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lovers, of course, are notoriously frantic epistemologists, second only to paranoiacs (and analysts) as readers of signs and wonders.

*

adam phillips, on flirtation

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k ming chang's gods of want won the lambda literary award for lesbian fiction. btw

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Hey, where is that quote about Jane Eyre as linked to Bluebeard and Beauty and the Beast from? Is it Maria Tatar’s Bluebeard book, or Heta Pyrhonen’s Bluebeard Gothic, or something else? Thank you!

hi thank you for asking!! i forgot to add the source that was my mistake. it’s from a paper i was reading titled "bluebeard and the beast: the mysterious realism of jane eyre"

#thank you for the (indirect) recs also ❤️ #this whole fairy tale thing is...... very interesting. it compels me. very new to it all also #if anybody has recs .... i'd receive them... currently i'm like listening to whichever fairy tale interests me while going :O and then i #look up some interpretations #LOL #i've listened to bluebeard and juniper tree i was like :OOO

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“Every family is a cruel, intransigent monarchy.”

— Heather O’Neill, excerpt from When We Lost Our Heads

#OK?

[readmorepoets]

in the latest cyber-news: the internet archive has lost their case against 4 major publishing houses (verge article). they’re going to appeal, but this is still a bad outcome. the fate of the internet is currently hanging in the balance because 4 multibillionare publishing groups missed out on like $15 of combined revenue during the pandemic because of the archive’s online library service. it’s so fucking stupid.

for those who don’t know what the internet archive is, it’s a virtual library full of media. books, magazines, recordings, visuals, flash games, websites - a lot of these things either don’t exist anymore or cannot be found & bought. heard of the wayback machine? that’s part of the internet archive. it is the most important website to exist, and i don’t say that lightly. if the internet archive goes down, the cultural loss will be immeasurable.

so how can you help?

boycott the publishing companies involved in this. they’re absolute ghouls, frankly, and don’t deserve a penny. the companies involved are harpercollins (imprints), wiley (imprints), penguin random house llc (imprints), and hachette book group (imprints). make sure the websites are set to your location as it may differ worldwide.

learn to torrent. download a torrent client (i recommend transmission), a vpn (i recommend protonvpn - sign up and choose the area that’s closest to your continent/country), and hit up /r/piracy on reddit for websites. with torrenting, you can get (almost) any media you want for free in high quality, with add-ons such as subtitles, and with no risks of loss. i would also recommend getting into the habit of watching stuff online for free. the less you can pay to a giant corporation, the better.

get into the habit of downloading and archiving materials. find a TB external hard drive, ideally the higher the better. it’ll probably cost around $60 for 1TB and continue to go up, but they’re so so useful. if you can’t afford a drive, look for any GB harddrives or memory sticks you have lying around and just fill them up. videos, pdfs, magazines, songs, movies, games - anything you can rip and download and fit on there, do it, because nothing is permanent.

donate to the internet archive. this is the most important option on the list. the IA relies entirely on funding, and it’s going to need more to fight this case. whatever you can donate, do it. i promise it’s helpful.

and finally…

[readmorepoets]

― Clarice Lispector, Near to the Wild Heart

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hey so i made a patreon cos my income is very unreliable and absolutely about to dip after next week. no pressure, obviously + you can pledge as much or as little as you like; i also haven't made any tiers or anything like that because i want to continue to facilitate equal access to my writing rather than sticking it behind a paywall. if however you have the money to spare and you've found my writing (on here, on substack, wherever) helpful or enlightening or anything else, it would be hugely appreciated :~) thanks!

#have learned soooo much from ave pls help if you can 🫶

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if i had tiktok i would make one where i lie and say that shirley jackson knew cottagecore would happen and cite the sundial as an example and i would lie about it in the most sensationalist condescending way and then after posting i would delete the app

#op. we are the same

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shirley jackson dressing up as the nuclear family for halloween

#finished the sundial thinking many thoughts she's so great

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i want to see fancy halloran and merricat blackwood in a cage match.

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listening to the sundial and there’s no way … there’s no way.

“Do you recall the tower, Fanny? Your father built it; it was to have been an observatory, was it not? I remember workmen there during my early days in the house. The tower could be made extremely comfortable. (...) “I daresay that people in this house years from now will begin to talk of the haunted tower.” Mrs. Halloran laughed.”

#she's scary..... #currently reading #THIS BOOK IS FUNNY BTW. HOW DID SHE PUBLISH HILL HOUSE A YEAR AFTER THIS ONE?

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“What you want is someone to take hold of you. Gently, gently, with love.”

— Tennessee Williams, from Cat on a Hot Tin Roof, The Collected Plays (Library of America, 2011)

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Shirt that says "I ❤ PDFS"

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Aeschylus’ The Persians (tr. Seth G. Benardete)

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thinking about ariadne calling the minotaur her brother

#ok.

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safe now, unsafe later vs unsafe now, safe later

#yes im still reading papers about je. for some reason #coming around to the idea that the scholarship may be interesting but will not make the experience i had reading je any better. but i’m #learning some things!

[readmorepoets]

Taking the exceptional figures of villains, heroes, and victims from their eighteenth-century predecessors, taking stories that turn on mysteries and secrets and the preternatural intrusions of ghosts and demons, writers from Godwin to James developed a mode especially suited for representing isolated individuals and extreme experiences. The most distinctive form of this development, from Caleb Williams to "The Turn of the Screw," is the first-person narrative: victims' accounts of their ordeals, criminals' confessions, madmen's monologues, whether standing alone in the form of the Gothic tale or embedded in longer narratives. These versions of the tale of terror intensify its inwardness and solicit our participation in their protagonists' experiences of mystery and dread, persecution and obsession, but they also allow and sometimes require us to adopt different, even opposing perspectives. When we question a Gothic narrator's account, suspect him or her of delusion, and try to construct a more probable alternative, we align ourselves with collective norms and consensual realities, enacting in our reading an opposition like those posited between the Gothic and its rivals.

Peter K. Garrett, Gothic Reflections: Narrative Force in Nineteenth-Century Fiction