two thralls".
Note also that Sansa requests her bath after thinking…
She desperately needed a bath and a change of clothes.
…whereas Theon changes his clothes immediately after the quoted passages.
Slightly less obviously, the "wall hangings [that] were green with mildew" are reworked by Petyr's own green 'wall hanging': his grandfather's shield, which is painted with a "light green field" and which "hung… above the hearth". The "mildew" is reworked by the fact that the paint is "cracked and flaking" i.e. flawed. And maybe also by the "light green field", since a field grows crops which get milled and which get dewy.

Brittle Bryen's Brigantine, Brindled Mastiff, & Old Blind Dog

As mentioned, the motif of unchanged rushes from Theon's homecoming recurs when Petyr comes home. But Petyr's homecoming also lexically riffs on Theon's rushes being quote-unquote "old and brittle" by giving us Bryen in "brigantine" who is very "old" but not, seemingly, brittle, as he still walks watches, not with his "old blind dog", but with a "brindled mastiff":
"It is good to have you home, my lord," said one old man. He looked to be at least eighty, but he wore a studded brigantine and a longsword at his side. …
"Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord. You said you'd be getting some more men too, but you never did. Me and the dogs stand all the watches."
Sansa found Bryen's old blind dog in her little alcove beneath the steps…
The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.
Is the brindled dog a "mastiff" 'only' a wink at Theon going mast-stiff for Asha? (See Part 4.) Maybe. But it's worth mentioning that when Theon is first being stirred by Pyke's banner and it's being battered about like the shield we see in the Drearfort three sentences after the mastiff, it's also (a) flying from a very stiff "mast" and (b) juxtaposed with a very large 'dog' of sorts:
The banner streamed from an iron mast, shivering and twisting as the wind gusted like a bird struggling to take flight. And here at least the direwolf of Stark did not fly above, casting its shadow down upon the Greyjoy kraken.

Musty Old Mattresses

The old, "musty-smelling and sagging" mattress (in the chamber that has just been re-opened after long periods of being closed and uninhabited) from Theon's homecoming is answered in Petyr's homecomiong by Lysa, who arrives a few pages later in the chapter, eager to finally have sex again with Petyr. "Mattress" is slang for a sexually available woman (https://www.urbandictionary.com/define.php?term=mattress) and Lysa sags—
Lady Lysa was two years younger than Mother, but this woman looked ten years older. Thick auburn tresses fell down past her waist, but beneath the costly velvet gown and jeweled bodice her body sagged and bulged.
—and smells stale. (Note that Lysa is on a mattress here.)
Her aunt was drenched in sweet scent, though under that was a sour milky smell. Her cheek tasted of paint and powder.
Lysa's "cheek tast[ing] of paint and powder" riffs on the line about Theon's "distaste" and "fear of ghosts":
It was not fear of ghosts that made him glance about with distaste.
The distaste wordplay is obvious: Lysa tastes bad. As for the "fear of ghosts", Lysa (whom Sansa fears) being covered in "powder" reminds us of Sansa being afraid of a "spirit" covered in powdery flour:
When the spirit stepped out of the open tomb, pale white and moaning for blood, Sansa ran shrieking for the stairs…. Arya stood her ground and gave the spirit a punch. It was only Jon, covered with flour. (AGOT Arya IV)
This line—
The halls here were larger and better furnished, if no less cold nor damp.
—is reworked by Lysa as well, who is big and well-dressed ("better furnished", so to speak)—
[B]eneath the costly velvet gown and jeweled bodice her body sagged and bulged. Her face was pink and painted, her breasts heavy, her limbs thick. She was taller than Littlefinger, and heavier; nor did she show any grace in the clumsy way she climbed down off her horse.
—but cold to Sansa and horny/wet/"damp" for Petyr.
Given that Theon's rooms are in several ways like Lysa (newly 'open for business' after a long period of being closed and untouched by men, etc.), and pronouncing aunt like antler, we also might say that where the Lysa-like rooms are "cold" and "damp", Lysa herself is Sansa's "cold" aunt. Rhyming 'rhyming'.
That "years had come and gone since" the room with the Lysa-like mattress "had last been opened" is reworked not just by Lysa getting laid, but textually when Sansa is told Lysa is coming to the Drearfort (where she is 're-opened', so to speak):
It had been years since Sansa last saw her mother's sister…"
I wonder whether Lysa crying and speaking to Sansa of being "bound by blood" to her—
Tears welled suddenly in Lady Lysa's eyes. "We are women alone now, you and I. Are you afraid, child? Be brave. I would never turn away Cat's daughter. We are bound by blood."
—might not be in part a play on the fact that "the damp went bone deep" in the Bloody Keep. By saying that, Sansa's damp (i.e. crying) aunt "went bone deep", so to speak. (If you're "bound by blood" to someone, you have a "bone deep" bond with them. Also, bone → bound wordplay?)

Braziers → Bracing?

Did Theon's attempt to drive away "the chill" and damp of the salty sea air of Pyke using "braziers"—
See that they light braziers in the other rooms to drive out some of the chill.
—inform (via wordplay: braziers → bracing) Petyr's line when the Merling King pulls up to the Drearfort?
Lord Petyr came up beside her, cheerful as ever. "Good morrow. The salt air is bracing, don't you think? It always sharpens my appetite."
And/or is that "sharpening" motif a recursion of Theon sharpening his dirk immediately after said braziers are lit?
After some time, they brought the hot water he had asked for. … While two thralls lit his braziers, Theon stripped off his travel-stained clothing and dressed to meet his father. … He hung a dirk at one hip and a longsword at the other…. Drawing the dirk, he … pulled a whetstone from his belt pouch, and gave it a few licks. He prided himself on keeping his weapons sharp.

Gods Be Good!

The motifs of Theon yelling "gods be good" at his servant and of "ceilings so high that they were lost in gloom" are recursively reworked when Lysa summons Sansa (like a servant) to speak with her the morning after she weds Petyr. Sansa responds to the summons by thinking, verbatim, "gods be good", and is then told they'll be heading to the Eyrie, which we know is "so high you can stand on the parapets and look down on the clouds", i.e. it has parapets 'so high that they were lost in the clouds':
Lady Lysa was still abed [like a good mattress!], but Lord Petyr was up and dressed. "Your aunt wishes to speak with you," he told Sansa, as he pulled on a boot. "I've told her who you are."
Gods be good. "I . . . I thank you, my lord."
Petyr yanked on the other boot. "I've had about as much home as I can stomach. We'll leave for the Eyrie this afternoon."
Seven towers, Ned had told her, like white daggers thrust into the belly of the sky, so high you can stand on the parapets and look down on the clouds. (AGOT Catelyn VI)
The notion of a "ceiling" so high it is lost in gloom is perhaps also reworked by the story Lysa tells Sansa about Petyr's "rise" to power: She says she "always knew how high [Petyr would] rise", and it's my belief that said rise has likely seen him 'lost', spiritually, in 'darkness'. (Note that ceilings are a frequently invoked metaphor when talking about climbing the corporate ladder.)
"Half his teeth were gone, and his breath smelled like bad cheese. I cannot abide a man with foul breath. Petyr's breath is always fresh . . . he was the first man I ever kissed, you know. My father said he was too lowborn, but I knew how high he'd rise. Jon gave him the customs for Gulltown to please me, but when he increased the incomes tenfold my lord husband saw how clever he was and gave him other appointments, even brought him to King's Landing to be master of coin. That was hard, to see him every day and still be wed to that old cold man.
(Recall that the motif of bad/fresh breath there reworks the "winey stench of the old man's [Sylas Sourmouth's] breath", which Theon thinks about roughly ¼ page prior to being shown his suite in the Bloody Keep.)

Butchered Sons & Brothers

Lysa continues to rant:
"Jon did his duty in the bedchamber, but he could no more give me pleasure than he could give me children. His seed was old and weak. All my babies died but Robert, three girls and two boys. All my sweet little babies dead, and that old man just went on and on with his stinking breath. So you see, I have suffered too." Lady Lysa sniffed. "You do know that your poor mother is dead?"
"Tyrion told me," said Sansa. "He said the Freys murdered her at The Twins, with Robb."
Those references to (a) a bunch of dead "babies", including two brothers, one of which was "murdered" when Lysa's father, Hoster Tully, who ruled the Riverlands, betrayed Lysa's trust; and to (b) foul smelling breath, a la Sylas, and finally to (c) the Red Wedding — a bloody betrayal of Sansa's brother, who was King of the Riverlands — particularly (per Sansa saying "Tyrion told me") as it's described by Tyrion
Sansa did not need to hear how her brother's body had been hacked and mutilated, he decided; nor how her mother's corpse had been dumped naked into the Green Fork in a savage mockery of House Tully's funeral customs. (ASOS Tyrion VII)
—are one of the ways ASOS Sansa VI rejiggers the part of Theon's description of his Bloody Keep suite I "[omitted]" earlier, which entails betrayals, murdered brothers, a River King, slaughter, and bodies "hacked to bits".
[Theon] might have been more impressed if he had not known that these were the very chambers that had given the Bloody Keep its name. A thousand years before, the sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.
But Greyjoys were not murdered in Pyke except once in a great while by their brothers, and his brothers were both dead.
Lysa's speech with its reference to her abortion and to the Red Wedding (and to stink-breath like Sylas's) isn't the only (or even the main) way Petyr's homecoming chapter refracts those images from Theon's homecoming, though.
Littlefinger is himself a kind of River King (as Lord Paramount of the Trident), right? And note that we read all about his "slaughtered" "sons" just before he enters the tower, wherein we then see the foul betrayers who murdered their 'brothers'. I'm talking, of course, about his sheep and his sheepdogs:
"How many sheep do I have at present, Kella?"
… "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."
"Ah, cold salt mutton. I must be home.…" … "Come, let's see if my hall is as dreary as I recall." … A handful of sheep were wandering about the base of the flint tower…. …
Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.
Note the kitchen, recalling that the Bloody Keep is paired with the Kitchen Keep as Theon first gazes on Pyke:
Farther out were the Kitchen Keep and the Bloody Keep, each on its own island.
Note, too, that the sheep are coded as Petyr's "sons", in a way (a la the "slaughtered… sons of the River King" Theon remembers in his Bloody Tower rooms), and not just because he owns them. He says that Kella has lots of bastards and that she minds his sheep, right? And what else does he say of Kella, in jest? That she 'is' the "mother" of his "daughter," "Alayne Stone":
"Alayne . . . Stone, would it be?" When he nodded, she said, "But who is my mother?"
"Kella?"
"Please no," she said, mortified.
"I was teasing.
The joke foregrounds the notion of Petyr as the father of Kella's children. And while she supposedly has a bunch of bastards, we don't see them. We just see the one girl with the livestock-evoking eye with a sty. It's almost like the sheep she looks after are her children. And thus like Petyr is their father.
(Note the word "mortified". This points straight back to Theon in his Bloody Tower for two reasons: First, greyscale, which mortifies the flesh, killed Balon's brother Harlon, who died "in a windowless tower room" at Pyke. Second: Theon will, in his next chapter, be truly mortified by the realization that "Esgred" is his sister Asha, where that masquerade in turn prefigures Sansa masquerading as Alayne.)
So the "cold" Bloody Keep with its partner the Kitchen Keep and its story of a "slaughter", betrayal, brother killing brother, a River King's sons' bodies "hacked to bits in their beds" — all these motifs are reworked by Kella's account of one of Lord Paramount Petyr's sheep-'sons' being killed by its lexicial 'brothers', the very "sheep-dogs" who were supposed to guard it, and of other sheep-'sons' being verbatim "butchered", i.e. slaughtered on a killing bed and in the process surely hacked into pieces that were then preserved against spoilage for future consumption, such that the resulting "cold salt mutton" could be used as travel rations. Which jibes with Theon's language, creatively interpreted:
[T]he sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.
(They were slaughtered and hacked to bits only so as to properly preserve them against spoilage during their upcoming journey "back to their father on the mainland", you see!)

Theon's Honor Guard

The conditions in Theon's rooms are consistent with the cold welcome he receives, both from Aeron—
The priest's manner was chilly, most unlike the man Theon remembered.
—and Balon—
Theon pulled off his gloves. "… Why is my father not here to greet me?"
"He awaits you in the Sea Tower, m'lord. When you are rested from your trip."
And I thought Ned Stark cold.
—and they're thus part of a broad yin/yang 'rhyme' with Petyr's initial homecoming, which is warm and welcoming and full of familiar faces, whereas Theon knows no one, such that he thinks:
It is as if I were a stranger here….
The reversal is wryly underlined when Petyr is greeted at the shore by his "captain of the guards", Bryen:
"It is good to have you home, my lord," said one old man.
Thus Petyr ironically gets the "honor guard" welcome Theon hoped he'd get on his arrival 'home':
[Theon] saw… no honor guard waiting to escort him from Lordsport to Pyke, only smallfolk going about their small business.
Notice that where no one stops what they're doing for Theon, everyone stops when Petyr arrives. And of course, everyone in his household recognizes him, whereas no one recognizes Theon. Which is telling, because in a deep sense, that's all Theon really wants, deep down: a little recognition.
Littlefinger has it… but it's not enough.

(SUB)SERIES CONCLUDES IN PART 10: Oswell & Aeron; Lothar & Dagmer; The Closing Twist

submitted by M_Tootles to asoiaf [link] [comments]


2023.05.31 19:20 M_Tootles "Cargos, Slatterns & Butchery" with Helya & Grisel. (Spoilers TWOW)

This post is part of a series looking at the massive amount of 'rhyming' (and occasionally rhyming) recursivity I believe exists between (a) the homecoming of Petyr Baelish to the Fingers and (b) the homecoming of Theon Greyjoy to Pyke.
While this series/post can be read simply as a study 'for its own sake' of the curious recursion between these storylines, it is my belief that the 'rhyming' explored here between the stories of Petyr and Theon exists (at least in part) to foreshadow that, like Theon, Petyr Littlefinger, is (among other things) a scion of ironborn kings, because Petyr is Hoare-ish: I.e. because Petyr's blood is (in some part) the blood of the ironborn kings of House Hoare of Orkmont and, later, Harrenhal.
You can find an index of every post I've made on the topic of a Hoare-ish Littlefinger (including every post in this sub-series) [HERE].
Even if I'm wrong about Littlefinger's lineage, the 'rhyming' recursivity between the homecomings of Theon and Petyr detailed in this series remains, and certainly merits attention.
NOTE: In what follows, all uncited quotes are from ASOS Sansa VI, which describes Petyr's homecoming to his "Drearfort" tower of the 'Smallest Finger', or ACOK Theon I, which describes Theon's homecoming to "drear" Pyke.
As in past posts, I sometimes use "→" as shorthand for "'prefigures' and/or 'informs' and/or 'is reworked by' and/or 'finds a recursive rhyme in'.
As in: ACOK Theon I ASOS Sansa VI.
This post picks up straight-away from where Part 8 left off. You can read Part 8 [HERE].
If you want to begin at the beginning, Part 1 is [HERE].

The Myraham's Prophetic Cargo

After Theon makes port, the captain of the Myraham announces his cargo to the people on the docks of Lordport and we read about the offloading of the Myraham:
"We're out of Oldtown," the captain called down, "bearing apples and oranges, wines from the Arbor, feathers from the Summer Isles. I have pepper, woven leathers, a bolt of Myrish lace, mirrors for milady, a pair of Oldtown woodharps sweet as any you ever heard." The gangplank descended with a creak and a thud. "And I've brought your heir back to you."
Most of what we read there seems to be reworked in and around Littlefinger's homecoming in ASOS Sansa VI, when the Merling King brings the Dreadfort its heir, Littlefinger, as well as the seeming heir to Winterfell, Sansa. This begins with the Arbor wine and fruit we see off-loaded from the Merling King:
Oswell made two more trips out to the Merling King to offload provisions. Among the loads he brought ashore were several casks of wine. Petyr poured Sansa a cup, as promised. …
… The wine was very fine; an Arbor vintage, she thought. It tasted of oak and fruit and hot summer nights, the flavors blossoming in her mouth like flowers opening to the sun. She only prayed that she could keep it down. Lord Petyr was being so kind, she did not want to spoil it all by retching on him.
… "Grisel," he called to the old woman, "bring some food up. … Oswell's brought some oranges and pomegranates from the King." …
Grisel reappeared…, balancing a large platter. … There were apples and pears and pomegranates, some sad-looking grapes, a huge blood orange.
Besides the straight repetition of Arbor wine, oranges, apples, and heirs, the repeated Oldtown motif is baldly reworked by Sansa's description of the wine, which is patently Oldtown-summer-esque, per the only substantive pre-AFFC description of Oldtown, which associates it with hot, fruity summer nights:
"King Maekar's summer was hotter than this one, and near as long. … [T]he heat was fierce while it lasted. Oldtown… came alive only by night. … I remember the smells of those nights, my lord—perfume and sweat, melons ripe to bursting, peaches and pomegranates, nightshade and moonbloom." (AGOT Eddard V)
The Myraham's "mirrors for milady" prefigure Sansa being figuratively groomed by Petyr and literally grooming herself in Petyr's Eyrie after he takes over:
When Gretchel fetched her Lysa's silvered looking glass, the color seemed just perfect with Alayne's mass of dark brown hair. (AFFC Alayne I)
The Myraham's "woodharps sweet as any you ever heard" presage Sansa being attacked by Marillion, whose "voice was strong and sweet", (AFFC Sansa I) after he sings a song (about blowjobs?) called "Milady's Supper" (supper a la the Myraham-ish fruit Sansa eats for supper when she lands) during Petyr's wedding bedding:
Lady Lysa's singer launched into a bawdy version of "Milady's Supper"….
The Myraham's "woven leathers" and "Myrish lace" are reworked into the "laces unlaced" i.e. unwoven during said wedding:
By the time they had gotten him into the tower and out of his clothes, the other women were flushed, with laces unlaced, kirtles crooked, and skirts in disarray.
That it's a "bolt of Myrish lace" is interesting: After Sansa boards the Merling King, she sees a singular "bolt" from a crossbow strike Dontos, and then two more:
Lothor Brune dipped his torch. Three men stepped to the gunwale, raised crossbows, fired. One bolt took Dontos in the chest as he looked up…. The others ripped into throat and belly. (ASOS Sansa V)
Three crossbow bolts? What does that remind us if not… a Myrish crossbow:
"The king is playing with his new crossbow," Tyrion said. Ridding himself of Joffrey had required only an ungainly Myrish crossbow that threw three quarrels at a time…. (ACOK Tyrion VI)
What about the Myraham's "pepper"? I suspect this gets box-checked first by Sansa trying not to "retch" as she is off-loaded along with the wine with which Littlefinger tries to settle her tummy, as just two chapters later peppers are tightly linked to "retching" of the sort Sansa feels like doing:
[Tyrion] found himself on his knees retching… that double helping of fried eggs cooked up with onions and fiery Dornish peppers. (ASOS Tyrion X)
GRRM seems to play off the "pepper" motif in other ways, as well. Consider that the gathering to meet the Myraham and the shouted questions that prompt her captain to announce her cargo—
A handful of Lordsport merchants had gathered to meet the ship. They shouted questions as the Myraham was tying up.
—get reworked by Petyr's household all gathering "to meet" the Merling King and by their peppering one another with questions:
Servants emerged from the tower to meet them; a thin old woman and a fat middle-aged one, two ancient white-haired men, and a girl of two or three with a sty on one eye. When they recognized Lord Petyr they knelt on the rocks. "My household," he said. "I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."
She's a "popper", then, in case we didn't catch that retching → peppers. (This also reworks Theon "popping one off" with the captain's daughter, who is in many ways reworked by Kella, as will be discussed below.)
… [Petyr]… gave the old woman a kiss on the cheek and grinned at the younger one. "Who fathered this one, Kella?"
The fat woman laughed. "I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."
"It is good to have you home, my lord," said one old man. … "How long will you be in residence?"
"As short a time as possible, Bryen, have no fear. Is the place habitable just now, would you say?"
"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung." Petyr turned to Sansa. "Grisel was my wet nurse, but she keeps my castle now. Umfred's my steward, and Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord.…"
… Petyr gestured toward the fat woman. "Kella minds my vast herds. How many sheep do I have at present, Kella?"
A gathering, and questions, questions, questions, as when Theon docks.
Recall that Bryen and Umfred come from shore to offload Sansa (who's just been promised a cup of wine to help with her upset "tummy") from the Merling King's rowboat:
The two old men waded out up to their thighs to lift Sansa from the boat so she would not get her skirts wet.
This reworks the "shorehands… off-loading… casks of wine" from a Tyroshi trader docked with the Myraham
[Theon] spied a Tyroshi trading galley off-loading
Shorehands rolled casks of wine off the Tyroshi trader, fisherfolk cried the day's catch, children ran and played. A priest in the seawater robes of the Drowned God was leading a pair of horses along the pebbled shore, while above him a slattern leaned out a window in the inn, calling out to some passing Ibbenese sailors.
—which itself prefigures the above-quoted off-loading of the Merling King (when "Oswell made two more trips out to the Merling King to offload provisions" including "several casks of wine", from which Petyr immediately "poured Sansa a cup, as promised").

Kella & The Slattern

What about that "slattern lean[ing] out a window" to greet "some passing… sailors" while "children ran and played"? I submit that she is one of several motifs from Theon's homecoming prefiguring Petyr's servant Kella. I'll explain.
Consider that Petyr's servant Kella has many bastards i.e. children, popping one out every few years:
"I don't know the child. Another of Kella's bastards, I suppose. She pops one out every few years."
We only see one; presumably the others are off somewhere, running and playing, perhaps.
Kella happily greets Petyr as he comes ashore, much as Lordsport's slattern "call[s] out to some passing Ibbenese sailors". Note that the sailors on the Merling King are likewise 'passing' — passing through:
"From here the King turns east for Braavos. Without us."
Consider most of all that Kella's something of a slattern herself: She's "not one for telling them no".
"I can't rightly say, m'lord. I'm not one for telling them no."
"And all the local lads are grateful, I am quite sure."
Indeed, something Lysa says pretty clearly codes Kella as a verbatim "slattern", underlining the recursion:
"How would you like to spend your life on that bleak shore, surrounded by slatterns and sheep pellets?" (ASOS Sansa VII)
So I think the vignette with the slattern and the children in Lordsport pretty plainly prefigures Kella. But I think she's prefigured by two more pieces of Theon's homecoming.

Kella & The Captain's Daughter

Keeping in mind that Kella has a bunch of bastards ("she pops one out every few years) and that she's "not one for telling them no", consider also that she is (a) literally 'with child' — or rather, with a child—
a girl of two or three with a sty on one eye
—that she's (b) "fat"—
"Who fathered this one, Kella?"
The fat woman laughed.
—and that she's (c) coded as a bit stupid:
"Kella minds my vast herds. How many sheep do I have at present, Kella?"
She had to think a moment. "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."
All like Theon's "captain's daughter".
The captain's daughter is "plump", as Kella is "fat":
The girl was a shade plump for his taste…
She is likely pregnant with Theon's bastard, a la Kella the bastard-popper.
She tells Theon…
"You can put it in me again, if it please you…"
…and accedes to his request for a blowjob, so she's "not one for telling them no."
She thereby helps Theon 'pop one off', a la Kella "pop[ping] one out".
Like Kella, she seems a bit stupid:
She looked rather stupid when she smiled, but he had never required a woman to be clever.
The stupid girl did not seem to be listening.
She… learned quickly for such a stupid girl….
She looked at him stupidly, so he left her there.
And finally, she offers to work in Theon's castle
I'd work in your castle, milord.
just as Kella works for Petyr.

Kella: The Spreading Patch of the Smallest Finger?

Besides the "slattern" and the captain's daughter, I suspect Kella may also riff on — of all things — the "spreading patches" of "lichen" on "wet" Pyke as Theon sails by:
[Pyke was] wet by the same salt waves, festooned with the same spreading patches of dark green lichen, speckled by the droppings of the same seabirds.
Get it? A spreading 'patch'? In combination with "lichen" a la "licking" and Pyke being "wet"? And not just wet, but "wet by… salt waves", when as we know from the captain's daughter, semen tastes "salty", "like the sea". It's like Pyke is being described as a turned-on "slattern" with her legs spread.
A Hoare, we might say.
This connects to Kella, specifically because of her name: Kella is a near anagram for "kale", a dark green plant, like the "dark green lichen".
Actually, the name Kella may have anothere precursor in Theon's story: "Qalen", the maester Theon asks Helya about upon his arrival at Pyke:
"And what of Maester Qalen, where is he?"
Qalen would be pronounced Kalen. Qalen → Kalen → Kale → Kela → Kella. Anyway…

Grisel & The Captain's Daughter

Something similar is going on with Petyr's servant Grisel, the "thin old woman" who was his wet nurse but who "keeps [his] castle now":
"Grisel was my wet nurse, but she keeps my castle now.
Grisel is similarly prefigured by two people from Theon's homecoming, including first the captain's daughter who wants to work in Theon's castle as Grisel works in Petyr's "castle".
Consider first that Grisel, like the captain's daughter, seems slightly stupid (but eager to please), as she fails to grasp Petyr's sarcasm and takes his derisive joke about gulls' eggs and seaweed soup as an order:
"Ah, cold salt mutton. I must be home. When I break my fast on gulls' eggs and seaweed soup, I'll be certain of it."
"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face.
Then there is the captain daughter's resume:
"I'd work in your castle, milord. I can clean fish and bake bread and churn butter. Father says my peppercrab stew is the best he's ever tasted. You could find me a place in your kitchens and I could make you peppercrab stew."
This surely prefigures what we're told about Grisel making a sea-based soup of her own (i.e. the just mentioned "seaweed soup"), baking bread, and churning butter for Petyr:
Grisel reappeared before he could say more, balancing a large platter. She set it down between them. … The old woman had brought a round of bread as well, and a crock of butter.
Grisel climbed up to the bedchamber to serve the lord and lady a tray of morning bread, with butter, honey, fruit, and cream.
Where Grisel used to be Petyr's wet nurse, Theon suckles the captain daughter's nipple as if she's a wet nurse:
Theon's finger circled one heavy teat, spiraling in toward the fat brown nipple. … He took her nipple in his mouth….
"You can put it in me again, if it please you," she whispered in his ear as he sucked.
And finally, where Theon kisses the captain's daughter on the ear—
[Theon] drew the captain's daughter close and kissed her on her ear.
—Littlefinger kisses Grisel on the cheek:
Oswell and Lothor splashed their way ashore, as did Littlefinger himself. He gave the old woman a kiss on the cheek and grinned at the younger one.

Helya & Grisel (& Gretchel)

Grisel also rhymes with and reworks Helya, who keeps Balon's castle:
A bentback old crone in a shapeless grey dress approached him warily. "M'lord, I am sent to show you to chambers."
"And who are you?"
"Helya, who keeps this castle for your lord father."
Get it? "Helya and Grisel", a la "Hansel and Gretel".
(Gretel is a variant of "Greta". "Grisel" sounds like gristle, whereas in Hansel and Gretel the witch is trying to fatten Hansel up — she don't want no stringy meat! Note the thematic symmetry as well: By treating Hansel kindly and feeding him delicious treats, the witch is essentially "grooming" him for her own benefit/consumption, as Theon and Petyr groom the captain's daughter and Sansa, respectively, for their own benefit. Finally, note that "pebbles" are a key motif in Hansel and Gretel, prefiguring the proliferation of "pebbles" on Pyke, the 'rhyming' "pellets" on Petyr's Finger, and the isle of "Pebble" that leads to Petyr's Finger.)
The two "old" castle keepers neatly invert one another. Consider Grisel's comments about the old rushes and fire in Petyr's tower:
"If we knew you was coming we would have laid down fresh rushes, m'lord," said the crone. "There's a dung fire burning."
"Nothing says home like the smell of burning dung."
That's a recursive reversal of Helya's (lack of) preparation for Theon's visit: Where Grisel has a fire going even though she didn't know Petyr was coming, and where she proactively apologizes for not changing the rushes, telling him "we would have laid down fresh rushes… if we knew you were coming", Helya neither lit a fire nor changed the heavily foregrounded "old and brittle" rushes in the rooms Theon is given—
"I'll have a basin of hot water and a fire in this hearth," he told the crone. "See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."
—despite having ample forewarning of his coming:
It was not as though they had no word of his arrival. Robb had sent ravens from Riverrun, and… Jason Mallister had sent his own birds to Pyke….
The joke is underlined by the introduction of "Gretchel" — Gretel with a borrowed H from Helya/Hansel — who fetches washbasins of water (which, see below), "la[ys] a fire in the hearth" and "tend[s] to the fire", brings food and discusses food storage in Petyr's Eyrie in AFFC Sansa I & Alayne I. (In other words, she 'keeps his castle.')

'Rhyming' Interiors

That's just the beginning of the reversals in the many recursions between Theon's lodgings at Pyke and Sansa's in the Drearfort.
Where Helya leads Theon to his rooms on his orders—
"Show me to my chambers, woman," he commanded. Bowing stiffly, [Helya] led him across the headland to the bridge. …
Whenever he'd imagined his homecoming, he had always pictured himself returning to the snug bedchamber in the Sea Tower, where he'd slept as a child. Instead the old woman led him to the Bloody Keep.
—it's Petyr who leads the way into his tower, casually inviting Grisel (and everyone else) to follow him:
"If you like, m'lord," said the old woman Grisel.
Lord Petyr made a face. "Come, let's see if my hall is as dreary as I recall." He led them up the strand…
Petyr jokes about his hall being "dreary", and perhaps it is, but while it's "small" and "even smaller" within, his tower is also home to his servants, and hence very well lived-in.
Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs. Above that was a modest hall, and higher still the bedchamber.
(Note that the "mastiff", which we see as Petyr leads Grisel in, recalls Helya bowing "stiffly" before leading Theon to his rooms.)
This sharply reverses the situation Theon finds at Pyke, when he's deposited not in a single room shared by a bunch of people who've lived in it forever and warmed by a hearth with a burning fire, a la Sansa, nor in the "snug bedchamber" in the Sea Tower he'd anticipated (which sounds like Littlefinger's little "tower" by the sea), but in the Bloody Keep, in a whole-ass "suite" of large but "chilly", even "cold" rooms with incredibly high ceilings — rooms which haven't even been opened, much less lived-in, for "years", and which are the very definition of "dreary":
The halls here were larger and better furnished, if no less cold nor damp. Theon was given a suite of chilly rooms with ceilings so high that they were lost in gloom. [Omitted but see below.]
[Omitted but see below.] It was not fear of ghosts that made him glance about with distaste. The wall hangings were green with mildew, the mattress musty-smelling and sagging, the rushes old and brittle. Years had come and gone since these chambers had last been opened. The damp went bone deep. "I'll have a basin of hot water and a fire in this hearth," he told the crone. See that they light braziers in the other rooms to drive out some of the chill. And gods be good, get someone in here at once to change these rushes."
A ton of the motifs here (including the omitted stuff, which I'll return to) get recycled and reworked in Petyr's tower.
Most obviously, Theon's request for hot water prefigures Sansa's request for a hot bath:
"Might I have a hot bath as well?" asked Sansa.
"I'll have Kella draw some water, m'lady."
Note that Kella fulfills the request, not Grisel. This 'fits', as it's not Helya who brings Theon's water, but "two thralls".
Note also that Sansa requests her bath after thinking…
She desperately needed a bath and a change of clothes.
…whereas Theon changes his clothes immediately after the quoted passages.
Slightly less obviously, the "wall hangings [that] were green with mildew" are reworked by Petyr's own green 'wall hanging': his grandfather's shield, which is painted with a "light green field" and which "hung… above the hearth". The "mildew" is reworked by the fact that the paint is "cracked and flaking" i.e. flawed. And maybe also by the "light green field", since a field grows crops which get milled and which get dewy.

Brittle Bryen's Brigantine, Brindled Mastiff, & Old Blind Dog

As mentioned, the motif of unchanged rushes from Theon's homecoming recurs when Petyr comes home. But Petyr's homecoming also lexically riffs on Theon's rushes being quote-unquote "old and brittle" by giving us Bryen in "brigantine" who is very "old" but not, seemingly, brittle, as he still walks watches, not with his "old blind dog", but with a "brindled mastiff":
"It is good to have you home, my lord," said one old man. He looked to be at least eighty, but he wore a studded brigantine and a longsword at his side. …
"Bryen—didn't I name you captain of the guard the last time I was here?"
"You did, my lord. You said you'd be getting some more men too, but you never did. Me and the dogs stand all the watches."
Sansa found Bryen's old blind dog in her little alcove beneath the steps…
The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.
Is the brindled dog a "mastiff" 'only' a wink at Theon going mast-stiff for Asha? (See Part 4.) Maybe. But it's worth mentioning that when Theon is first being stirred by Pyke's banner and it's being battered about like the shield we see in the Drearfort three sentences after the mastiff, it's also (a) flying from a very stiff "mast" and (b) juxtaposed with a very large 'dog' of sorts:
The banner streamed from an iron mast, shivering and twisting as the wind gusted like a bird struggling to take flight. And here at least the direwolf of Stark did not fly above, casting its shadow down upon the Greyjoy kraken.

Musty Old Mattresses

The old, "musty-smelling and sagging" mattress (in the chamber that has just been re-opened after long periods of being closed and uninhabited) from Theon's homecoming is answered in Petyr's homecomiong by Lysa, who arrives a few pages later in the chapter, eager to finally have sex again with Petyr. "Mattress" is slang for a sexually available woman (https://www.urbandictionary.com/define.php?term=mattress) and Lysa sags—
Lady Lysa was two years younger than Mother, but this woman looked ten years older. Thick auburn tresses fell down past her waist, but beneath the costly velvet gown and jeweled bodice her body sagged and bulged.
—and smells stale. (Note that Lysa is on a mattress here.)
Her aunt was drenched in sweet scent, though under that was a sour milky smell. Her cheek tasted of paint and powder.
Lysa's "cheek tast[ing] of paint and powder" riffs on the line about Theon's "distaste" and "fear of ghosts":
It was not fear of ghosts that made him glance about with distaste.
The distaste wordplay is obvious: Lysa tastes bad. As for the "fear of ghosts", Lysa (whom Sansa fears) being covered in "powder" reminds us of Sansa being afraid of a "spirit" covered in powdery flour:
When the spirit stepped out of the open tomb, pale white and moaning for blood, Sansa ran shrieking for the stairs…. Arya stood her ground and gave the spirit a punch. It was only Jon, covered with flour. (AGOT Arya IV)
This line—
The halls here were larger and better furnished, if no less cold nor damp.
—is reworked by Lysa as well, who is big and well-dressed ("better furnished", so to speak)—
[B]eneath the costly velvet gown and jeweled bodice her body sagged and bulged. Her face was pink and painted, her breasts heavy, her limbs thick. She was taller than Littlefinger, and heavier; nor did she show any grace in the clumsy way she climbed down off her horse.
—but cold to Sansa and horny/wet/"damp" for Petyr.
Given that Theon's rooms are in several ways like Lysa (newly 'open for business' after a long period of being closed and untouched by men, etc.), and pronouncing aunt like antler, we also might say that where the Lysa-like rooms are "cold" and "damp", Lysa herself is Sansa's "cold" aunt. Rhyming 'rhyming'.
That "years had come and gone since" the room with the Lysa-like mattress "had last been opened" is reworked not just by Lysa getting laid, but textually when Sansa is told Lysa is coming to the Drearfort (where she is 're-opened', so to speak):
It had been years since Sansa last saw her mother's sister…"
I wonder whether Lysa crying and speaking to Sansa of being "bound by blood" to her—
Tears welled suddenly in Lady Lysa's eyes. "We are women alone now, you and I. Are you afraid, child? Be brave. I would never turn away Cat's daughter. We are bound by blood."
—might not be in part a play on the fact that "the damp went bone deep" in the Bloody Keep. By saying that, Sansa's damp (i.e. crying) aunt "went bone deep", so to speak. (If you're "bound by blood" to someone, you have a "bone deep" bond with them. Also, bone → bound wordplay?)

Braziers → Bracing?

Did Theon's attempt to drive away "the chill" and damp of the salty sea air of Pyke using "braziers"—
See that they light braziers in the other rooms to drive out some of the chill.
—inform (via wordplay: braziers → bracing) Petyr's line when the Merling King pulls up to the Drearfort?
Lord Petyr came up beside her, cheerful as ever. "Good morrow. The salt air is bracing, don't you think? It always sharpens my appetite."
And/or is that "sharpening" motif a recursion of Theon sharpening his dirk immediately after said braziers are lit?
After some time, they brought the hot water he had asked for. … While two thralls lit his braziers, Theon stripped off his travel-stained clothing and dressed to meet his father. … He hung a dirk at one hip and a longsword at the other…. Drawing the dirk, he … pulled a whetstone from his belt pouch, and gave it a few licks. He prided himself on keeping his weapons sharp.

Gods Be Good!

The motifs of Theon yelling "gods be good" at his servant and of "ceilings so high that they were lost in gloom" are recursively reworked when Lysa summons Sansa (like a servant) to speak with her the morning after she weds Petyr. Sansa responds to the summons by thinking, verbatim, "gods be good", and is then told they'll be heading to the Eyrie, which we know is "so high you can stand on the parapets and look down on the clouds", i.e. it has parapets 'so high that they were lost in the clouds':
Lady Lysa was still abed [like a good mattress!], but Lord Petyr was up and dressed. "Your aunt wishes to speak with you," he told Sansa, as he pulled on a boot. "I've told her who you are."
Gods be good. "I . . . I thank you, my lord."
Petyr yanked on the other boot. "I've had about as much home as I can stomach. We'll leave for the Eyrie this afternoon."
Seven towers, Ned had told her, like white daggers thrust into the belly of the sky, so high you can stand on the parapets and look down on the clouds. (AGOT Catelyn VI)
The notion of a "ceiling" so high it is lost in gloom is perhaps also reworked by the story Lysa tells Sansa about Petyr's "rise" to power: She says she "always knew how high [Petyr would] rise", and it's my belief that said rise has likely seen him 'lost', spiritually, in 'darkness'. (Note that ceilings are a frequently invoked metaphor when talking about climbing the corporate ladder.)
"Half his teeth were gone, and his breath smelled like bad cheese. I cannot abide a man with foul breath. Petyr's breath is always fresh . . . he was the first man I ever kissed, you know. My father said he was too lowborn, but I knew how high he'd rise. Jon gave him the customs for Gulltown to please me, but when he increased the incomes tenfold my lord husband saw how clever he was and gave him other appointments, even brought him to King's Landing to be master of coin. That was hard, to see him every day and still be wed to that old cold man.
(Recall that the motif of bad/fresh breath there reworks the "winey stench of the old man's [Sylas Sourmouth's] breath", which Theon thinks about roughly ¼ page prior to being shown his suite in the Bloody Keep.)

Butchered Sons & Brothers

Lysa continues to rant:
"Jon did his duty in the bedchamber, but he could no more give me pleasure than he could give me children. His seed was old and weak. All my babies died but Robert, three girls and two boys. All my sweet little babies dead, and that old man just went on and on with his stinking breath. So you see, I have suffered too." Lady Lysa sniffed. "You do know that your poor mother is dead?"
"Tyrion told me," said Sansa. "He said the Freys murdered her at The Twins, with Robb."
Those references to (a) a bunch of dead "babies", including two brothers, one of which was "murdered" when Lysa's father, Hoster Tully, who ruled the Riverlands, betrayed Lysa's trust; and to (b) foul smelling breath, a la Sylas, and finally to (c) the Red Wedding — a bloody betrayal of Sansa's brother, who was King of the Riverlands — particularly (per Sansa saying "Tyrion told me") as it's described by Tyrion
Sansa did not need to hear how her brother's body had been hacked and mutilated, he decided; nor how her mother's corpse had been dumped naked into the Green Fork in a savage mockery of House Tully's funeral customs. (ASOS Tyrion VII)
—are one of the ways ASOS Sansa VI rejiggers the part of Theon's description of his Bloody Keep suite I "[omitted]" earlier, which entails betrayals, murdered brothers, a River King, slaughter, and bodies "hacked to bits".
[Theon] might have been more impressed if he had not known that these were the very chambers that had given the Bloody Keep its name. A thousand years before, the sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.
But Greyjoys were not murdered in Pyke except once in a great while by their brothers, and his brothers were both dead.
Lysa's speech with its reference to her abortion and to the Red Wedding (and to stink-breath like Sylas's) isn't the only (or even the main) way Petyr's homecoming chapter refracts those images from Theon's homecoming, though.
Littlefinger is himself a kind of River King (as Lord Paramount of the Trident), right? And note that we read all about his "slaughtered" "sons" just before he enters the tower, wherein we then see the foul betrayers who murdered their 'brothers'. I'm talking, of course, about his sheep and his sheepdogs:
"How many sheep do I have at present, Kella?"
… "Three and twenty, m'lord. There was nine and twenty, but Bryen's dogs killed one and we butchered some others and salted down the meat."
"Ah, cold salt mutton. I must be home.…" … "Come, let's see if my hall is as dreary as I recall." … A handful of sheep were wandering about the base of the flint tower…. …
Within, the tower seemed even smaller. An open stone stair wound round the inside wall, from undercroft to roof. Each floor was but a single room. The servants lived and slept in the kitchen at ground level, sharing the space with a huge brindled mastiff and a half-dozen sheep-dogs.
Note the kitchen, recalling that the Bloody Keep is paired with the Kitchen Keep as Theon first gazes on Pyke:
Farther out were the Kitchen Keep and the Bloody Keep, each on its own island.
Note, too, that the sheep are coded as Petyr's "sons", in a way (a la the "slaughtered… sons of the River King" Theon remembers in his Bloody Tower rooms), and not just because he owns them. He says that Kella has lots of bastards and that she minds his sheep, right? And what else does he say of Kella, in jest? That she 'is' the "mother" of his "daughter," "Alayne Stone":
"Alayne . . . Stone, would it be?" When he nodded, she said, "But who is my mother?"
"Kella?"
"Please no," she said, mortified.
"I was teasing.
The joke foregrounds the notion of Petyr as the father of Kella's children. And while she supposedly has a bunch of bastards, we don't see them. We just see the one girl with the livestock-evoking eye with a sty. It's almost like the sheep she looks after are her children. And thus like Petyr is their father.
(Note the word "mortified". This points straight back to Theon in his Bloody Tower for two reasons: First, greyscale, which mortifies the flesh, killed Balon's brother Harlon, who died "in a windowless tower room" at Pyke. Second: Theon will, in his next chapter, be truly mortified by the realization that "Esgred" is his sister Asha, where that masquerade in turn prefigures Sansa masquerading as Alayne.)
So the "cold" Bloody Keep with its partner the Kitchen Keep and its story of a "slaughter", betrayal, brother killing brother, a River King's sons' bodies "hacked to bits in their beds" — all these motifs are reworked by Kella's account of one of Lord Paramount Petyr's sheep-'sons' being killed by its lexicial 'brothers', the very "sheep-dogs" who were supposed to guard it, and of other sheep-'sons' being verbatim "butchered", i.e. slaughtered on a killing bed and in the process surely hacked into pieces that were then preserved against spoilage for future consumption, such that the resulting "cold salt mutton" could be used as travel rations. Which jibes with Theon's language, creatively interpreted:
[T]he sons of the River King had been slaughtered here, hacked to bits in their beds so that pieces of their bodies might be sent back to their father on the mainland.
(They were slaughtered and hacked to bits only so as to properly preserve them against spoilage during their upcoming journey "back to their father on the mainland", you see!)

Theon's Honor Guard

The conditions in Theon's rooms are consistent with the cold welcome he receives, both from Aeron—
The priest's manner was chilly, most unlike the man Theon remembered.
—and Balon—
Theon pulled off his gloves. "… Why is my father not here to greet me?"
"He awaits you in the Sea Tower, m'lord. When you are rested from your trip."
And I thought Ned Stark cold.
—and they're thus part of a broad yin/yang 'rhyme' with Petyr's initial homecoming, which is warm and welcoming and full of familiar faces, whereas Theon knows no one, such that he thinks:
It is as if I were a stranger here….
The reversal is wryly underlined when Petyr is greeted at the shore by his "captain of the guards", Bryen:
"It is good to have you home, my lord," said one old man.
Thus Petyr ironically gets the "honor guard" welcome Theon hoped he'd get on his arrival 'home':
[Theon] saw… no honor guard waiting to escort him from Lordsport to Pyke, only smallfolk going about their small business.
Notice that where no one stops what they're doing for Theon, everyone stops when Petyr arrives. And of course, everyone in his household recognizes him, whereas no one recognizes Theon. Which is telling, because in a deep sense, that's all Theon really wants, deep down: a little recognition.
Littlefinger has it… but it's not enough.

(SUB)SERIES CONCLUDES IN PART 10: Oswell & Aeron; Lothar & Dagmer; The Closing Twist

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