“—ntrarian but when someone tells you to stay on the path, you do it,” Arabella told me. It was difficult to catch the expression, because eir head was a giant orange rose starkly veined like lettuce, and the voice was more like a scent, but I’d like to say ‘amused but only because it had been a good day’.
“The King had it sorted,” I argued, but quietly. Oh, we were doing this; sometimes it stops and starts, but this concluding conversation happened weeks ago.
We paused, having arrived at the center.
“What else are you going to leave to someone else’s problem?” The Laetha’s fingers were calyx petals, closing my own hand around the hilt of my broadsword. “What is this for? Who is this for?”
Ey sounded curious, back then, but of course it troubled me that I didn’t have a ready answer.
“—rds honour you, my deeds even better. This I pray.”
Doesn’t usually get an answer, but this time—
“No,” the King’s tone of voice was like the dark of night, the part that’s a relief after a day so hot and bright that fuzzy cyan ghosts of serpents and jellyfish cloud the vision of anyone who steps outside. “I told you to keep to the path.”
It was only a voice, though. Is that more reliable than a visual, or less? This could still be the other Clarene.
Hell, the one I kept referring to as the Laetha Arabella could have been a common flower fae.
I keep telling myself that it’s the message that matters. The otherworlds can go on being as zany as it is, and I just roll with it. Anything I carry over to the corporeal or sidereal worlds, I must admit are all on me.
“Giving someone a limitation isn’t the same as giving them wisdom,” I said. “I can live with myself better now. I couldn’t trust that would happen by doing everything you tell me to—that’s not even why you tell me, so…”
I had a knowing, though the voice didn’t come with a body I could see, that the Clarene was pulling a sewing needle from eir earlobe—where I’d run it through months ago, at the Clarene’s suggestion. With a flip of eir hair, the piercing had never been, and I had a certainty that the bass clef shape at the back of the shell of eir ear had dissolved.
“I did you a favor,” the voice said. “Remind me not to do that again.”
“I think you’d remember,” I replied, gloomily. (That had been a massive help and relief, and I’d just gotten used to feeling exactly whelmed, and then I’d started forgotting why.)
“No,” the voice said again, distantly. “I wouldn’t.”
1. “My Medea” by Vienna Teng
So this one isn’t technically a music video so much as a video with music in it. It begins with Teng expressing an erstwhile fear of never becoming a great artist because it isn’t only about technical skills, creativity had to come from being an interesting person whereas Teng’s own life had been so ordinary. Fortunately, there were people who lived in this artist’s head, and one very beautiful and very powerful one who did not always have Teng’s best interests as a priority…but who could inspire hauntingly moody, powerful and beautiful music such as this.
In German there is a word betrachten which means giving something life, growth, and greater number when you give it attention. There’s something to be said for simply ignoring what isn’t constructive to address, something to be said for shutting down or shutting out what’s outright harmful, but not (in this instance) by me. (Though the philosopher Swift made a video lecture explaining the humanist existential concept of shaekitoff.) I believe art and fiction as a medium overwhelmingly often take what we’d rather eliminate within (and we can try, but nothing of the psyche truly dies) and put it outside where we can have more control over it, where we can watch what once festered in invisibility and silence, and transform or direct that force or focus more beneficiently. One does not become “enlightened” through figures of the light only, but by making the darkness conscious.
The mythic adversarial figure of Mircea (and the Mircean Firebird) may never be redeemed, even as much to the status of challenger—but I don’t consider it a glorification of evil necessarily to acknowledge the presence and nature of evil.
So come to me, my love
I’ll tap into your strength and drain it dry;
Can never have enough
For you, I’d burn the length and breadth of sky
For I must die for what I’ve done
A twist of fate, a desert sun
For I see what I destroy
(Sweet reflection knife into me)
For I see what I destroy
I can see what I’ve begun
2. “Just Like Fire” by P¡nk
I keep mishearing a line in the chorus, “If I can light the world up for just one day” as “fucking, like, the world up for just one day“.
…That’s my only comment. It’s a song about being like fire and being different; if that’s not laethic, I don’t know what is!
3. “Wide Awake” by Katy Perry
This definitely isn’t a song I like, but I do like the visuals in the video. It speaks to me especially of some more contemplative Dark Laethas: martial and strategic Alaria, hypercritical Artois, competitive Azure and healer Alma.
4. If I could find the official music video for “Indestructible” by Alisha’s Attic, I would have included that too for the CGI animation from 1997. The song generally gives me feels of the Laethas Ava and Alma’s sisterhood, and also a rare and harshly defensive side of the human Arabella—that I think of as Traumabella (as Mircea’s ex-lover, and Only Human, some vestigial habits of living with evil I have heard called “fleas”.)
At least here is “Video Killed the Radio Star” by the Buggles.
Retro-futuristic sci-fi nostalgia about technology. LAETHIC AS HARK, HOLY HEARTS. For such an enjoyably campy video, too, the sound production has so much dimension.
In my mystic life, I think it’s safe to conclude that the Dierne Pallis does not like me. It’s been thirteen months since the first heavy hint of that. I still haven’t figured out why that would be, or if that even is the case as I’d expect some limitations to come with that tension—and the most obvious one hasn’t. For instance, Lilybell’s been around a lot, no trouble.
And in my laity life, I still include the Dierne when speaking the litany, still keep the Dierne in mind when I make small efforts to enjoy life sometimes, still explore the Dierne’s symbolic associations…Well, what’s supposed to happen with all of those, when a faery sovereign mystically dislikes someone who speaks and thinks and lives the ‘faith with that one in it? Should a fresh canker sore form on my tongue for every time I dared to speak the title? Must I commit to an ascetic life, with respect to joy being the domain of the Dierne—uh-oh, communicative consent is the Dierne’s domain, too, do I live among corporeal people without regard for that from now on too? (Better to keep that a secular value.) Do I stay away from star shapes and diamond shapes for religious reasons?
I get the sense that the Dierne really doesn’t want a personal relationship with, but would still preside over eir domains that I’m living in. Or, I expect at least that much, and if that’s not the baseline compromising way of it then I should make something diernic and dedicatory for the sole purpose of desecrating that thing. Because I’ve already asked why, nicely, with genuine curiosity, several times. If I wanted a religion that arbitrarily demanded I make life purposelessly difficult for myself under the silently judgmental gaze of a spiritual lord, I’d’ve stayed Catholic.
Life is difficult, though (…wrote the literate Anglophone with internet access.) Sometimes that’s an outright burden, other times I have the privilege of reframing that difficulty as an opportunity or challenge.
Maybe if I could drive, I’d appreciate another level of interconnectedness with the city, or some awareness of my body as I wrestle with the steering and pedals. The way I’ve watched some people extend themselves into their cars is almost transhumanist.
When I was very young and somewhat smaller than I am today, I was always a passenger. I would be ushered into a machine full of cushioned seats, and doors with rubber at the edges that sealed them shut, and a movie would play at every window of the world passing by, and finally I’d get out of that room and find myself magically teleported to a new place. I’d watched the same movie run outside the window enough times that I should have had it memorized, but I never put in the effort: it was just a movie, and not even a favorite one. I didn’t process the turns, or the lifts over the bumps; in The Car, I’d take it as sitting still.
It wasn’t until I was 17 that I took the jeepney and train route alone for the first time. I sensed that my sibling had fallen into a grump, before I left: at not much older, ey’d been flown abroad for university and had to figure it all out alone. The both of us had taken the commute route together enough times. I should have known it by then, so ey’d argued over the phone to our parent. And I’d agreed, and I very much wanted to go pet-sit because I like animals, and all the young protagonists in all the books I’d read were never so troubled at wandering another dimension of reality—one city to another ought to have been easy.
I still felt as though I was going to die if I set foot out the door. And then, several foot-sets out the door and into a jeepney, that I wouldn’t recognize the train station if I watched for it. I felt as though I’d miss my stop when everyone and the driver had left for theirs, and that the jeepney would keep rolling into and through a wormhole in the fabric of spacetime where everything gets stretched out into some void cosmic darkness, and that I’d die that way. And then that, if I asked the jeepney driver one more time if this was the station, that ey’d take on a snappish tone answering no, and then my feelings would be hurt…and I would die. From that. Somehow.
My one parent called me anxiously on my cel, said not to go pet-sit for my sibling’s friend after all because the commute would be full of smog and bumping into strangers, and what if I contacted lung cancer or got mugged or the weather was bad or I lost my way? As I was already halfway there, comfortably within my bearings, it was too late to warn me off.
Since then, I’d found a lot to like about commuting. To be sure, it’s exhausting, body and fumes; the train’s always getting more expensive (I can’t say enough how lucky I am to keep up), inclement weather isn’t always enjoyable, so much can go differently in crowd movement and/or machinery that I can’t get to where I meant to be exactly when I meant to be, and while the vast majority of commuters are really just trying to get from one place to another…even after having gained a tolerance for crowds, there’s a few I wish I hadn’t been quite so near, and that wasn’t even traumatic (which is always a possibility.) It’s far more of a privilege than it is a virtue for me to have gotten past my fears and maladaptive sensitivities, to have the funds to even travel, and to be part of the majority of the population that’s ambulatory. Subway elevators in my city are very narrow; subway escalators are very steep and very very narrow. More vulnerable people still have to fight for this practice, whether the approach is sacred urban paganism or (more likely) secular utilitarianism—even in a developed nation. In my offline social circles, walking and the commute is the resort of the almost-destitute. Nobody does that for fun in this city. To be a commuter, especially a pedestrian, is so pedestrian.
Maybe one day I’ll have the time to learn to ride a bike, or the money to get my license and a Volkswagen beetle painted red and spotted black, and I’ll explore the transhumanist aspect and declare myself half machine (at least while traveling—Maybe similarly, if I need to be somewhere I’m not familiar with, I surf Google maps on my phone, which I couldn’t have done as easily in the 90s.) Maybe one day I’ll appreciate the childhood luxury of being chauffered, in that cushioned film reel room with the dreadfully chilly wind. I remember that time and feel only this queasy revulsion at such powdered-and-perfumed helplessness.
I know this city (and the next one over) well enough, and the flow of the travel well enough, that I feel as though I become it when I travel and it becomes me. To learn the art of the commute meant more personal power, and freedom. I do it when I have to, when I have a responsibility to, and things go wrong—but when, where, and how is a decision nobody else makes for me. Beyond that, the passing of the world outside isn’t merely a movie anymore. It’s a reason to catch sunshine, toasting my skin and filling me with life, or else burning and sweltering. It’s the way it glints off the skyscraper-scape of the business district, where the sidewalks are almost pavilions. It’s the smells of street vendor’s food frying, and a nearby chocolate factory, and a sort of oceanic version of petrichor riding in a gust from the bay. It’s the steampunk technology of the jeepney drivers—cooling fans, pull-stop lights and horns on a literal shoestring—army vehicles deconstructed and neon-painted and rainbow-beribboned in times of peace, and sitting up front with a co-commuter and eir bamboo cage of live chickens. It’s a memory of a Japanese superstition (overheard from a non-Japanese friend of a non-Japanese friend, who’d been there, I can’t add “or so they said” because I was there with them in Tokyo but couldn’t speak a word of Japanese,) concerning train spirits that may take offense at commuters using their phones, and my now knowing by what national partnership the main rail came to be in my own city, and wondering. I don’t know what’s poetic about buses, but I’ll think of something later maybe.
Often, it’s ignoring the litter and walking guiltily past the many, many, many beggars.
On occasion, it’s feeling cramps around the hamstrings and having a pack of salty batter-fried peanuts for dinner when I get home because I’m too tired from traveling to cook. Compared to my youth in The Car, I don’t feel the same revulsion at having a room to call home. I think everyone ought to have a way to stay out of the rain, where richer people won’t prod you with a stick for trying to sleep just because the sidewalk doesn’t look nice with people lying down on it (as though there were always somewhere else to go!) It’s only a thought: I’m not given what I call home by right, but by luck. And not a small amount of express entitlement.
the Dierne Pallis should be here, too: in the room called home, in the natural light from the window, in the mechanical breeze (from that spinny thing sounds like an admirer), in the box of winter that keeps the ice cream sandwiches that I eat in my bed—in that last one, the option of that, or batter-fried peanuts, or groceries that have been stored and just need a bit of cooking and have actual nutrition. To have options! To choose what you want!
Until everyone has at least that much, though, my headcanon Pallis continues to wander.
To the Dierne Pallis, the Pedestrian, the Streetwalker, the Wanderer. When one in destination longs for another, may you lend them your comet’s tail. Keep us lofty wealthy restless ’til we uplift those who have fallen where the pavement breaks. The ways within the City between the Cities are yours, the rush of the hour, the press of the crowd. Hold us together and keep us apart. This I pray.
the Clarene’s laid claim to fairy tale compilations and I heartily agree to adopt this headcanon. However, I haven’t felt like doing a cover-to-cover read of my copy of the Grimm fairy tales, to gather familiar symbolism and maybe spark some insight.
So, I’ve started doing bibliomancy instead, that is, taking the book, letting how I randomly feel like turning to some random page, and paying attention to whatever random line on that page that I randomly feel like reading.
Figuring this out has been an adventure in thinking about how I think about it.
“What a beautiful bird I am!”
For example, that line from “the Juniper Tree”. Is it the Laetha catching me away from a communion I’d set out with the Clarene again, or the bluebird Sky Ophelia, or the first Dierne because of the singing? Or is it a fairy tale of solace because of the simply-told yet unfathomably complicated position of the enabler/victim, the favored younger daughter of an abusive stepmother, who in some versions is named Marleen and in others Anne-Marie (like one of the ghosts who haunt the Laetha’s mansion)? The Moth Diaries film has the vampire-ghost Ernessa sing a version of this fairy tale’s song to the tune of Roud Folk Song Index #13190 (wouldn’t give up a millstone for that, personally,) where I first heard it, though I didn’t know that it was from this tale, or what it meant. Do I incorporate that association in my intuitive process?
My intuitions settled on the story itself being a message that, in a post-truth world, it’ll still all work out.
She had a fairy looking-glass, to which she used to go, and then she would gaze upon herself in it, and say:
Sometimes I read ahead or behind, enough that it makes more sense simply as text.
“Tell me, glass, tell me true!
Of all the ladies in the land,
Who is the fairest, tell me, who?”
There we go.
My version’s big on stepfamily conflicts, I know the original Snowdrop or Snow White had some very flabbergasting animosity between the biological mother who wished for a beautiful daughter and the beautiful daughter that the now murderously envious mother wished for in the first place. As this is the first instance of that rhyme, is the mirror’s answer an affirmation of self-love, just taken in isolation from the rest of the story? Or is it a calling to Mirror Work, taken in isolation from the rest of the story and associated to Otherfaith? Or ought I take this passage as an omen against self-absorbed obsession that gets taken out on innocent wee princesses, and is this my own self-absorbed obsession to be wary of or is it somebody else’s?
The moon shone brightly, and the white pebbles which lay in front of the house glittered like real silver pennies.
Hansel collecting markers for a trail back home before (as ey well knows) eir parents abandon em and eir sibling Gretel. It reads like an encouraging thing, out of context. I also parallel this with “the Juniper Tree” in the positive brother-sister bonds. Hansel and Gretel work as a team: though Hansel’s the planner and implementer of the operation the first couple of times, it’s Gretel who defeats the ‘final boss’ when Hansel’s locked up. With Anne-Marie and the unnammed brother, they’re more a team in terms of deciding when compassion or retribution are appropriate.
Bibliomancy interpretations haven’t gotten so very methodical to me, yet, right now I’m just flipping the pages around, and dipping back into the classic tales that way.
The descriptor that got through to me, that I could understand a labyrinth as sacred geometry after, was grace. The shape of a labyrinth can mean: In this place, there is nowhere else you must be; in this movement, there is nothing else you must do.
It’s like any other way to alter the mind enough to catch at some soul-high message, maybe, except this is what’s been working for me right now. It used to be a variety of breathing patterns into blankness, then entering a tarot card illustration, then guided audio meditations, and I keep hearing about binaural beats but that hasn’t worked all that much better to me. Considering how often I’ve had to change up my methods when the previous one stopped working, I might get into it in the future. So far, though, no.
I was aghast to read about a meditation class where the instructor insisted on the fourfold breath to a student for whom the instructor knew that breathing pattern did not good-feeling stuff to the student’s cardio. There are so. Many. Other. Ways. To. Breathe! Must I also add that someone else’s way to breathe comfortably is valid for meditative practice? Or even, like…life? (I am so harshly judging that instructor.)
Labyrinth travel is hardly as basic as breathing, though in that vein, I’ve been fortunate enough to try out a variety of designs.
I have this card holder with a compass embossed on the cover, and found a photo-printing place that could print them in wallet-size from digital files.
Opalfish’s is a detail I cropped from a more elaborate watercolor of the Ophelia’s and Claire Clarice Clarene’s first meeting. I love this visual allegory style for the feeling it gives off, unfamiliar, unexpected, yet at the same time so very intuitive.
When I started getting into finger-tracing miniature labyrinths as a prayer practice, I had this idea of a labyrinthine part of Western Faery built of red brick—which it looks like Aine’s portrait of the Clarene sits on! I didn’t catch that detail the first time, or I forgot and it stewed in my subconscious until it bubbled up as the Sierra Sienna (which I sometimes call the Sienna Sierra.)
This next picture below shows the Ophelia. Mine’s the very anthropic version on the left panel, Opalfish’s gives me the vibes of (to paraphrase Granny Aching from the Discworld series) “‘Taint what the River looks like, it’s what the River be.”
So I certainly make room, even in my little pocket altar, for both the relational experience of the fae presenting/performing and representing as anthropomorphic (and zoomorphic—aww, I wish I’d figured out how to work in some of that in my portrait, butterfly wings, or gills or blue peacock feathers or something, maybe another time,) and this more phenomenal, animistic, symbolic sort of representation…and whatever it means to an individual Other Person, in haphazard combination or in-between (as I expect to be the case, usually—these are liminal beings.)
Next pic below is Aine’s portrait of the Laetha Arabella, and mine of the Dierne before Pallis (the Princess Irene, with whom I generate an unexpected lot more headcanon.)
the Laetha portrait turned out the best on photo paper, I’d say—bold lines, the colors just pop, and I feel it’s a style that generally conveys well that the Otherfaith is a contemporary religion, especially the upstart regent that the Laetha is (along with the Dierne Pallis.)
Maybe I’ll get around to adding some written prayers to this. More likely, though, it’d be adding more images—of the Dierne Pallis, at least a few more of the Laethas, and the fusions. Maybe some non-royal fae. Images alone feel right enough for now.