Today I’m going over what I want to do this Autumn. I find rereads and re-watches are the perfect solution for counteracting the chill of Autumn, so those activities take centre stage. Basically, it’s time to wheel out my favourite ways to get cosy!
I really want to re-watch the Lord of the Rings trilogy. I also want to rewatch a few Ghibli films, especially Spirited Away, Howl’s Moving Castle and The Cat Returns.
Finally, I want to have a Disney movie marathon. I want to watch some of the animated classics like Robin Hood. I’ve been watching a lot of live-action ones lately so it would be nice to go back and check out the originals again.
Reread Favourite Novels
Top of this list is The Goblin Emperor by Katherine Addison, Harry Potter and the Prisoner of Azkaban by J.K. Rowling, Charmed Life and Conrad’s Fate by Diana Wynne Jones, and Kings Rising by C.S. Pacat.
Each of these are comfort reads that remind me of different times in my life. I know them inside out but I never get tired of reading them.
I would love to reread all of the Ouran High School Host Club volumes (and rewatch the anime). I don’t think I’ve ever read them all straight through, there’s always been a time lapse between picking up each volume. I’d like to experience it as a unified story from start to finish.
Light All The Candles
Dark evenings + scented candles = my happy place 💙. Chuck in a bean bag chair to snuggle in with a good book and I honestly could not ask for more.
Write, Write, Write
I am planning on getting a lot of writing done this season. From Blogtober to NaNoWriMo (and beyond), I have a full schedule of writing projects to get through. I’m so excited to dedicate some time to being more creative.
Have Fun With The Sims 4
I am so addicted to Sims at the moment. I play it every evening. At the moment I’m building a Harry Potter inspired house that is so cute so far. And I love my little Sims families so much 💜
Spend Lots of Time With My Dog
Of course, I am going to have lots of autumnal adventures with my pup. that kinda goes without saying!
NaNoWriMo, if you haven’t heard of it before, stands for National Novel Writing Month. The main event occurs every November, starting on the first of the month right through to the 30th. The aim is to write 50,000 words of a novel over the course of the month.
Today I will be going through my reasons for taking part in
NaNoWriMo this year.
I want to continue with my new habit of writing every day
I mentioned in a previous post that I have been writing these Blogtober posts off the cuff each evening. Blogtober has forced me to spare some time to think creatively every day and commit to a project. I would like to keep this habit going next month but transfer it from blogging to writing fiction. Hopefully this habit will stick after two months of daily writing.
I don’t want to procrastinate anymore
I have a ring-binder on the go with separate sections for one of my story ideas (I have two in my head at the moment). A lot of prep work has been done. Now I need to commit to actually writing some scenes rather than just planning them. I feel like I’ve put so much work into the ideas that I’ve missed out the most important step of creating a novel: writing.
I want to finish a writing project
I have tonnes of half-finished stories on my computer. This year I want finally finish a first draft. I might not finish it all during NaNoWriMo but 50,000 should allow me to make a good dent in it then hopefully I can finish it in December, ready for editing in the new year.
Having a creative outlet is a good way to de-stress
I have stressful days at work sometimes (my dog can attest to this as she listens to me rant when I come home). As the days are shorter now it’s hard to feel like I have a proper life outside of work. Dedicating time to a personal project like writing helps me feel like there’s more to life than my day job.
Most importantly, I’m doing NaNoWriMo because writing is fun for me.
Are you planning on taking part in NaNoWriMo this year or have you done it before?
Halloween is almost here so today I thought it would be appropriate to reflect on my favourite witch.
This was me dressed as a witch when I was younger, black cat and all. The inspiration for this costume was my obsession with Sabrina the Teenage Witch. I even remember having a little fake hoover instead of a broomstick.
Sabrina the Teenage Witch has been a part of my life for a long time. I started watching the TV show starring Melissa Joan Hart when I was tiny. I also watched the animated TV show, inherited a large collection of Sabrina novels, subscribed to a Sabrina beauty magazine, and collected the comics.
I loved the idea of this young, go-getting girl, who was different and special, having adventures. I think a lot of other kids my age probably did as well. The dual life she has to balance, represented here as the relationship between her mortal and witch life, is a theme a lot of people can empathise with. Everyone has been through a situation where they have to keep part of themselves secret, even from those they love the most.
So much of my free time growing up was spent living in Sabrina’s world. I remember walking around junior school with my nose pinned in various volumes of the novels. And I remember walking down to the comic shop with my dad to collect the latest instalment and then reading it in the corner of a barber shop while he got his hair cut. I remember dressing up as a witch on Halloween on more than one occasion to commemorate my favourite character.
I was really excited the The Chilling Adventures of Sabrina came to Netflix because it was great to see Sabrina revived. I’ve seen a lot iterations of Sabrina, including the manga phase (which I loved). Honestly, all of them are great and worth exploring.
Are there any characters you grew up that have influenced your life?
I studied English at university a few years ago and on the whole I really enjoyed it. As most of my old essays are sitting around gathering dust I thought I would share one today. This is all about Shakespeare plays.
PATROCLES: Then tell me, I pray thee, what’s Thersites?
THERSITES: Thy knower, Patroclus .
(Troilus and Cressida).
Do Shakespeare’s characters really know themselves or each other?
The characters ‘know’ themselves and each other to be actors.
The nature of ‘self’ in Shakespeare’s plays is shown to be layered, fluid,
artificial and unstable. Consequently a character’s self is difficult, if not
impossible, to know. Shakespeare’s
characters, such as Malcom and Hamlet, often devise methods of performance and
observation in order to understand other characters. These methods often reveal
the dynamic and intangible nature of self. To ‘know’ is to ‘be aware of through observation, inquiry, or information’ (Oxford English Dictionary). ‘Self’
person’s essential being that distinguishes them from others, especially
considered as the object of introspection or reflexive action’ (Oxford English Dictionary). To know requires activity and in
Shakespeare’s plays the activity characters use to interrogate self is
performance and observation in the fictional world of the play and as actors on
a stage. Each character is performing a self, truthfully or
misleadingly, and each character is performed by an actor who has their own
self. As ‘all the world’s a stage and all the men and women merely players’ (As You Like It, Wells and Taylor, 2005,
2.7.139-140; all subsequent quotations will be from this edition, unless
otherwise noted) the nature of a character’s essential
being is a fabricated and fluid fiction. The fact ‘self’ is a blurry concept is the
truth characters ultimately discover.
The natural fluidity of self under
the pressure of performance and observation is particularly striking in Richard
of Gloucester’s soliloquy in act three of 3
Henry VI. Shakespeare strips the
scene down to leave Richard alone on the stage. The audience are reminded that
they overwhelmingly outnumber the actor as he switches to an introspective mode
of thinking. Richard’s soliloquy allows
an actor to play with the audience as he shows them just how fluid a character
can be. He shows the limits of fluidity by lapsing into a performance of
self-delusion as he imagines himself making ‘heaven in a lady’s lap’ (3.3.148) and
charming ‘sweet ladies with my words and looks’ (3.3.150). The delusion turns
out to be conscious self-mockery. The discourse challenges the audience to
laugh at the discordance between the charming identity he imagines and his
appearance, but also makes the audience feel uncomfortable. There are
identities Richard cannot convincingly perform because nature prohibits
it. His fiction can only be as
convincing as its container (the body, the actor) allows it to be. But Richard then
challenges this notion by suggesting a strongly performed fluid fiction can
defy nature, ‘I can add colours to the chameleon,/change shapes with Proteus’ (3.3.191-192).
He shows intent to defy nature with the liquidity of a water god. The soliloquy
becomes a balance sheet of the limitations of nature versus the force of his
fictions; an audit of his ability to gain the crown. Richard, under the gaze of
an audience, ends up revelling in his ability to perform against nature through
developing a dynamic and slippery vision of his identity. Richard is an example
of how characters are willing to sacrifice a static identity in favour of a
fluid one that is innately unknowable due to its changeability.
Hamlet in Hamlet and Malcom in Macbeth both attempt to mislead and at the same time expose others through performance, in doing so they become examples of the fluid nature of self-representation they want to see through. Hamlet takes on an ‘antic disposition’ (Hamlet, 1.5.173) and Malcolm pretends to be a villain.In act four of Macbeth Malcom is presented with a problem: is Macduff his ally or foe. Macbeth, a ‘tyrant’ who ‘was once thought honest’ (4.3.13), is an example of the power of disguise that Malcolm has learned from. Surface appearances are, for him, no longer enough to know a man by; he now seeks to know the true internal selves of others. To test Macduff’s true character Malcolm uses observation and performance. Malcolm airs his thoughts on disguise; he says ‘all things foul would wear the brows of grace’ (4.3.23), a statement that bears a similarity to Hamlet’s comment ‘one may smile, and smile and be a villain’ (1.5.108). These lines reference disguise as a device used by the wicked, but Malcolm repurposes disguise for his own ends. Disguise is a fiction used to gain power. A sign of power is, as Greenblatt describes, ‘the ability to impose one’s fiction upon the world’ (2005, p.13). Malcolm creates a fiction to overpower any fictions Macduff may be hiding behind. Malcolm builds a tyrant king persona through a list of vices. He claims to be ‘bloody,/ Luxurious, avaricious, false, deceitful,/Sudden, malicious, smacking of every sin/ That has a name.’(4.3.57-60). Macduff is forced to break under the power of this fiction. ‘Fit to govern!/ No, not to live!’ (4.3.103/4) Macduff says. The exclamation marks emphasise the force with which the actor is persuaded to perform the line. A Lord is pushed into questioning whether a divinely chosen future king of Scotland should be allowed to live if he is possessed of such vices. ‘Angels are bright still though the brightest fell’ (4.3.22), Macduff appeared good on the surface, but so did Macbeth. It is the self Macduff keeps within that Malcom wants to see. Malcom acts differently to how he naturally is because he no longer trusts surface self-representation, he will not ‘submit to another’s narrative’ (Greenblatt, 2005, p.237). Malcom’s performance is itself an example of how deceptive self-representation can be in the name of power.
Characters do not have to be
consciously disguising themselves in order to hide elements of their internal
self. In Hamlet, Hamlet becomes intent
on discovering if Claudius is really a murderer. The complicating factor is
that the un-guilty self Claudius presents when he is not known to be a murderer
is not a deliberate disguise but perhaps a subconscious one. Claudius does not
constantly perform the guilt that comes with murder because he internally dissociates
himself from it. ‘My fault is past’ (3.3.51) Claudius reasons, as he prays to
be divinely cleansed of his sins. The play scene in act three forces Claudius
into exceptional circumstances where he is forced to act uncharacteristically and
perform the guilt he does not perpetually feel, which is a performance
structure Edgar (2009, p.51) discusses in
relation to building characters through drama. ‘The plays the thing/ wherein I’ll catch the conscience of
the king’ (2.2.606/7), Hamlet claims. The play is Hamlet’s active attempt to
gain knowledge about Claudius through ‘performative activity’ (Edgar, 2009,
p.49). The shift in Claudius’s persona that
Hamlet is looking for happens in a short line: ‘give me some light. Away’ (3.2.257).
Claudius refuses to let the murderer part of himself into his public persona. Nevertheless,
his sharp reaction is an obvious product of his guilt. The sharpness of the
line highlights how unused he is to consciously burying this murderer identity.
Rather than perform a conscious disguise of it in public, he chooses to exit
the public performance space completely, both in terms of the play world and
the stage world. Claudius is ‘possessed/ of those effects for which I
did the murder’ (3.3.53/4), ‘possessed’ means ‘held as property; owned’ (OED Online). Claudius’s current identity
is owned and shaped by what he gained through being a murderer, regardless of
his internal hope to be cleansed of sin. Parts of Claudius’s
essential being are unclear in ordinary circumstances even when there is not a
conscious decision to deceive because he genuinely ‘imagined he could trick
something more than men’ (Bradley, 1969, p.138). Characters sometimes unconsciously
deceive because they do not want to truly know themselves for what they are.
Some characters seem to gain an
uncanny awareness of how they are a character in a play and exist only as a
constructed-self performed by an actor on a stage. This awareness demonstrates
how the concept of identity becomes fluid for actors. During the main body of a
play characters often use the language of performance in a way that reminds the
audience it is make-believe, but Shakespeare crafts the language with enough
subtly so as not to jolt audiences out of believing in the stage world
entirely. In Hamlet, Hamlet discusses
the time when Polonius acted ‘I’th’ university’ (3.2.95), ‘what did you enact?’
(3.2.97) he asks. ‘I did enact Julius Caesar. I was killed I’th’ Capitol. Brutus
killed me’ (3.2.100), Polonius replies. Shakespeare wrote a play called Julius Caesar that is generally thought
to have been performed around 1599, which helps date the version of Hamlet containing the dialogue discussed
above. Interestingly, ‘it is generally
assumed that John Heminges acted… Caesar in the first play and Polonius in the
second, and that Richard Burbage acted both Brutus and Hamlet’ (Edwards, 1983,
p.148). The dialogue between Hamlet and Polonius, which was performed by
Heminges and Burbage, works in relation to the world in and on the stage as it
references another self both the characters and actors have previously
performed. Polonius’s line presents an uncanny reference to the real world in a
way that blurs the lines between whether the actor is representing himself or
the character, but the answer is perhaps that he is performing a combination of
both selves intertwined into one body in that scene.
Endings deal with the relationship
between a character’s and an actor’s identity in a slightly different way in comparison
to the rest of a play because the friction between the overlapping selves of
actor and character reaches a peak. Rosalind during the epilogue of As You Like It is directed to speak ‘to
the audience’ (p.680). She comes partially out of the play to recognise ‘it is
not the fashion to see the lady the epilogue’ (p.680). Rosalind shows she is
conscious of the fact she is contained in a genre with generic expectations. The
young male actor who would have performed the role in 1600 shows through in the
line: ‘if I were a woman’ (p.680). ‘If’ sharply highlights that Rosalind’s
character, further to being trapped in a play, only physically exists when the
male actor wishes to perform her. The dual selves embodied in the actor’s
person rub against each other in this epilogue. The audience are jarred into remembering
they are watching a boy actor perform the cross-dressing Rosalind, whose
performed masculinity as Ganymede in the main body of the play bought the character
closer to the actor’s male self. Characters cannot really know themselves
during their time on stage without recognising their fictional nature. But a
careful balance between awareness and ignorance is usually maintained in the main
body of the play because if characters fully recognise their fictional nature
then they will cease to exist, which is why the scene between Polonius and
Hamlet limits itself to dramatic irony rather than break the play’s world, even
Richard’s revelry in his own fictionality works within the world of the play. Fiction
has power as long as it can suspend disbelieve. Endings, however, are where boundaries are pushed and as a
result characters become more like shadows as their fictional power dwindles
and the actor becomes more prominent. The epilogue is where the fiction of the
play and characters dissolve.
Characters in plays come alive
through performance and observation. In act five, scene one of A Midsummer Night’s Dream the audience watch
as Hippolyta, Theseus and the lovers become an audience to the mechanical’s
play. The audience on the stage perform as actors and observe as characters.
The scene sharply reminds audiences that the definition of who and what you see
on stage is blurry and complicated. Performance and observation are at the
heart of quests to discover truth. In the case of ‘self’, a somewhat liquid and
intangible thing, there is one essential truth Shakespeare’s characters reach:
because they ‘are players’ in and out of the play’s world they have no set form
of self. As Puck says in the epilogue, characters in plays are but ‘shadows’
(l.1). Because identities are dynamic and artificial no character can truly
grasp ‘self’ in regards to themselves or each other, but they can understand
that the fluidity of performance is why they cannot precisely define who they
are besides being actors.
Bradley, AC (1969) Shakespearean Tragedy. 2nd edn. London: Macmillan
Edgar, David (2009) How Plays Work. London: Nick Hern Books
Edwards, Philip (1983) ‘Shakespeare and Kyd,’ in
Muir, K., Halio, J. and Palmer, D.J. (eds)
Shakespeare, Man of the Theatre. London: Associated
University Press, Ltd., pp.148-154
Greenblatt, Stephen (2005) Renaissance Self-Fashioning: From Moore to Shakespeare. Chicago:
University of Chicago Press
Shakespeare, W. (1591)3 Henry VI
in Taylor, G and Wells, S. (eds.) (2005) The
Oxford Shakespeare: The Collective Works. 2nd edn. Oxford:
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Shakespeare, W. (1599-1600) As
You Like It, in Taylor, G and Wells, S. (eds.) (2005) The Oxford Shakespeare. 2nd edn. Oxford: Oxford
Shakespeare, W. (1600-1) Hamlet in
Taylor, G and Wells, S. (eds.) (2005) The
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Shakespeare, W. (1606; adapted 1616) Macbeth in Taylor, G and Wells, S. (eds.) (2005) The Oxford Shakespeare. 2nd
edn. Oxford: Oxford University Press.
Oxford Dictionaries. [online] Oxford
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(accessed December 22, 2013).
“possessed, adj. and n.”. OED Online. [online] Oxford University
Press. http://www.oed.com/view/Entry/148346?redirectedFrom=possessed (accessed
December 22, 2013)
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(accessed December 22, 2013).
Today’s post is about the time I dressed as Jude Duarte for Bookstagram.
I have been experimenting with Bookstagram over the past few months. I have a long way to go before I can increase my photo taking and photo editing skills to a level where I’m happy but I’m not going to get there unless I practice.
Bookstagram has been a super fun experiment so far. I would like to try a few different styles and themes before I figure out what works best for me. My most recent experiment involved putting together book inspired looks. My first bookish victim was The Cruel Prince and The Wicked King.
I aimed for a look inspired by the main character, Jude Duarte. I tried to do my hair in a way that is reminiscent of Jude’s signature look, ‘braiding my hair into an elaborate style that makes me look as though I have horns’ (The Cruel Prince by Holly Black).
I used one of Britney Spears perfumes as a prop to represent poison. Throughout the book Jude takes doses of poison to build up her resistance to it. I also put on my butterfly ring because 1) it’s pretty and 2) it seemed thematically appropriate.
I chose the Beauty and the Beast tapestry I got in a Fairy Loot box as the back drop because it seemed appropriately dark and moody for the tone of Black’s series.
I really enjoyed putting these photos together and I can’t wait to do it again when Queen of Nothing comes out next month (can you believe it’s so close now?!!). I think I would put more effort into the hair next time because I did it super quickly. Jude is one of my absolute favourite characters. It was a lot of fun to try and dress like her briefly.
I have a few more books on my wish-list for book inspired looks:
Carry On by Rainbow Rowell
King of Scars by Leigh Bardugo
Undercover Princess by Connie Glynn
Alice’s Adventures in Wonderland by Lewis Carroll
I have done some test photos of looks for each of these books but they aren’t quite right yet 😛
Have you ever tried to go for a book inspired look or would like to try it in the future? Let me know in the comments.