Can we just stop and talk about this for a minute?

Thresh doesn’t make an alliance. Thresh doesn’t waste time liking her. Thresh knows that either he must kill her or she must kill him for one of them to win.

But this is the only way he can repay her for protecting Rue when he couldn’t. It’s the only way he can repay her for honoring Rue when he couldn’t. He honors her by sparing her friend, the girl who would have died for her.

The revolution really doesn’t start with Katniss.

It starts with Rue.


This is exactly the point I’ve been trying to make for years. Okay, so the revolution gets it’s kindling with Katniss. She volunteers, well that’s new, she rebels in the display of talents by shooting the apple. This triggers her perfect score, okay. These aren’t really “Revolutionary” though. 

It’s not even revolutionary when Peeta professes his love, because, let’s face it, the rules of the game haven’t changed. They’re still just two kids who would have to KILL each other to win. Without a doubt, it would bring some interest to the games, so the Capitol makes propaganda about it. The “Star Crossed Lovers” in a game of life and death.

But what changes the game is Rue. Right away from her introduction in the books we know Rue is going to be somewhat of a big deal. She was compared to the most important character to Katniss, Prim, so that’s a huge indicator. She’s small, young, she’s what Prim would have been.

So Katniss instantly feels a subconscious pull toward her. 

When they meet in the trees, Katniss could have killed Rue easily, and Rue probably could have pulled a sneak attack or alerted the Careers of Katniss’s presence. Instead, Rue points out the Tracker Jacker nest.

Then it escalates, Rue and Katniss become an odd team, they’re an alliance, which is never new in the Hunger Games, as forming teams and then betraying them at the end seems to be a common, but there’s is different. It’s close, it’s sisterly, protective.

And then Rue get’s impaled. Katniss kills her first tribute with ease after that. Comparing it to hunting game. Katniss holds Rue, she cries, and then she sings. She sings for Rue a song of promised safety and warmth, something completely absent in the arena. 

And this is where the metaphorical canon fires. Katniss could have left Rue, the hovercraft would have been along to pick her up, but she can’t. She’s morally obligated to love this girl as much as possible. And this is where the revolution starts. 

She honors the dead. She honors a dead tribute from a district she’d never seen, a person she’d known for only a short period of time. But she throws away Hunger Games norms. She rejects them completely.

In the Hunger Games you’re supposed to kill mercilessly and leave the victims for the plain box they’re shipped home in. 

Katniss gives Rue a funeral in the Games, she decorates the body, she makes it look like Rue is sleeping. Like no harm had come. Katniss just ignited the coals that Rue had placed.

Rue’s District sends a parachute. Homemade bread. 

Then Thresh kills Clove and distracts Cato by taking his bag. 

The fire is going now, and the actions in Catching Fire are even more obvious.

The Speech for Rue. Peeta’s painting. Everything eludes back to this one little girl who became Katniss’s family.

So the revolution never started with Katniss, she was just the tinder for Rue’s ignition. 

Rue was the real Mockingjay.

Also, who’s four note whistle is constantly attached to the trailers?

Rue’s whistle.

Rue is omnipresent in the books and movies, and I absolutely love it.

The rebellion was started because the innocence of a black girl was defiled.

That is a powerful statement that a lot of people gloss over for this book



In which seven cats all discover the same slightly elevated flat thing and claim it as their own while pretending the other six cats don’t exist

game of thrones


Shaving your legs. More like yoga in the shower with razor blades.

Sansa and Persephone


Mythology tropes repeat themselves again and again in literature. Myths are the bricks of our contemporary storytelling, and GRRM is aware of that. In ASOIAF, many relations can be made with various mythologies, mostly mediterranean, celtic and scandinavian ones.

This text focuses on Sansa and the greek myth of Persephone’s rape. Keep in mind, though, that this correlation does not invalidate other ones. I have more in mind myself I could write about in the future, and certainly other people have even more ideas.


It is told (mainly from sources like greek poet Homer or latin poet Ovid) that Persephone was the daughter of Ceres (or, in greek, Demeter), the goddess of agriculture. She was a beautiful young girl loved by everyone and most of all by her mother. She loved the flowers and the perpetual spring her mother maintained. She was virginal and pure, and some versions tell she decided to follow the ways of Diana, that is, to live as a virgin. 

Pluto (or, in greek, Hades), the god of the Underworld (and gold…) saw Persephone and her companions playing in the fields. He found himself desperately in love, and saw no other way but to rapt her at this very moment and bring her to the Underworld. The reasoning to that varies. Some say it was a mean trick by Cupid. Others say he, as a powerful god, wanted badly what he knew he could not have.

Ceres was miserable, and the fields rotted and the lands became barren. She looked for help in Heaven, and Jupiter (Zeus), worried with the situation of the land, agreed … unless she had eaten from Pluto’s food, in which case he would not be able to interfere.

In the Underworld, Persephone was made Pluto’s fiancé, crowned with jewels and the finest gowns. When Jupiter came to rescue her, he found she had denied all foods … except for some pomegranate seeds, which she could not resist. 

In that way, all gods involved agreed it was best that Persephone returned to Ceres for half a year, when the lands would prosper and men would be happy. But it was unavoidable that, for the other half of the time, she had to go to the Underworld and reign as Queen besides Pluto, for she had tasted the seeds. In that time, Ceres suffered and the land mirrored her feelings.


In a first layer of reading, Persephone is like a seed. She goes underground, and the land is barren. But comes the spring, she surfaces again and the harvest is plentiful. That is the way of the relation of Ceres and her earth and Pluto and his underground: dreadful, but necessary.

Further on, the figure of the pomegranate seeds, Persephone’s chastity and Pluto’s lust are thematically important. The pomegranate has been used thorough times as a symbol of sex. When it is said the young girl ate the seeds, it can be understood that she had sexual intercourse with Pluto. Most people agree poor Persephone was raped.


If Sansa is Persephone, Littlefinger is her Pluto, lustful, powerful and mean; and Catelyn is her wise mother Ceres.

At first, mother and daughter enjoyed plentiful times together and were happy. But then, in A Game of Thrones, they were separated by what we know were Littlefinger’s tricks. From there, things fall apart fast, leading us to A Fest for Crows.

Catelyn is no longer herself, but a shadow consumed by grief, and winter is coming.

If all the awful situations Sansa has been through can be linked to Littlefinger’s misdoings, in AFFC she was in fact kidnapped by him. He offered her a pomegranate …

Petyr cut a pomegranate in two with his dagger, offering half to Sansa. “You should try and eat, my lady.”

“Thank you, my lord.” Pomegranate seeds were so messy; Sansa chose a pear instead, and took a small delicate bite. It was very ripe. The juice ran down her chin.

That shows us how aware Martin is of what he is doing with Sansa’s plot, thematically. 

Unlike Persephone, she did not accept the pomegranate. She chose the pear, and it was as messy as the pomegranate after all, and she ate it all the same, but she chose it.

I want to restrain myself of speculating exactly what it foreshadows, but it certainly is a dark path. With Martin saying that Sansa will have a “controversial” chapter in The Winds of Winter, I can’t help myself but to get scared … It will be winter, and winter is when Persephone is deepest under the ground. But from then, she only grows and grows. And Sansa did not accept the pomegranate, after all. She may have to deal with this terrible god of death and gold, but she will not be passive about it.


so sorry for my delayed response to this email, i have been very swamped being a confused and frightened idiot who can’t do basic life tasks like respond to her emails

Jon glanced back at Stannis. For an instant their eyes met. Then the king nodded and went back inside his tower.


Ocean Sky by Alex Cherney

D&D Don’t Understand Why Bran Is Important


I gotta criticize the show some more, because this gets to me. When I comment about how little screentime Bran gets, too many times I am basically told, “Well, not much happens in his story so it can be summed up in a few scenes.”

Uh, no. D&D just think that stories about people who aren’t killing or “playing the game” are boring and not worth their time. Ex. They gave plenty of attention to Arya when she was in Harrenhal, hangin’ with Tywin and Jaqen J’Haqar, but have since lost any and all interest in what she feels or does if it’s not murder.

In the show, Bran meets the Reeds, they tell him that he’s a warg and greenseer, and he is just like, “Ok, cool, when can I start?” They just pass over his whole conflict with his identity.

In the books, Bran’s reaction is exactly the opposite. He’s gets angry and scared, and Summer almost mauls the Reeds. And of course he does. He’s being told he’s the Westeros equivalent of a “monster,” a “freak”, a “werewolf” actually.

Bran gets everything he doesn’t want, and nothing he does: He doesn’t like the story of Bran the Builder, but his life is full of parallels to him. He wanted to have glory of a knight, but instead gets the magic of a shaman. The weirwood trees used to frighten him, but he is the special chosen of the Old Gods. He didn’t want to be Lord of Winterfell, but he was and did a surprisingly good job. Bran only embraces who he is after everything else is taken from him. It’s the conflict of his story. It is his story.

“Being knight is what you want. A greenseer is what you are.”

For the show, it will mean extremely flat and disappointing finales. We have an Arya who becomes a Nymeria and a warrior without ever having struggled with the act of killing; A Sansa who reclaims her name without ever having really missed it; But most of all, a Bran who becomes the next Builder the way other people just get hired for a new job.

What a bummer.