You Never Saw It Coming

The young waitress sat at the counter, her tips laid out in front of her as she counted.

Old county songs, soft in the background, as she felt around for her glasses.

A movement from the corner caught her attention.

The last booth, the last customer… creepy. The guy seemed to be staring at her all night, but when she looked…

“I wish… he would just… leave,” she thought.

The creaks and groans of the diner always grated on her.

And the guy in the corner was not helping.

She turned and opened the register, trading her tips for larger bills.

As the drawer dinged shut, the ringing of the bell above the door caused her to start.

Oh…

She could see Jerry, the cook through the window as he walked out to his car.

Her heart sank.

She snuck a glance toward the corner, then, finding the man standing, her heart stopped.

The man reached into his pocket, slowly, deliberately, as he slowly sauntered in her direction. She diverted her gaze, maybe…

She saw his shoes as he stopped in front of her.

As the metal pressed against her hand, the man spoke.

“Annie,” he said softly. “You forgot your glasses again.”

He reached down and took her hand, placing her glass…

It’s Not Just Sexual…

[Verse 1]
Your visage woven in subconcious memes,
It seems you meander through my dreams,
Like a goddess your spirit beams
Making me wonder, do you still ponder
If I still have a place for you to sit.

[CHORUS]
It’s NOT JUST SEXUAL,
Though your sexuality caused my heart to race,
And our minds entwined in a warm embrace.

[Verse 2]
If I could only feel your touch, with such
emotion, it feels so much
like a whirlwind through my soul
binding wounds and making whole,
Restore my heart with your alluring wit.

[CHORUS]
It’s NOT JUST SEXUAL,
Though your sexuality caused my heart to race,
And our minds entwined in a warm embrace.

[Verse 2 Revisited]
If I could only feel your touch, with such
emotion, it feels so much
like a whirlwind through my soul
binding wounds and making whole,
Restore my heart with your alluring wit.

[CHORUS]
It’s NOT JUST SEXUAL,
Though your sexuality caused my heart to race,
And our minds entwined in a warm embrace.

[Verse 3]
In your presence, I felt replete,
I strived always to offer you a seat
Had you taken I would have been amazed
My heart and soul like a village raised
But not in a bad way, I always wanted it.

[CHORUS]
It’s NOT JUST SEXUAL,
A bond that transcended the physical affection.
In you, I found a muse and a friend.
Your legacy, an eternal light that will never end.

[Verse 4]
Your body, vivid and bold, sultry as you danced.
Your beauty and grace leaving my soul entranced.
As your beauty took my breath away,
your mind was a marvel, lighting up my day.

[Bridge]
Your absence, a void in my heart, taking its toll.
The echoes still subtly reverberate through my soul.
Consistently in my every thought and phrase,
Your radiance still guides me through life’s intricate maze.

[CHORUS]
It’s NOT JUST SEXUAL,
A bond that transcended the physical affection.
In you, I found a muse and a friend.
Your legacy, an eternal light that will never end.

It’s not JUST sexual
(sexual)…
(sexual)…
It’s not JUST sexual
(sexual)…
(sexual)…
You have an eternal light that will never end.

The Hidden Dangers of Dihydrogen Monoxide (DHMO)

Introduction

Dihydrogen monoxide (DHMO) is a chemical that is pervasive in our environment and present in almost all human ingestible food. Despite its ubiquitous presence, DHMO has several potentially dangerous effects that have not been adequately addressed by regulatory bodies such as the FDA. The use of pseudo-science to shift the focus of substances such as this to make them appear more or less dangerous than science would indicate is a critical component in understanding what their true impact is.

Health Risks Associated with DHMO

Respiratory Issues

In sufficient quantities, DHMO can cause severe breathing difficulties. Inhaling DHMO can lead to a cessation of breathing and even death.

Addiction

DHMO is incredibly addictive. If deprived of this substance, humans experience severe withdrawal symptoms and ultimately death.

Tissue Damage

Prolonged exposure to DHMO in certain forms can cause significant tissue damage.

Exposure to the Liquid Form:
Prolonged contact with liquid DHMO can cause skin irritation and damage.

Exposure to the Solid Form:
Contact with solid DHMO can cause severe frostbite and tissue damage.

Exposure to the Gaseous Form:
Inhalation of gaseous DHMO can cause severe burns and respiratory tract damage.

Environmental Impact of DHMO

Soil Erosion

DHMO contributes significantly to soil erosion, disrupting ecosystems and agricultural stability.

Major Component of Acid Rain

DHMO is a major component of acid rain, which can damage forests, aquatic environments, and infrastructure.

Nutrient Recycling

In large quantities, DHMO can prevent the natural process of nutrient recycling.

Pest Control

Heavy DHMO presence can prevent natural pest control processes.

Habitat Creation

Excessive DHMO can obstruct the creation of naturally diverse animal habitats.

Germination of Seeds

Large amounts of DHMO can inhibit the germination of many plants.

Fuel Buildup

DHMO can prevent the natural reduction of organic debris.

Biodiversity

Large amounts of DHMO can suppress biodiversity.

New Plant Growth

High levels of DHMO can inhibit new plant growth.

FDA and Regulatory Oversight

The FDA has long ignored the inclusion of DHMO in almost all human ingestible food, not only failing to require further investigation, but has also allowed the listing of DHMO to be excluded from warnings and ingredients of most food products. Despite its known risks, DHMO is allowed to be used in food production and processing without any significant regulatory oversight. The addictive nature of DHMO is well acknowledged, yet it remains a staple in our diet, indicating a failure to protect public health.

The Call for Action

Given the myriad of risks associated with DHMO, it is clear that immediate action is needed. We propose a complete ban on DHMO in all food products. It’s time to address this overlooked threat and remove DHMO from our food supply to safeguard our health and environment.

Revelation

Upon reviewing the evidence, it becomes apparent that DHMO is a significant risk, with a long history of being either ignored or actively allowed by almost all regulatory bodies.

Final Thoughts:

Understanding the effects of this chemical compound is imperative for understanding why and how it should be used and in what quantities it is safe to consume. But what is DHMO really? It’s commonly known as water (H₂O). While the above points about DHMO might seem alarming, they illustrate the necessity of water in our lives and the importance of understanding scientific information in context.


Review of Points in the Context of Water

Respiratory Issues

Twisted Fact: “In sufficient quantities, such as during a deluge, DHMO can cause severe breathing difficulties. Inhaling DHMO can lead to a cessation of breathing and even death.”
Truth: Water, when inhaled, can cause drowning, but it is essential for life.

Addiction

Twisted Fact: “DHMO is incredibly addictive. If deprived of this substance, humans experience severe withdrawal symptoms and ultimately death.”
Truth: Water is essential for life; dehydration can lead to severe health issues, but water itself is not addictive.

Tissue Damage

Exposure to the Liquid Form

Twisted Fact: “Prolonged contact with liquid DHMO can cause skin irritation and damage.”
Truth: Water at extreme temperatures can cause damage, but it is necessary for hydration and overall health.

Exposure to the Solid Form

Twisted Fact: “Contact with solid DHMO can cause severe frostbite and tissue damage.”
Truth: Ice can cause frostbite, but it is a natural state of water that plays a role in various ecological processes.

Exposure to the Gaseous Form

Twisted Fact: “Inhalation of gaseous DHMO can cause severe burns and respiratory tract damage.”
Truth: Steam can cause burns due to its high temperature, but it is also a natural process of the water cycle.

Environmental Impact

Soil Erosion

Twisted Fact: “DHMO contributes significantly to soil erosion, disrupting ecosystems and agricultural stability.”
Truth: Water can cause soil erosion, which is a natural part of landscape formation, and is essential for life.

Major Component of Acid Rain

Twisted Fact: “DHMO is a major component of acid rain, which can damage forests, aquatic environments, and infrastructure.”
Truth: Water is a component of rain, and while acid rain can be harmful, it is due to pollutants, not the water itself.

Nutrient Recycling

Twisted Fact: “In large quantities, DHMO can prevent the natural process of nutrient recycling.”
Truth: High amounts of water can wash away nutrients, but rain is a natural process essential for nutrient cycling.

Pest Control

Twisted Fact: “Heavy DHMO presence can prevent natural pest control processes.”
Truth: Water can disrupt pest populations by altering habitats, but it is essential for maintaining healthy ecosystems.

Habitat Creation

Twisted Fact: “Excessive DHMO can obstruct the creation of naturally diverse animal habitats.”
Truth: Water supports diverse habitats, though excessive amounts can alter environmental conditions temporarily.

Germination of Seeds

Twisted Fact: “Large amounts of DHMO can inhibit the germination of many plants.”
Truth: Excessive water can hinder germination, but water is necessary for most plant growth.

Fuel Buildup

Twisted Fact: “DHMO can prevent the natural reduction of organic debris.”
Truth: Excessive water can hinder the reduction of organic debris, but water is part of the natural decay process.

Biodiversity

Twisted Fact: “Large amounts of DHMO can suppress biodiversity.”
Truth: Water is vital for supporting biodiversity, though excessive amounts can temporarily change habitats.

New Plant Growth

Twisted Fact: “High levels of DHMO can inhibit new plant growth.”
Truth: Excessive water can hinder new plant growth, but water is essential for plant life.

Conclusion

This exercise demonstrates how easily scientific facts can be presented in a misleading way. Water is essential for life, and its presence in food and the environment is not only safe but necessary. Let’s approach scientific discussions with critical thinking and a demand for context, ensuring that we understand the true nature of the substances we encounter daily.

Hangeul and the Empowerment of a Nation

Until the 15th century, while Koreans had their own unique language, all written forms were limited to what has become known as Classic Chinese. The complexities and inability of Classic Chinese to encapsulate the phonemic nuances and grammatical structures of the spoken Korean language relegated the average Korean to illiteracy. The Classic Chinese writing was reserved for a select class of people, typically the wealthy, royalty, or those in governmental positions were the only ones that had any literacy and this was of course in Chinese.

Under the reign of the Yongle Emporer circa 1402-1424 the compilation of the “Yongle Dadian” was commissioned in an attempt to standardize pronunciation of Chinese and the usage of Chinese characters. With the expansive territory that China encompassed it had numerous regional dialects and standardization was an attempt to not only unify these diverse dialects and facilitate better communication within the empire, it also was enacted to further consolidate the Ming dynasty’s cultural and political power.

Korea relied heavily on the Hanja (Chinese characters) for its writing system and the changes in pronunciation introduced complexities which poorly represented the spoken Korean language. This change extended the chasm between ordinary common Koreans and made it even more difficult to learn to use the script effectively, hindering literacy and efficiency of governing within Korea itself.

Japan and Vietnam were also heavily impacted by the efforts to consolidate and standardize the Hanja, but they already had scripts in place that had evolved more naturally over many centuries. Kanji in Japan and Chữ Nôm in Vietnam softened the changes being implemented for the Hanji and thus the impact was not as great in these areas.

In 1418 King Sejong ascended to the throne, and as a would be validated in later years, this visionary understood the value of literacy of his people and valued education highly. Under his rein, numerous cultural and scientific advancements were made. Having instituted the Hall of Worthies (Jiphyeonjeion) in 1420, he gathered scholars from many fields and worked to advance various fields of study.

Some of the greatest contributions to come out of the Hall of Worthies includes the water-clock, a star chart mapping constellations visible from the region, as well as the compilation of literary and legal texts. These various results from the Hall of Worthies expanded numerous fields of study and amongst the fields of engineering and astronomy, was agriculture and many others.

One of these fields was linguistics, which had become cumbersome with the changes in the Chinese writing and pronunciations. In 1443 King Sejong and the Hall of Worthies started work on a project to change the literacy in Korea, its goal to create a script that was not only easy to use and read, but properly represented the sounds inflections and grammar that was ubiquitous during that period. This new script and alphabet was designed specifically for its ease of use and learning which enabled and empowered the common people to become literate.

Though there was resistance from the aristocratic class (including King Sejong’s own sons), who preferred Classical Chinese and the prestige and elitism it perpetrated, the ease of use and learning allowed Hangeul to continue to spread throughout the common people of Korea. The scope of this change would only be truly understood centuries later as the script and its use was repressed by ruling classes more than one over the centuries.

Hangeul was a definitive statement bolstering Korea’s own cultural interdependence from the Chinese and moved Korea to a more unique identity of Korea as an independent nation. From the point of it’s creation Hangeul facilitated education of the masses, inexorably changing the Korean society as a whole, as it made knowledge accessible to all.

Having been stationed in Korea in the late 1980’s I was fascinated by the language and though I would not realize it until decades later, the scripting of Hangeul made an impact on me that has never left. Though I always wanted to learn how to speak Korean, it was not something I actively pursued.

Almost three and a half decades later, I embarked on another project in registering a coat of arms, and this little jaunt led me to create a piece of writing that encompassed the magnitude of my feelings about my coat of arms and the meanings behind it.

As I delved into writing my book, which prompted the creation of a conlang for a society that fleshed out parts of my novel, I inadvertently settled on script that was syllabic in structure and encapsulated many of the nuances that embodies the magnificent script of Hangeul, though mine was a much simpler implementation, as it was just me and not an academy full of scholars.

Once I realized the similarities between my conlang and Hangeul, it re-sparked my interest in the Korean language, and with the advancements in technology, made learning easier and more accessible than it had been 3 decades ago. This of course lead to research about the language where I learned about King Sejon the Great and the Hunminyeongeum.

I have mad respect for this man and the various things that he empowered to be created. This writing is not an essay or dissertation, it is simply an acknowledgement of something great sparked and driven by a man intent on empowering his people.

Power to the people (Korean people)! 😀

Hadokai Tubatonona Script Syllabic Structure

Syllabic Structures Explanation

Explanation:

The provided image illustrates the three distinct syllabic structures within a hadokai tubatonona script. These structures are designed to represent syllables by combining consonants and vowels in a systematic way.


First Structure:

The first structure, shown on the left side of the image, features a 2×3 rectangle divided into two columns with a vertical line. The left column is further divided into three rows by horizontal lines from the outer edge on the left to the central vertical line, these are designated for the placement of vowels which are defined by the placement of a visible dot within the appropriate division. The column on the right is divided into two rows without a dividing line. The top row is for any letter that begins the syllable, and the bottom row is for any letter that ends the syllable. The sections are color-coded; the peach-colored areas are for the placement of the vowel dots. The Blue area is for the placement of the beginning consonant should there be one, and the green area is for the placement of the closing consonant should one be needed. This structure defines the vowels “a”, “e”, and “ʌ” as defined by the International Pronunciation Association (IPA)

the “a” sound. the “e” sound.  the “ʌ” sound

E
L S Blank

represents the syllable “les”


Second Structure:

The second structure, shown on the right side of the image, features a 2×3 rectangle divided into two columns with a vertical line. The right column is further divided into three rows by horizontal lines from the outer edge on the right to the central vertical line, these are designated for the placement of vowels which are defined by the placement of a visible dot within the appropriate division. The column on the left is divided into two rows without a dividing line. The top row is for any letter that begins the syllable, and the bottom row is for any letter that ends the syllable. The sections are color-coded; the peach-colored areas are for the placement of the vowel dots. The Blue area is for the placement of the beginning consonant should there be one, and the green area is for the placement of the closing consonant should one be needed, thus maintaining the same color coding as the first structure.

This structure defines the vowels “i”, “o”, and “ɪ” as defined by the IPA.

the “i” sound. the “o” sound.  the “ɪ” sound

L S Blank
E

represents the syllable “dok”


Third Structure:

The third structure, shown in the middle of the image, in keeping with the previous descriptions, the structure presents a 1×3 column, divided as before in the previous structures and bounded on either side with a vertical line each. These lines flank the consonant(s), dividing it as before into two rows, a top and a bottom. Again the beginning consonant goes in the top area and the closing consonant resides in the bottom area.  which flank the consonants; however, the structure provides for a 3rd row under the main consonants for the placement of a vowel dot. This columnar design streamlines the syllable construction, focusing on vertical alignment.

This structure represents the u sound as defined by the IPA.

E

represents the syllable “put”


Word Structure:

When combining these into a word, they are written side by side.

L S Blank
a

is the word “david”


Sentence Structure:

L Blank
a
E
L Blank
a
L Blank
a
E

This phrase reads “hadokai tubatonona tu balana aʤ” and this phrase translates into English as “I speak Tubatonona Language.”


Hadokai Tubatonona Lexicon – In Progress

https://www.kreativekorp.com/clcr/register.php

Lexicon

A “a”: /a/ – Pronounced as in “father” or “car.” An open-front unrounded vowel sound.

  • Ae: /aɪ/ – Eat or partake
  • Al: /al/ – 1. Water (Noun) 2. beside or alongside (suffix)
  • Alcha: /al.cha/ – Blue, literally water color
  • Alda: /’al.da/ – Calm, nice, good
  • Aldagiroda: /’al.da.’gi.ro.da/ – GoodEvil, Balance
  • Alirti: /’al.ir.ti/ – Gentle or subtle form of floating or swimming
  • Aldavudoh: /’al.da.’vu.do.h/ – Good life area (Nature).
  • Albe: /’al.be/ – Steam, literally water soft, or water fluffy
  • Alpo: /’al.po/ – Ice, literally water hard

B “b”: /b/ – Articulated as in “bed” or “bat.” A voiced bilabial plosive sound.

  • Ba: /ba/ – Work or labor
  • Baka: /’ba.ka/ – Create or build
  • Bakanano: /ba.ka.’na.no/ – We (my community) are creating (baka – create, na – individual, no – community)
  • Bakanono: /ba.ka.’no.no/ – We (our communities) are creating; emphasizes the collective aspect (baka – create, no – community/plural, no – community)
  • Bala: /’ba.la/ – Speak
  • Balaaldatu: /ba.la.’al.da.tu/ – To express joy or amusement (Laugh).
  • Balana: /ba.’la.na/ – I am speaking (singularly)
  • Balano: /ba.’la.no/ – We are speaking
  • Bapa: /’ba.pa/ – to Write
  • Bapava: /’ba.pa.va/ – The writings
  • Bato: /’ba.to/ – Divine communal creation
  • Batonana: /ba.to.’na.na/ – My community is spiritually creating (singularly)
  • Batonano: /ba.to.’na.no/ – Our communities are spiritually creating
  • Batova: /ba.’to.va/ – Divine creator
  • Batau: /ba.to.u/ – Formal greetings and Relious/spiritual passages open and close with this
  • Be: /be/ – Soft or fluffy; describes objects or substances that are light, airy, or yielding to touch.
  • Bo: /bo/ – an object or item, some thing

Ch “ch”: /ʧ/ – Articulated as in “check” or “church.” A voiceless postalveolar affricate sound, which combines a plosive and a fricative. The tongue initially makes a complete closure near the palate (as in the sound ‘t’), followed by a fricative release similar to the “sh” sound.

  • Cha: /ʧa/ – having color or colored
  • Chavi: /ʧa.vi/ – to color or coloring
  • Che: /ʧe/ –
  • Chi: /ʧi/ – plant
  • Chim: /ʧi/ – tree
  • Chimti: /ʧi.ti/ – sapling (small)
  • Chimta: /ʧi.ta/ – mature tree (normal average)
  • Chimto: /ʧi.to/ – old tree (large)
  • Chimzutoto: /ʧi.zu.to.to/ – ancient tree
  • Cho: /ʧo/ – Air
  • Chogiro: /ʧo.gi.ro/ – Smoke (as from a fire)
  • Chu: /ʧu/ – to become

D “d”: /d/ – As in “dog” or “door.” A voiced dental or alveolar plosive sound.

  • Da: /da/ – Feeling or sensation (suffix)
  • De: /de/ – Second person indicator, defaults to individual if verb is unmodified for quantity indicators (de bata – You, as an individual, create spiritually/divinely)
  • Di: /di/ – Lesser or smaller version of an action (suffix)
  • Do: /do/ – greater or larger version of an action (suffix)
  • Doh: /do.h/ – Area indicator
  • Dohna: /’do.h.na/ – My area, my space, my home
  • Dohnati: /’do.h.na.ti/ – My little area or space

E “e”: /e/ – Similar to “bed” or “met.” A close-mid front unrounded vowel sound.

  • E: /e/ – with
    example, she tu navaena – cow [first person] run with [singular]
  • En: /en/ – Directional “around” (suffix)
  • Em: /em/ – Food
  • Es: /es/ – Directional “towards” or “to” (suffix)
  • Et: /et/ – Directional “away” (suffix)

F “f”: /f/ – As in “fair” or “flame.” A voiceless labiodental fricative sound.

  • Fa: /fa/ – Nuetral, specifically neither gender version
  • Fe: /fe/ – Combined gender or both genders
  • Fi: /fi/ – Feminine, female version
  • Fo: /fo/ – Masculine, male version

G “g”: /g/ – As in “go” or “green.” A voiced velar plosive sound.

  • Ga: /ga/ – Dark, absence of light
  • Gi: /’gi/ – Danger
  • Giro: /’gi.ro/ – Fire
  • Girocha: /gi.ro.cha/ – Red
  • Giroda: /’gi.ro.da/ – Anxious, bad, evil

H “h”: /h/ – As in “hat” or “hello.” A voiceless glottal fricative sound.

  • Ha: /ha/ – Utter or make sound with your mouth
  • Hadi: /’ha.di/ – Whisper
  • Hado: /’ha.do/ – Language or talk
  • Hadoalda: /’ha.do.’al.da/ – Singing
  • Hadokai: /ha.do.’kaɪ/ – Unique language
  • Han: /han/ – Surface or covering of an object (tunahan – human skin)
  • Ho: /ho/ –

I “i”: /i/ – As in “machine” or “beet.” A close front unrounded vowel sound.

  • I: /i/ –
  • Il: /il/ – Under or beneath (suffix)
  • Ir: /ir/ – through or inside or within (suffix)
  • Im: /im/ – represents the concept of temperature, along with the use of the gender morphemes to denote intensity, and the various colors to indicate level of heat, aldo

J “j”: /ʤ/ – As in “judge” or “gel.” A voiced postalveolar affricate sound, like a combination of a soft “d” and “zh.”

  • Ja: /ʤa/ – sharp, able to cut, (adjective suffix)
  • javi: /ʤa.vi/ – to cut (verb)
  • Ji: /ʤi/ – Sharp, able to pierce, (adjective suffix)
  • Jivi: /ʤi.vi/ – to cut (verb)
  • Jo: /ʤo/ – Rock
  • Jobaal: /ʤo.ba.al/ – metal, literally rock work water, rock that can be liquid when worked (such as in a forge)

K “k”: /k/ – As in “kite” or “key.” A voiceless velar plosive sound.

  • Ka: /ka/ – Rare, arms-side hand (right hand), the number 5 (see numbering system)
  • Kai: /ka.i/ – Unique (noun modifier), the number 1 (see numbering system)
  • Ki: /ki/ – changing size
  • Kiti: /ki.ti/ – growing smaller in size
  • Kito: /ki.to/ – growing larger in size
  • Ko: /ko/ – texture rough

L “l”: /l/ – As in “like” or “lamp.” A voiced alveolar lateral approximant sound.

  • Lasi
  • Li: /li/ – eye
  • Lira: /’li.ra/ – To see
  • Ludi: /’lu.di/ – To Play

M “m”: /m/ – As in “moon” or “man.” A voiced bilabial nasal sound.

  • Ma: /ma/ – Sky
  • Magiro: /ma.gi.ro/ – The sun, literally sky fire
  • Mak: /mak/ – Wall or divider
  • Makvi: /’mak.vi/ – To divide or separate
  • Mo: /mo/ – texture fine or smooth
  • Mu: /mu/ – Slower version of an action (

N “n”: /n/ – As in “now” or “nice.” A voiced alveolar nasal sound.

  • Na: /na/ – Singular action or adverbial modifier
  • Nad: /nad/ – separate singular appendage ie. gironad – singular focused flame, literally a fire appendage.
  • Nada: /’na.da/ – To walk
  • Nava: /’na.va/ – To run
  • Nama: /’na.ma/ – to fly
  • Ni: /ni/ –
  • No: /no/ – 1. Third person indicator, defaults plural if verb is unmodified for quantitiy indicators (no bata – They create spiritually/divinely) 2. Multiple indicator or adverbial modifier (suffix

O “o”: /o/ – As in “go” (without the w-like offglide) or “note.” A mid-back rounded vowel sound.

  • Ou: /o.u/ – to gather
  • Oupensava: /’o.u.pen.sa.va/ – To acquire knowledge or skill, from “ou” for gather + “pensava” for knowledge (Learn).
  • Oram: /’o.ram/ – To love

P “p”: /p/ – As in “pen” or “pale.” A voiceless bilabial plosive sound.

  • Pensa: /’pen.sa/ – To think
  • Pensam: /’pen.sam/ – To Know
  • Pensava: /’pen.sa.va/ – A thought
  • Pi: /pi/ – Faster version of an action (navapi – run fast)
  • Po: /po/ – Hard or dense; refers to objects or substances that are firm, solid, or compact in structure.
  • Pra: /pra/ – Protection
  • Pramak: /pra.mak/ – protective wall, shield

R “r”: /r/ – As in the rolled ‘r’ in “arrive” or “red.” A voiced alveolar or postalveolar trill or tap/flap sound.

  • Ra: /ra/ – Closeness or proximity
  • Ro: /ro/ – light or absence of darkness
  • Ren: /ren/ – a stick or a rod
  • Renjaviti: – literally stick sharp small, a knife of sorts
  • Renjavita: – literally stick sharp moderate, a sword
  • Renjavito: – literally stick sharp large, a halberd

S “s”: /s/ – As in “sun” or “sand.” A voiceless alveolar sibilant sound.\

  • Sana: /’sa.na/ – To hear
  • Si: /si/ – To sleep
  • Siti: /’si.ti/ – To Nap
  • Sitva: /’si.ti.va/ – A Nap
  • Spa /spa/ – quality of an object
  • Spako /spa.ko/ – rought in quality, not well made
  • Spamo /spa.mo/ – of fine quality, well made
  • Spa /spa/ – quality of an object
  • Su: /su/ – a name (suffix), Emanresu – the name Emanre (what you call the person or thing specifically)

Sh “sh”: /ʃ/ – Pronounced as in “shoe” or “fish.” A voiceless postalveolar fricative sound, produced by slightly rounding the lips and directing air flow over the center of the tongue, which is raised towards the palate.

  • Sha:/ʃa/ – shield-side hand, the number 10 (see numbering system)
  • Shap: /ʃap/ – 100 (see numbering system)
  • Shai: /ʃa.i/ – the number six (see numbering system)
  • She: /ʃe/ – Cow, Bovine
  • Sheal: /ʃe.al/ – Milk, literally cow water

T “t”: /t/ – As in “top” or “table.” A voiceless dental or alveolar plosive sound.

  • Ta: /ta/ – Medium size/scope Medium or Average Degree
  • Single Use (“ta”): Denotes a medium or average degree. “Alchata” suggests an “average blue” or “moderately blue.”
  • Double Use (“tata”): Intensifies the averageness. “Alchatata” means “very average blue” or “the epitome of blue.”
  • Te: /te/ – Stay, Don’t move, hold still
  • Titato: /’ti.ta.to/ – Increase in size, quantity, or quality (indicated by the increasing descriptors: small medium large), “totati” for decrease in size, quantity or quality (Shrink: large medium small).
  • Ti: /ti/ – Small size/scope Lesser Degree
  • Single Use (“ti”): Indicates a lesser or reduced degree of a quality. For example, “Alchati” could mean “less blue” or “slightly blue.”
  • Double Use (“titi”): Emphasizes the reduction. “Alchatiti” would then mean “much less blue” or “very slightly blue.”
  • To: /to/ – Large size/scope – Greater or Intense Degree:
  • Single Use (“to”): Implies a greater or more intense degree. “Alchato” translates to “bluer” or “more intensely blue.”
  • Double Use (“toto”): Signifies the superlative degree. “Alchatoto” would be “bluest” or “most intensely blue.”
  • Tono: /’to.no/ – Something unpleasant or not pleasurable
  • Tu: /tu/ – First person indicator, defaults to singular if verb is unmodified for quantity indicators (tu bata – I create spiritually/divinely)
  • Tubatonona: /tu.’ba.to.no.na/ – The name for the race, direct translation is “We, the unique creators of the divine”
  • Tuna: /’tu.na/ – an object like me, in my image, ie. a singular human.
  • Tunapensa: /’tu.na.pen.sa/ – A companion or non-familial relationship (Friend) someone I know
  • Tunati: /’tu.na.ti/ – Young person or offspring (Child).
  • Tutototo: /’tu.to.to.’to/ – First person indicator of the cosmic or divine entity, similar to a god or the God speaking to man.

U “u”: /u/ – As in “food” or “rude.” A high back rounded vowel sound.

  • U: /u/ – up, upwards, above
  • Ul: /ʌl/ – Over or on top of (suffix)
  • Uo: /uo/ – receive
  • Uova: /’u.o.va/ – the reciever
  • Uu: /u.u/ – give
  • Uuva: /u.u.va/ – the giver

V “v”: /v/ – As in “van” or “violet.” A voiced labiodental fricative sound.

  • Va: /va/ – Turns a verb into a noun (suffix)
  • Ve: /ve/ – To come
  • Vi: /vi/ – Turns a noun into a verb (suffix)
  • Vu: /vu/ – Existence / life
  • Vualda: /vu.’al.da/ – Expectation for a positive outcome (Hope).
  • Vugiroda: /vu.’gi.ro.da/ – expectation for a negative outcome (dispair)
  • Vudohtoto: /vu.do.h.to.to/ – Life area very large, the world in which we live.
  • Vuviva: /vu.’vi.va/ – State of physical or mental well-being (Health).

Y “y”: /j/ – As in “yes” or “yellow.” A palatal approximant sound.

  • Ya: /ja/ – Question prefix
  • Yaba: /ja.ba/ – How
  • Yabo: /ja.bo/ – What
  • Yadoh: /ja.do.h/ – Where
  • Yahpensa: /ja.pen.sa/ – Why
  • Yatuna: /ja.tu.na/ – Who
  • Yazu: /ja.zu/ – when
  • Yu: /ju/ – To help

Z “z”: /z/ – As in “zoo” or “zebra.” A voiced alveolar sibilant sound.

  • Za: /za/ – exist, to exist, to be
  • Zavuti: /za.vu.ti/ – currently in existence for a short time; denotes something relatively new or recently begun.
  • Zavutiti: /za.vu.ti.ti/ – currently in existence for a very short time; refers to something extremely new or freshly started.
  • Zavuto: /za.vu.to/ – currently in existence for a long time; implies something old or long-standing.
  • Zavutoto: /za.vu.to.to/ – currently in existence for a very long time; used to describe something ancient or of great age.
  • Zavuzubavati: /za.vu.zu.ba.va.ti/ – To have existed for a short time. It denotes something that had a brief existence, without specifying if it is still existing or not.
  • Zavuzubavatiti: /za.vu.zu.ba.va.ti.ti/ – To have existed for a very short time. It denotes something that had a very brief existence, without specifying if it is still existing or not.
  • Zavuzubavato: /za.vu.zu.ba.va.to/ – To have existed for a long time. It denotes something that had a long existence, without specifying if it is still existing or not.
  • Zavuzubavatoto: /za.vu.zu.ba.va.toto/ – To have existed for a very long time. It denotes something that had a very long existence, without specifying if it is still existing or not.
  • Zu: /’zu/ – The time
  • Zuba: /’zu.ba/ – Past tense (prefix)
  • Zubava /’zu.ba.va/ – The past
  • Zubava bana zufova pensam /’zu.ba.va ‘ba.na ‘zu.fo.va ‘pen.sam/ – zubava:the past, bana:write, zufova:the future, pensam:to know (inscribe the past and know the future)
  • Zufo: /’zu.fo/ – Future tense (prefix)
  • Zufoti /’zu.fo.ti/ – Imminent or near future (prefix)
  • Zufova /’zu.fo.va/ – The future
  • Zufovualdi: /zu.fo.’vu.al.di/ – Future good thoughts (Dream; as in aspirations).
  • Zuti: /’zu.ti/ – now or immediately
  • Zuta: /’zu.ta/ – this day, dawn to dawn
  • Zuto: /’zu.to/ – longer than day, perhaps a week
  • Zufo: /’zu.fo/ – Future tense (prefix)

Numeric system:

Numbers 1-5:

Numbers 1 through 5 are formed by using “Ka” (arms-side hand):

Kai (1)
Kae (2)
Kao (3)
Kau (4)
Ka (5)

Numbers 6-10:

Numbers 6 through 10 are formed by using “ʃa” (shield-side hand):

ʃai (6)
ʃae (7)
ʃao (8)
ʃau (9)
ʃa (10)

Numbers 11-50:

Numbers 11 through 50 are created by combining the word for 10 (“ʃa”) or 5 (“Ka”) with the basic numbers.
For example, 11 (Kaikai) is “Kai” (1) followed by “Kai” (1), and 15 (Kaika) is “Kai” (1) followed by “Ka” (5). This pattern continues through 50.

Numbers 51-100:

The numbers 51 through 100 continue the pattern, starting with 51 (Kaʃai) to 100 (Kaiʃap).
Multiples of 100 (100, 200, 300, etc.):

“ʃap” is the morpheme for 100.

200 (Kaeʃap), 300 (Kaoʃap), and so on, are formed by prefixing “ʃap” with the basic numbers.
Thousands and Beyond:

“Ap” multiplies the previous number by 10.

1,000 is represented as “Kaiʃapap” (100 x 10).
Larger numbers like 10,000 (“Kaiʃapʃap”) are formed by repeating the morpheme for 100 and adding “ap” as necessary.

Large Numbers:

For extremely large numbers, the system uses multiplication and addition of these basic components to construct any number.
For instance, kaiʃapʃapʃapkaoʃapapkaʃapkae (1,050,302) would be broken down into its components kaiʃapʃapʃap kaoʃapap kaʃap kae (1,000,000 + 50,000 + 300 + 2) and represented accordingly in Hadokai Tubatonona.

Hadokai Tubatanona Grammar Structures

The structure of the Hadokai Tubatonona (HT) language is quite a bit different from English. One of the main differences is the object subject verb (OSV) format of the sentences, which is not unheard of in most languages, but it is definitely in the minority. The second major difference is the handling of the primary subject, which is different than all other nouns within the sentence structure.. With this in mind, the idea is that the Tubatonona were very explicitly focused on the creations or outcomes rather than who did it or how it was done.

While I have distinct ideas of how this culture developed producing this unique language structure, and at some point, I will be developing the Tubatonona culture, currently, I am focusing on the language (Hadokai).

Sentence structure is similar to transposing most English structures, though not all of the structures. As you will see when we get to the primary subject and verb, the structure gets complicated by the linking of the primary subject to the verb.

Using the standard symbols used by Chomsky Hierarchy, which allows those that can already understand this notation to do so without the explaination of the symbols.. Those that need a short primer for them, you may read on, otherwise jump down the page to S → Imp | Int | [Cnd] Objs Subjs [Tm] Vbs ClPunc

The symbols and structures for Chomsky makes understanding the way language interacts, and though I have been told that there are flaws in the methodology, I believe it will suffice for these purposes

.The arrow (→) is read as “leads to” or “contains,” which indicates it is defined with the following components. We write a sentence that contains only a subject and a verb thusly: 

 S → Subj Vrb

The pipe symbol (|) indicates “or,” and though it would not make sense, we could define a sentence that contains either a subject or a verb or both: 

 S → Subj | Vrb | Subj Vrb

Square brackets denote an optional part. Adding the object to the previous construct: 

 S → [Obj] Subj | [Obj] Vrb | [Obj] Subj Vrb

Parenthesis denote a set of elements, typically similar in nature in some way. In the following Objs leads to either a pronoun and optional secondary nouns or a primary object. This is followed by an optional secondary object. For instance, “He she and”, “The girls the dogs and”

 Objs → (PNoun [SPNoun] | PO) [SO]

The plus symbol fro appending of one element directly to another element, as in a suffix or prefix.: 

 PV → [primary verb] [VerbSuffixes] [PSAdjSuffixes] [PSPluralInd] [NegSuf] [PVCCAV] [PSCCA]

If we have a recursive phrase, say a prepositional phrase (PP), we can recurse so that one prepositional phrase can include another and another and another. This is done by including the structure being defined in the structure we are defining. With P equivalent to a preposition and PP equivalent to a prepositional phrase, the structure begins to take shape.

In the HT structure, I will not define the preposition, and we will assume we can figure out what a preposition is or should be. Including an adjective and a determiner (a, an, the, etc.), we get:

PP → [PP] Adj Det P

Finally, we have the end, epsilon, or empty, where we need to close the PP. Otherwise, it continues to add more PP ad infinitum. The “ε” added as an “or” condition allows the option to finish the structure.

PP → [PP] Adj Det P | ε

Naturally, the sentence structure (generically) in the Chomsky Hierarchy format is:

S → Imp | Int | [Cnd] Objs Subjs [Tm] Vbs ClPunc

Reading this, we can see that the sentence leads to (is comprised of) an “imperative” OR an “interrogative” OR the group of the following: an optional “condition,” a mandatory object phrase, a mandatory subject phrase, an optional “time” indicator, a mandatory verb phrase, and finally the closing punctuation.

Imp – Imperatives

Int – Interrogatives

Cnd – Optional Conditionals

ObjP – Object Phrase

SubjP – Subject Phrase

Tm – Optional Time indicators

VbP – Verb Phrase

ClPunc – Closing punctuation

Imp

Imp (Imperative) is the word used to emphasize the imperative or command; in English, this would be “Hey!”, “You!”, “Get over here!”. So, technically, this might be a word or a short phrase, but the entire sentence is surrounded by imperative punctuation.

This would be similar in nature to “!Hey!” or “!Stop doing that!”

The structure for imperative (Imp) is defined as the punctuation followed by the imperative phrase followed by the punctuation:

Imp → ImpPunc ImpP ImpPunc | ε

            ImpPunc → aʧ

            ImpP → Objs ImpP | Subjs ImpP | Tm ImpP | Vbs ImpP | ε

We can define a sentence with a single word:

English: You!

HT: aʧ dena aʧ 

Broken down, we see the exclamation word, “de” (as the second person indicator) with the “na” suffix (specifying the singular nature of “de”) and finally the exclamation word, again. It could also be “aʧ deno aʧ” if we were referring to “you” as a group.

Int 

 Int (Interrogative) references the question, query, or interrogative. It is similar to how I sometimes preface a question with “question” like “Question, how do I explain this, so that everyone can understand?”

The structure is similar to Imp but is much more robust and allows for complete sentences within the query, but prefacing it with an appropriate “ya” word.

The punctuation for questions is “yaɪʤ” and will always both open and close the sentence.

Int → IntPunc IntW IntP IntPunc | ε

            IntPunc → yaɪʤ

            IntW → yaba | yabo| yadoh| yapensa| yatuna| yauʧ | yazu | ya + N | ya + V

            IntP → Objs IntP | Subjs IntP | Tm IntP | Vbs IntP | ε

yaɪʤ yazu de bakana yaɪʤ (In English: “When will you create?” in direct translation “?When – second person – create – singular?”)

yaɪʤ (interrogative punctuation) yazu (interrogative word, when de (second person indicator word, either “you” or “you all” depending on the ending suffix on the verb, “na” or “no”) bakana (to create, and the plurality indicator for de. “na” is singular and “no” is plural) yaɪʤ (closing interrogative punctuation)

ClPunc

ClPunc (Closing Punctuation) is currently the only other “stop” character for sentences, and if the sentence is not imperative or interrogative, it must end in the “aʒ.”

 ClPunc → aʒ

               Example: Tu bakana aʒ (first person – create – singular suffix, “I create.”)

Cond

Cond (Conditional) is the conditional word for the sentence, and as you can see by the brackets, it is optional.

The conditionals are words like “if,” “then,” or “therefore.” In HT structure, the conditional conjunctions would be transposed “then-if,” as the outcome is paramount. 

An English example might be, “If you place your hand on the stove, then you will get burned.” In HT, structures are transposed: “Then you will get burned if you place your hand on the stove.”

The conditional can get complicated; however, for this explanation, I am going to keep it simple and then, at the end, touch on the complexities this introduces. The Cond contains the CndConjP (Conditional Conjunctive Phrase). This will contain all of the possible options at some point in the future, but for now, we are showing it as having three conditional conjunction types: Temporal Sequence (having to do with time and sequences that are not reliant upon a conditional action), Logical (used to show cause and effect), and Conditional (used to show the if/then statements), the conditional conjunctions act as the “then” part of the, and the “if” part is played by the SubConj (subordinating conjunction).

Cond → CndConjP | SubConj

               CndConjP → TempConj | LogConj | CondConj

                              TempConj → zuel

                              LogConj → el

                              CondConj →

               SubConj → TempSubConj | LogSubConj | CondSubConj

                              TempSubConj → yazu

                              LogSubConj → ɪm

                              CondSubConj → at

Conditional Conjunctions can get quite a bit more complicated, especially in English. The ability to use a phrase would make the conditional section more robust but a lot more complicated, as it would need to define how the words and phrases are structured, when they can be used, and all of the very minute niceties that would come along with that.

Examples:

Temporal:

English: When the sun rises, then we will go outside. (the sun rising is going to happen, so it is temporal and not reliant upon a condition being met.)

HT: zuel aldavudoh tu geno aʃ yazu ro zuta ʧufa aʒ (literally: Then we go to the good life, area when the day becomes light.)

Logical:
English: There was no light, therefore we could not see.
HT: el tu lininoku aʃ roku rafa vuna aʒ (literally: Therefore we not see, no light there exists.)

Conditional:
English: You can go outside, provided it is light out.
HT:  at aldavudoh ropɪta aʃ  aldavudoh tu gena aʒ (literally: if outside lighter, outside you go.)

Objs

Objs (Objects) is a list of the objects that comprise the object phrases, and is made up of nouns, adjectives, and prepositional phrases. This can get quite a bit more complicated, with recursion and subordinate clauses and a lot of other things I will just gloss over.

HT always starts with the object, the thing, or the idea we’re talking about. For example, using “Jo” for rock. We can add details to it, like “Joalʧa” for the blue rock or “Joalʧaku” for not the blue rock. Objects and their qualities are central to HT.

The Objects are defined recursively, but typical sentences will typically not exceed three deep, but in some cases, they can. In the structure, we see the primary object (PO) first; as HT focuses on objects and outcomes, the primary object is the focus of the sentence. The secondary (SO) objects follow the primary, with the secondary objects defining the recursive nature.

The primary object comes first, but the structure defines it along with any adjective suffixes, the plural indicator, any negation suffixes, as well as both complex compound adjectives (CCA) and prepositional phrases (PP). The rest of the structure should start to be more apparent as you get used to looking at the structures from previous areas.

The primary object is comprised of a noun or a pronoun appended by any suffixes or prefixes. The only one I can think of right now is zu, which is time, so it may not apply, but I have added it here for possible use.

Compound complex adjectives are words used to describe the nouns, and as noted, can be complex, built up from other words that would indicate the attributes of the noun.

The noun phrase comprises the central portion of the object and includes the determiner, if any, the noun, and any adjective phrases and prepositional phrases if needed.

Almost any word can be used as a modifier for other words as long as there is context that indicates the intent.

Objs → (PNoun [SPNoun] | PO) [SO]

            PNoun → (tu | de | no) [+ (fa | fe | fi | fo}]

            SPNoun → PNoun [SPNoun + ConjSuffix] | ε

                               ConjSuffix → ʧe

            PO → [ModPrefixes +] N [+ AdjSuffixes] [+ PluralInd] [+ NegSuf] [CCA] [PP]

                        ModPrefixes → zu | ε

                        AdjSuffixes → AdjSuf [+ AdjSuffixes] | ε

                        PluralInd → na | no | [fa | fe | fi | fo] | ε

                        NegSuf → ku | ε

                        CCA → Adj [+ AdjSuffixes] | ε

                        PP → NP P | ε

                                    NP → [Det] [AdjP] N [PP]

            SO → [ModPrefixes] N [AdjSuffixes] [PluralInd] [NegSuf] [CCA] [PP] [SO] ConjSuffix | ε    

Detailed Descriptions and Modifiers: Objects and subjects can be described in detail, with modifiers for size, color, and more. For example, “Emanresuku” negates the subject “Emanre” in “Emanresuku lona” (Emanre is not the one throwing).

Subjs

Subjs are the actual subjects of the sentence; the primary subject of the sentence is a stand-alone noun without adjective suffixes, plural, complex compound adjectives, or prepositional phrases.

The secondary subjects do not follow the primary subject format. They follow the object format.

Thus, the secondary and subsequent subjects are defined with all of the amenities that would be associated with the noun in question, just as the objects were. Only the primary subject is treated differently.

Notice that in both objects and subjects, the conjunction is denoted by the subsequent object or nouns and not with the primary. “Ball and glove” turns into “ball glove and” when placed in HT order.

The last thing that is different between subjects and objects is the order of placement. In objects, it is similar to English. “this, that, and the other” in HT, it is The other, that, and this.

Subjs → [SS] | PS

            SS → [secondary subject] [+ AdjSuffixes] [+ PluralInd] [+ NegSuf] [CCA] [PP] Conj [SS]| ε

            PS → [primary subject] [+ NegSuf]

 Tm

Tm (Time) can come between the primary object and the primary verb. Time indicators such as “zubava” (which literally means “the past” ) can stand for any of these and more: previously, just prior to now, a moment ago.

English: Resua with Emanre just previously were jumping.

HT: Resuae Emanresu zubava zualno aʒ

We might consider this like the tense portion of the sentence, where the tense of the verbs is non-existent because we specify the tense before the verb. I kind of like that idea.

Time can also be negated, so that the following becomes:

English: Resua with Emanre just previously not were jumping.

HT: Resuae Emaresu zubovaku zualno aʒ

Vbs

Vbs (Verbs) are the verbs and verb phrases and are the most complex structure we have in the sentence.

A lot of this has been somewhat covered in the earlier parts, but this defines the principal part of the “originality” of the language.

The verbs, like the primary subject, use the Secondary Verb first before the Primary verb.

HT: Resua zubava ɪbvie navana dohnair aʒ – literally “Resua sat and ran the house into.”

English: Resua ran into the house and sat.

Or we could say:

HT: Resua ɪbvie navana dohnair aʒ – literally “Resua sits and runs the house into.”

English: Resua runs into the house and sits.

In this sentence, the noun “ɪb” is suffixed with “vi,” turning it into a verb and again suffixed with “e” to denote “with.” The verb “nava” is suffixed with the “na,” indicating a singular subject. Finally, “dohna” is suffixed with “ir,” indicating “within, into, or inside”.

As we look at the structure of the Vbs, we see that the primary verb gets complicated, as it is suffixed with any verb-specific suffixes. It then shifts to suffixes that go with the primary subject, adjectives, plurality indicator, and then the negation.

 Once primary subject suffixes have been applied, we shift to complex compound adverbs for the verb, which are recursive.

Primary subject complex compound adjectives are next, then lastly (and finally) primary subject prepositional phrases.

Vbs → SV | PV

            SV → [secondary verb(s)] [AdvSuffixMods] | ε

                        AdvSuffixMods → [adverb suffix modifiers] [Neg] | ε

            PV → [primary verb] [+ VerbSuffixes] [+ PSAdjSuffixes] [+ PSPluralInd] [+ NegSuf] [PVCCAV] [PSCCA]

                        VerbSuffixes → [primary verb suffixes] | ε

                        PSAdjSuffixes → [primary subject adjective suffixes] [AdjSuffixes] | ε

                        PSPluralInd → [primary subject plurality indicator suffix] [PluralInd] | ε

                        PVCCAV → [primary verb complex compound adverbs] [CCAV] | ε

                        PSCCA → [primary subject complex compound adjectives] [CCA] | ε

                        PSPP → [primary subject prepositional phrases] [NP] [P] | ε

                                    NP → [noun phrase]

                                                Det → [determiner (a, the, an, etc.)]

                                                AdjP → [adjective phrase and any modifiers of adjectives] | ε

                                                N → [noun]

                                                PP → [preposition phrase (recursive)] | ε

                                    P → [preposition]

Complex Sentences and Cultural Nuances: HT sentences can have multiple parts, each following the object-subject-verb order. The language reflects the cultural values, often focusing on tangible aspects (objects) more than the actions or agents (verbs or subjects).

Following OSV in all phrases. One exception to the OSV order is in HT poetry and prose. When developing a flourished writing of any kind, most structural conventions are thrown out the window, regardless of the language, or the structure that language uses.

Let’s look at a couple final example sentences:

HT: “ʤoalʧa Emanresu bakana aʒ”

Here, “ʤoalʧa” (the blue rock) is the object, “Emanresu” (by Emanre) is the subject, and “bakana” (creates) is the verb. The sentence ends with “aʒ,” marking the end of the sentence.

HT: ʤu alʧaku magiroʧaku tuna tunafizavutogaroʧae lolupifozavutogaroʧa aʒ

English: The old gray man, with the old gray woman, juggles quickly with not blue or yellow rocks.

HT: ropensam aldagirodae aʒ

English: In Balance, Brilliance

HT: liniva magomakva dokzezu puraze lini likulinialgibetiir aʒ

English: The vista of a boundless horizon reaching far in the hazy distance.

HT: zubava bana zufova pensam aʒ

English: Inscribe the past and know the future.

This structure shows how HT uniquely structures thoughts, emphasizing outcomes and the tangible aspects of the world. I imagine as I start to define the type of culture, they placed emphasis on the products of their lives.

The concept I am working with is that the Tubatonona were literally tasked with the creation of the mystical items which would maintain balance within this cosmic “sphere” of existence.

Chapter Two: The Pendant and Preparedness

Emanresu, having rested, stirred with the light of the dawn. His tiny giant, Resua, was already up and had built a radiant fire to help warm them from the night’s chill.

Emanresu reached into his pack and produced a small package, scrutinizing it. “Enough rations for about three or four days of travel,” he calculated to himself. He divided out the morning meal, and though it was not much, it should sustain them until they were able to gain work in Erzt.

“Hey, have you seen that pouch the bandit was carrying, Resua?” Emanresu asked as he dug through his belongings. “Got it,” Emanresu said upon locating the pouch.

He dumped the pouch out on his bedroll and spread out the contents: twelve copper, six silver, and a gold coin. A pendant was also present, which Emanresu picked up and inspected.

The small pendant’s delicate intricacies were belied by the stout craftsmanship. The heft was heavy, the dense oak polished and smooth. The colored stones of blue and green, catching the light in a way as to almost glow from within, were held in place by intricate engravings at each corner and filled with gold, which extended out over the stones, keeping them set in place. The etchings and metalwork at each corner were reminiscent of the Dance. Each corner was a symbolic representation of the sun, the phoenix, the tree, and the dragon, each in their respective corners; each of the symbols embraced the meticulously cut and inlaid stones. The piece was a marvel to behold. As Emanresu turned it over, there was a small but simple engraving of a sword and shield in the center of the piece. The words “zoobava bana zoofova pensam” were inscribed encircling the shield and sword.

“I wonder what that means, though it is a marvel of workmanship,” Emanresu thought.

“I wonder what the inscription means. Have you seen this before?” Emanresu asked Resua.

“zoobava bana zoofova pensam, something about writing in the past and knowing in the future, I think,” mused Resua, looking over Emanresu’s shoulder. “That looks like a better version of the talisman Aiesa had back home.”

“Aiesa?” Emanresu questioned. “Who?”

“You know, the village elder, Aiesa. He had one like this, but… do you mind if I look at it?” Resua asked, reaching out his hand.

Emanresu gave the little pendant to Resua, who inspected it, turning it over and over. “Yes, it is similar, though much more intricate and, I dare say, more expensive. Aiesa said his pendant was a talisman of luck, so I suspect this one is also a talisman of luck. Though I am certainly no expert!”

Resua grinned as he held it back out to Emanresu. “Keep it,” Emanresu told him, “At least until we can determine its worth. I imagine it would fetch at least a couple of gold coins to put in our pouches. But then again, I am certainly no expert either!” he grinned.

They both chuckled at their evaluation as non-experts and vowed to have someone in Erzt evaluate it if someone of sufficient skill and knowledge was available.

Emanresu repacked the pouch as Resua hung the pendant around his thick, muscular neck. Resua struggled for a bit, then finally, with the addition of a new neckstring, hung it from his neck. With a final touch, he reached up his meaty hand, engulfing the pendant, and tucked it into his tunic.

Emanresu and Resua sat and placed the bandit’s pack between them.

The light of dawn broke over the camp as Emanresu and Resua sat with the brigand’s pack between them. The contents, a storied history of the man’s life, at least the things he felt compelled to carry with him, abounded within the creases and crevices of the worn pack. Pockets within pockets hint at a mind devious and untrusting. “To have a pack this complex made for storing items would suggest that there are hidden treasures within as well,” Emanresu thought to himself as they started to sift through the pockets.

“Look for hidden compartments, Resua; I have a feeling this man had more to hide than he was willing to place in obvious spots,” Emanresu directed Resua.

Resua nodded in agreement, his fingers playing on the pendant. “If I was writing the story for him, I would check for a false bottom,” Resua divulged. “Pockets are pockets, but the unsuspecting would not be looking for anything other than the myriad of pockets.” Emanresu stopped and looked at his childhood friend with new respect.

“Your storytelling and descriptive mind have finally found a use in the practical world!” Emanresu exclaimed in somewhat of a puzzled tone. “I would have never guessed that Resua would be able to devise such a devious thought,” he mulled over in his mind. “I guess even between us, surprise is still a possibility.”

Emanresu started digging through the pack, each pocket a trove of storied treasures, as Resua would say, “the veritable life’s work in a single complex compartmented bag.” Emanresu smiled at the thought but said nothing to his friend.

First out were the various food items, easily found and retrieved, indicating that the man was more than just a common brigand, but one with the need to move fast and travel light. The amount of nuts, grains, and dried meat they pulled out of the pack was astonishing. “A week’s worth of rations, which would last us a full three days, maybe four if we stretched it,” finally looking up at Resua, who stopped in mid-chew and quickly hid his hand behind his back. Resua winked at his pretend deception, grinned, then went back to munching on the newly found rations.

“I guess that makes it three days then,” grinned Emanresu.

Digging into the pack, a length of rope and a collapsible grappling hook. Emanresu splayed the hook open and latched it, felt the heft and practicality of it, then unlatched it and folded it back up, setting the rope and the hook aside. A worn leather-bound case with little strips of steel and wire. “Probably lockpicks,” Resua offered as he happily chewed away.

Emanresu shot him an impressed glance and continued his quest through the bag. Slowly, they removed several dozen items: herbs and spices of many kinds, of which some might be poisonous, pointed out Resua, a waterskin and a bladder of wine, six daggers in total, four for throwing and two for fighting.

They dug deeper and found two wigs, one auburn, and one dark brown. “The man had yellow hair, so maybe these are for disguises? Oh, and here are various jars and bottles of makeup. I guess disguises are the most likely suspect for those,” Emanresu grinned.

Resua took one of the wigs and fitted it upon his head. He stood and curtsied in an imaginary dress. “Emanresu forced the grin from his face, “Please, never do that again!” he pleaded. They both laughed as Resua tossed the wig back to Emanresu. “Unless that is, you want to be like the smithy back home, who snuck out on an occasional night to make himself up as a woman, in full dress and makeup no less.” Resua looked on in shock, “I forgot all about that! And I heard that Aiesa actually took him home one night, oh, to be a mouse in the corner for that surprise!” Exclaimed Resua.

Continuing, he pulled out some parchment, several quills, and a metal bottle with a black substance, presumably ink. There was a flint and steel and several candles. This concluded the emptying of the contents.

Emanresu took the bag and shook it a bit. “Can you hear that, Resua?” he asked. And as he shook it again, the distinct clink of coin on coin was heard. The two friends started meticulously going back over the pack and found two secret compartments. The first carried loose coins and a cloth that wrapped up various pieces of jewelry. The second was a manuscript or journal of sorts. “It appears to be gibberish,” Emanresu said, handing it to Resua.

Resua flipped through the pages. “Alongside the other items, a book of gibberish would be out of place. Coupled with the fact that it was in a hidden compartment, it might suggest it is not just gibberish but might be written in some code.”

Resua stuffed the book in his own pack to puzzle over later.

Emanresu refilled the pack with most of the items, retaining the coins for himself and handing the jewelry to Resua. “While you are out checking for libraries or schools of learning, see if you can get these appraised and maybe even sold,” Emanresu said to Resua. “If any are recognized, just relate the story, without embellishment, mind you, and let them have the items. We do not want to cause a scene that we may not be able to extract ourselves from.”

Emanresu counted the coins: ten silver and five gold coins. “We shall be able to travel with a little comfort with this,” Emanresu thought to himself. He separated out five copper and two silver coins and deposited them in his own pouch, at which point he filled the brigand’s coin pouch with the rest of the coins and placed it carefully at the bottom of his pack.

Resua, having already packed, was scribbling in his own book. Occasionally, he looked up and scanned the camp, then returned to writing as Emanresu began gathering and stowing gear in his own pack, burying the coin pouch under the rest of his belongings.

As he rolled up the sword in his bedroll, he paused. “We might be safer if I keep the sword handy,” Emanresu said to himself out loud. “I am going to keep the sword and shield out; I think we would be safer if they were not tied down or buried inside my bedroll,” Emanresu told him. “Mmmm… hmmm…” came the absent-minded response.

“What was that?” asked Resua, not really paying attention.

Now finished filling his pack, Emanresu struggled to fasten the scabbard around his waist. Several strings were hanging from the scabbard, but he had no idea what they were for. Ultimately, Emanresu tied the strings to the back of his belt, though he also thought they might attach to his leg. Once the scabbard was in place, he fumbled around, trying to get the tip of the sword into the scabbard. Finally, the tip was in the slit, and the sword almost drew itself into the scabbard, sliding easily the rest of the way into it.

Emanresu straightened his stance a bit, turning this way and that, alternating between quick and slow turns to get a feel for how it hung. The scabbard seemed to flop around a bit much, so he adjusted the tether straps from the back of his belt to a loose attachment to his leg. Turning this way and that, the scabbard felt more secure and moved with him as he twisted.

Satisfied with the way the scabbard was hanging, he tried drawing the blade a couple of times. The scabbard shifted as he tried to pull, and finally, he decided that in order to remove it efficiently, he would have to grab the scabbard and steady it as he drew the sword. He tried it a couple of times, feeling rather pleased with himself, then realized he would have to unsheathe the sword with a shield on his arm.

Sliding the shield onto his arm and tightening the straps, he practiced sheathing and unsheathing. He even tried a quick draw, stumbling and falling for his efforts. “Ha ha, I suppose we will not be drawing very fast then,” he thought to himself as he stood and dusted himself off. The sword and the shield strapped and sheathed gave him a bit of confidence, and he felt energized by it.

“Hey, tiny!” Emanresu called to Resua. “Get up and get your pack on; we are ready to travel. Oh, and you get to carry the brigand’s pack as well.” Emanresu smiled at having slipped that last part in, though he was surprised when there was no resistance. He shrugged in acceptance and proceeded to finish getting ready.

Emanresu set the shield down and deftly slung his burden to his back, quickly tightening and adjusting the pack within heartbeats. He smiled, thinking to himself, “Now, that is how quickly I need to be able to don the shield and sword, smooth, measured movements, and understand where each strap goes and how it gets there.”

While he practiced drawing and sheathing, he noticed that the battle had nicked the sword in a couple of places, and the shield, too, had bits of blue and green now struggling to peek out from within the many manes worth of dust and neglect. He mused to himself over the many hours that his father had spent attempting to clean off the encrustation and abuse. Many were the late nights Emanresu would awake to see his father almost secretly toiling on cleaning them. Perhaps obsessively, but each morning, his father would never mention this, and when asked, he pretended it was only an attempt to keep them from getting any worse. Never had any colors shown through that he could recall, so seeing the blue and green brought a bit of joy to his heart.

He was unsure why, but having the shield and sword at the ready gave him some modicum of comfort and courage, and he chuckled lightly to himself as he thought, “Maybe it gave him a little pep and energy as well.”

Again, the duo set foot to path and continued the journey, Emanresu letting himself get lost in the thoughts that made up his dream. The phoenix and the dragon were constants in this part of the land, and it was not until you got close to the seas that the gods of man overtook the more nature-oriented pair.

Most will profess little enlightenment in the Dance, though Emanresu always thought it was more of a partnering than a dance; at least, he was more interested in the Dance than the stuffy old tree and sun revered by many. His dream had featured the tree and sun along with the phoenix and dragon he recalled now. Most of it was hazy and defied recall, but it always seemed to instill calm and a bit of comfort each time he let his thoughts go back to it.

Thus, they traveled for hands, making good time and without the usual weariness that had accompanied him for days previously. However, the reverse seemed to plague Resua, as he was constantly falling behind and complaining of being tired, pleading with Emanresu to slow down. Emanresu heeded the request and slowed down, but they were still making much better time than he had anticipated.

“We are making excellent time, little giant,” he called over his shoulder to the lagging mountain with feet.

“I have never seen you this way; you have almost never been able to outwalk me. Outrun, yes, but I have the stamina of an ox, and still, you seem to be wearing me out today,” Resua complained. “How about we take a breather and sit for our lunch and relax a bit?” Resua’s eyes pleading harder than his lips, melting Emanresu’s heart, and he agreed.

Shortly, they came upon a fallen log a little to the side of the road, and it was there they took their lunch. Emanresu portioned out two helpings from the food provided by the brigand, and before he could claim his own, Resua’s hand had swooped in and snatched up both portions.

“Hungry?” Emanresu asked the big man. “Practically starving from the pace you have put us at today,” came the reply as it snuck around the mouthful of food Resua had packed in.

They relaxed for a while, resting and recharging.

“Hey, listen to this,” Resua said with a twinge of pride and excitement in his voice. “The faithful scribe entered the clearing, scanning it deliberately. His eyes fell upon Emanresu, sleeping soundly in his roll. His weapons were close at hand, as always, the steel and tinctures glinting in the gathering dusk. A slight movement beyond the sleeping warrior caught the scribe’s eye, but before he could utter a word, Emanresu was up and at the ready, shield in defense, sword at the ready.

Emanresu deftly dodged the skilled axeman, intent on relieving our hero of his life and limb. Emanresu smacked the man on the backside with the flat of his blade, showing that his skill was unmatched by any, let alone this lone assassin.

The assassin was shocked and swung another precisely placed blow that should have cleaved Emanresu in two. However, Emanresu Bakerson was faster than the sunlight today and again dodged the deadly blow as if the assassin were a mere child in training.

It was in this manner that the assassin attempted several times to finish the job, but each showed the superior skill and dexterity of the future king.

Two more assassins stepped from the shadows, and with a knowing nod, they synchronized their attacks. For an ordinary man, this would have been the death of him; however, our once and future king was no mere man; the Dance itself called when he beckoned, and as the three became five, Emanresu said a silent prayer to the Dance.

The glow of his aura and the shining of his weapons were a testament to the answer from the Dance. His blade flicked in and out as his shield became a veritable castle wall against the ineffective attempts from the master assassins sent against him.

In the span of three heartbeats, the sword quit flicking, and the shield dropped to a resting position. The five assassins lay at his feet, the last of their life’s blood seeping into the soaked earth beneath them.

Without a second thought, Emanresu placed down his sword and shield and called over to his trusty scribe, the lone witness to the destructive power of the king and the Dance. “Get some rest, my dear scribe,” he ordered. “We have a journey to finish on the morrow.” And with that, Emanresu laid down and rolled over, almost instantly sleeping without worry.

“Well, what do you think, Eman? Pretty good, right? I was going to make it a dozen assassins, but I didn’t want to draw out the narrative,” explained Resua.

Emanresu stood and stared at Resua for a few moments, trying to get a handle on what the big man had just done. “That is not the way it happened. You saw what happened, and had I not had luck on my side that night, we might both be lying on the blood-soaked ground, slowly getting devoured by the creatures of the forest,” Emanresu corrected.

“It’s called poetic privilege, Eman, I have told you that. And anyway, I swear I saw an aura about you that night. It wasn’t blinding, but I swear to you it was there,” Resua insisted.

“Look, Res, if you’re going to include me, try to make it more real or at least ground it in reality. Insisting I have a supernatural or mystical connection in some way will be the death of us as crazy people come to try and test us just to know or see. I would much rather be the simple lucky traveler with a whole lot of luck and determination,” Emanresu said, setting the expectations appropriately.

They had passed the occasional traveler, and everyone seemed to give them a wider berth now. Maybe it was the sword and shield, though there was little reason for it, as anyone could see that they had fallen into disuse, even from a distance.

As the sun dropped below the treetops, they started to see more and more traffic, now and again a cart or two, and these were becoming more and more common. It seemed they were getting close to Erzt, which was the next city in line on their travels, though they should not be reaching it until mid-day on the morrow.

“Perhaps his distances were wrong, or he was informed incorrectly,” Emanresu thought, but as he clarified with a passerby, it was indeed Erzt.

As they approached the bustling town, they saw many a guard patrol step back and chuckle at the sight of him to their partners. Though it made Emanresu a bit uncomfortable, he did not change the way he presented himself, as protection was paramount in these strange environs.

“Just ignore them, Res,” Emanresu said to Resua.

“Ignore who?” came Resua’s query. “The guards…” Emanresu started to explain but let it trail off as Resua was again standing motionless in the middle of the street, his pen flying like a hawk on the hunt. Emanresu reached out and grabbed a handful of the man’s tunic and gently coaxed him into a steady shuffle. Resua’s scribbles never stopped even as they progressed down the street, though it was painfully slow.

As he walked, Emanresu queried various people here and there as to an inn or a stable in which they could leave their gear in safety while they toured the little town, seeing the sights. Almost to a man, they indicated the Bucket and Nail was the most reliable, though one said the Whorestep was a much better place to spend a hand or two.

They finally reached the Bucket and Nail, a quaint little inn and tavern, well-kept from what Emanresu could tell and without the usual rank beer and vomit smells he would expect. They entered, and Emanresu approached the bar, behind which appeared to be the barkeep or maybe innkeeper. He queried as to a room and two beds and, perchance, a hot bath. The keep indicated they were very willing to provide upon spying the gold coin he plopped down.

Thus, marveling at his choices and the good time they had made, the two stepped to the back of the inn and up the stairs to what might be their room for the week.

“We might as well see the town sights while we are here, and you will need to find a jeweler to get those trinkets appraised,” Emanresu commented.

Resua mumbled something unintelligible and caught himself; understanding came across his face as the entire conversation started to sink in. “Yeah,” he replied, “and I need to see if there are any libraries or scholarly establishments. I would like to see what books they may have.” And yes, I will take my precious time and spend it on getting your trinkets appraised.”

The short hall at the top of the stairs led to five rooms, two on each side and one at the end of the hall. The air was musky and thick, an obvious sign that many a wench had secreted up to entertain in various manners. The floor was well-worn, smooth with the many and varied feet that had traveled its short course. Their room was the one at the end, and the door had been swung wide as a maid hurried to put final cleaning on the room for what had been deemed “considered” guests—those who may well be of means but do not appear to want to publicize it.

As Emanresu approached with Resua trailing behind furiously jotting, she glanced at Emanresu, smiled a tad, and went back to her duties as he entered. The newly made bunks could have been military ones, from the taut pull on the covers that had been provided, as well as, to his surprise, pillowed sacks for their heads. The room was utilitarian but not sparse. A desk and chair were provided, as was a table and two chairs. The room also included a chest at the foot of each bed and matching equipment stands for various weaponry or tools. Everything was well-worn, but none were in disrepair, and the upkeep was well taken.

Resua commandeered the desk at the outset, and Emanresu did not contest since it was much more Resua’s domain in any case. The chair for the desk, however, was woefully inadequate for the massive frame of Resua, so he queried the maid for something more substantial to sit on. Emanresu watched as she looked at him and nodded in agreement.

The maid slipped out of the room briefly and had a short discussion with someone on the first floor, then returned to the room, informing Resua that a chair of suitable construction would be provided shortly. She returned to the task of touching up the room. A moment or two later, Emanresu noticed the maid sneaking glances in his direction, and he stared at her until he caught her eye, at which point she blushed crimson, quickly looked down, and continued her task.

Emanresu slung his pack onto the chest; the brigand’s pack, having been retrieved from Resua, was set on the floor next to his chest. He carefully disarmed himself, hanging both the shield and the sword on the rack. He was suddenly overcome with the weariness of the long trek and could feel the throbbing of the muscles in his legs and the tightness in his back. He reached down and vigorously kneaded his thighs, then sat in one of the chairs and proceeded to do the same to his calves and feet.

He noticed the sly glances of the maid again but pretended not to. Her glances appeared to linger a bit longer as if she were sizing him up. Upon this thought crossing his mind, he sat and thought about the picture he and Resua presented roaming the roads and streets together.

Emanresu was lanky, his long, thick black hair invariably pulled into a tight tail, and with a bit of self-centeredness, he flared it so that it draped over his shoulders on occasion, though at the moment, it was lying limp upon his back.

Lanky, though he was, he was not weak. Toting grain and flour, along with the trudging walk of the grinding wheel, kept him in a modicum of physical fitness. His skin was rough though unmarred, belying the weapons that he had hefted and carried all this way.

In contrast, Resua was tall enough even that he must duck to get through most doorways. He had a large muscular frame and the strength to literally knock a man across the street.

Emanresu glanced toward the equipment rack and mused over the previous night’s events. He felt a slight twinge of pride in the fact he was still amongst the living. His pride colored his perception of the sword and shield, which now seemed to glow a bit as the sun streamed in, striking the sword and shield from the lone window. As he sat and marveled at the protection those marvelous devices had offered him, glints of metal and tinctures shone through the time-encrusted muck, mire, dust, and grime that had lain upon them for ages. He chuckled lightly at the thought of his father laboriously trying to clean them. Why not beat the filth off of them, as the battle started the process of flaking it off nicely.

An enormous chair was brought up from the setting area downstairs, and the inadequate chair was removed. Almost immediately, Resua shifted from the bed where he had been sitting to the desk. Snatching up the lantern that had been sitting there, he lit it and adjusted the lighting, which allowed him to continue writing. Ignoring the outside world, Resua delved deeply back into furiously chronicling.

Emanresu looked up briefly and caught the eye of the maid again; this time, she was unable to pretend she had not been studying him, and the crimson quickly flushed her face. She looked away and promptly finished the task at hand, scurried to the door, turned toward him briefly, and curtsied before turning to make a hasty retreat. Before she could go, Eman called to her, “Wench. Come hither.”

Resua stopped scribbling and perked up at this, turning to watch the scene over his shoulder. His eyebrows raised and eyes wide to take in the scene, the crooked smile expecting a humorous conclusion, his eyes darted from the girl to Emanresu and back.

As she stopped hesitantly, turning toward him, he reached into his pouch and produced a silver coin from the change he had received when paying for the room. He reached out, offering the girl the coin. A look of puzzlement spread across her face; then, as it turned a deep ruby red in anger or embarrassment, he knew not, he realized that she thought he was propositioning her.

Resua, already seeing and surmising what was transpiring, turned the chair so that he might take in the entire scene as it unfolded. The chair scraped on the wooden floor as he twisted it around without rising. The maid looked over to him, after which his meaty finger pointed at her, then motioned to the coin Emanresu was holding. “Go on!” he urged, his eyes alight with laughter were the only indication that he was not completely serious.

The girl turned again to leave but paused as Emanresu spoke.

“No, no…” He grinned, “This is just appreciation for the job well done and the hope that you will take good care of the room going forward.”

She cautiously returned and reached out her hand, ready to withdraw it at a moment’s notice if need be. “Thank you, kind sir. You are most gracious!” she said, almost as a whisper but clear and decisive, belying the shyness that she seemed to bear.

She snatched the coin and quickly exited. “To forestall any further advances,” Emanresu mused. She immediately pulled the door close behind her, but the soft footsteps did not continue down the hall.

Resua held a finger up to his lips, looking over at Emanresu, and stood. Resua took two steps toward the door, and the flurry of footsteps outside padded quickly down the hall, fading as the girl fled. Resua laughed a deep guttural laugh, thundering through the room. “You practically frightened the girl to death,” he said to Emanresu. “I am so proud of you!” he exclaimed, wiping the pretend tear from one eye and then the other.

Emanresu stood and quickly stepped to the bed. Grabbing the pillow, he slung it in Resua’s direction as he sat and swung his body to lie down. The bed, most assuredly, was the most comfortable he had ever had the pleasure of lying in, though it said little as he had only slept in one other, and it was merely slats between two boards.

Ignoring the snickers of his meaty, oversized friend, he turned over and finally relaxed, the weariness slowly ebbing from his body.

He drifted off to sleep as the dusk crept into the room. The scribbling of Resua as he returned to his writing was soft and soothing.

Sleeping the sleep of the dead, he had naught for dreams.