it’s been long since I made a pro Tony Stark post but seeing someone try to blame the events of Civil War going south on him had me heated. look, I will admit that some of Tony’s actions in the movie where not okay at all like wanting to kill Bucky for killing his mother while under HYDRA’s influence but maybe Steve stans and a lot of pro team cap folks should realize that Steve’s actions also played a huge role in the movie as well.
for one, maybe Steve should have realized that 119 countries banding together to make a document, you feel is threatening your rights, is a serious matter. 119 countries is almost two-thirds of the countries in the UN and the world, if a great part of the world thinks you are doing more harm than good, maybe as a superhero, you should try to reason with them.
two, Steve chose to do nothing when he thought his rights were threatened by the accords. I do think there were some human rights violations in the accords that should not have been avoided, however, Steve chose to do nothing. anyone who has done a bit of activism know how ineffective that strategy is.
three, Steve’s actions were proving to the UN even more reasons why they felt the accords were necessary. interfering with law enforcement when they were out for Bucky who was potentially dangerous was a bad idea. sure, Bucky was his best friend and I don’t blame Steve for wanting to save him. however, let us remember that Bucky had killed people while he was the Winter Soldier and the Romanian government didn’t have the perspective we have and they had every reason to see him as a huge threat.
four, infantilizing Wanda by calling her a kid because Tony decided to put her on house arrest. and yes, I agree that Tony not telling Wanda was a very bad idea but let us not forget that the Avengers were still under public scrutiny after a disaster of a mission in Lagos and the accords. Wanda could have been attacked by outsiders who could have gone the Zemo route because a family member was in Lagos and that would have caused her to try to defend herself which could get twisted by the media and turn more of the public against her and the avengers as a whole. mind you, the Avengers were facing enough mistrust from the public.
also, Steve, calling a huge comfortable compound with a swimming pool an internment is a bit tonedeaf to those whose ancestors have been to actual interments. as someone who had an Asian American on his team, I’d expect he know better.
five, accords or not, maybe the Russian government has the right to know about a man controlling dangerously brainwashed men within their country. sure, it latter turned out to be a false alarm but considering the fact that this was a security threat which many countries would take seriously, Steve for some reason never considered the fact that the Russian government should be alerted to something like that. if this didn’t scream arrogance, I don’t know what else did.
six, resisting arrest and trashing public property while on international borders in the bid of resisting arrest would piss off the very people who are already pissed at you and your American passport would not bail you out of that one. even international passports come with a warning about their holders committing a crime in other countries. the fact that Steve acknowledged that his team could get arrested for that made it even worse.
this one is actually addressed to the whole of team cap, not just Steve, but seven, you cannot commit a crime on international soil with full knowledge that it is a crime and then blame somebody else for why you ended up in jail. sure, the rift and Thaddeus Ross are sketchy in nature but Scott and Clint blaming Tony for why they ended up there was funny to me because they made the informed decision to commit a crime.
eight, which is a major part being that it was the climax of Civil War, hmmm, maybe keeping the secret of the death of the parents of your rich teammate whose money was funding the search of their killer from him is a very bad idea. idk, man, I would be angry too if it were me. sure, wanting to kill Bucky was wrong but if we didn’t fault the Mayonnaise twins, T’Challa, Peter Parker and later Shuri for going after their parents’ (perceived, in T’Challa’s case) killers, maybe we could give Tony too some grace because brainwashed or not, I would have gone after Bucky too.
nine, the apology letter was the shittiest letter ever and I don’t blame Tony for not wanting to speak to Steve during the events of Infinity War. like how can you even write that type of letter to someone you offended and expect the relationship to still be intact?
there was one part I almost forgot but that quote that emboldened Steve is also dumb the more I look at it. oh yeah, plant yourself in front of the 119 countries you didn’t even bother to address at all and tell them “no, you move” is the ultimate height of hubris. when you are already on thin ice with the public? and Steve thought this was a good idea? yikes 😬
101 notes
·
View notes
something we have discussed is how dennis was the only one who could understand mac and that's great but can we also discuss how it must feel for mac that no one can understand him
this seems to be accentuated by how off he keeps being about things (offering of war/dennis being shot being "awesome"/being unable to read subtext both with dennis ["figure of speech"] and donald) and how much he's looking for a sense of meaning that he used to find in his identity until s15 made him realize how pointless it was (in a way that reminds me of his crisis in goes to hell 2...), but legacy, history, money and prizes are worth nothing if your heart is not in it.
and in a way I think dennis is coming to the same conclusion which is why he's the only one who can understand mac.
dennis "you're just being honest about how you feel" reynolds, so concerned with authenticity and upset by the perceived lies when it's just his own denial making it that way. that's building the biggest lie of all.
if we're looking for the Point, then the point is to have fun and embrace feelings. Big Mo already showed this.
it's interesting to me how it seems that mac and dennis are working off of each other in the way sunny works as a whole. because if mac is the structure and the text, and dennis is the subtext and the jokes (it's how he's trying to communicate in inflates but it's also the whole reason he comes with mac in madbu), they kinda NEED to be working together for the show to work... they need to find their harmonies, they can't just one or the other lead, they gotta have each other's back.
and also like, a small coda. this season deals so much with nostalgia vs how the past really was, there's so many flashbacks.
becoming aware of denial and reality can feel really upsetting but ultimately it's a positive development.
if "the hair is a lie" chopping off the head isn't the answer, that was the old way of doing things (in times of war... murder, betrayal, beheadings... "we figured out what works a long time ago"), but now we're looking for peace. basically, death isn't the answer. building your legacy doesn't have to be like pulling teeth. "this doesn't have to be a scam"
it's a good thing if we start seeing things for what they actually are, because it means less denial.
37 notes
·
View notes
লিখি লোৱা, মই এজন মিঞা ("Write Down 'I am a Miyah'", 2016) by Hafiz Ahmed, translated from Assamese to English by Shalim M. Hussain, began a movement of resistance poetry among Assamese Muslims of Bengali descent, referred to as Miya Poetry after a slur used to describe this community. From Abdul Kalam Azad, for Indian Express ("Write...I am a Miya", 2019):
This poem went viral and other young poets started responding to him through poems. The young poets also started reclaiming “Miya”, a slur used against us, as our identity with pride. This chain of Facebook posts continued for days, reiterating the violence, suffering and humiliation expressed by our community.
As time passed, more poets wrote in various languages and dialects, including many Miya dialects. The nomenclature ‘Miya Poetry’ got generated organically but the poets and their associates have been inspired by the Negritude and Black Arts movements, and queer, feminist and Dalit literary movements, where the oppressed have reclaimed the identity which was used to dehumanise them.
The trend transcended our community. Poets from the mainstream Assamese community also wrote several poems in solidarity with the Miya poets while some regretted not being poets. Gradually, this became a full-fledged poetry movement and got recognised by other poets, critics and commentators. The quality and soul of these poems are so universal that they started finding prominence on reputed platforms.
For the first time in the history of our community, we had started telling our own stories and reclaiming the Miya identity to fight against our harassers who were dehumanising us with the same word. They accused us of portraying the whole Assamese society as xenophobic. The fact is we have just analysed our conditions. Forget generalising the Assamese society as ‘xenophobic’, no Miya poet has ever used the term ‘xenophobic’ nor any of its variants. The guilt complex of our accusers is so profound that they don’t have the patience to examine why we wrote the poems.
Amrita Singh, writing for The Caravan ("Assam Against Itself", 2019), detailed the political backlash against Miya Poetry, in particular the above poem.
On 10 July this year, Pranabjit Doloi, an Assam-based journalist, filed a complaint at Guwahati’s Panbazar police station accusing ten people of indulging in criminal activities “to defame the Assamese people as Xenophobic in the world.” Doloi claimed that the ten people were trying to hinder the ongoing updation of the National Register of Citizens, a list of Assam’s Indian citizens that is due to be published on 31 August. The premise of Doloi’s complaint was a widely-circulated poem called, “Write down I am Miya,” by Hafiz Ahmed, a school teacher and social activist. “Write. Write down I am a Miya/ A citizen of democratic secular republic without any rights,” Ahmed wrote. The police registered a first information report against Doloi’s complaint, booking all ten persons for promoting enmity between groups, among other offences.
[...]
At the press conference, Mander emphasised that people in Assam are in distress because of the NRC’s arbitrary and rigid procedures. “One spelling mistake when you are writing a Bengali name in English … that is enough for you to be in a detention center, declared a foreigner,” Mander said. “If you are not allowing this lament to come out in the form of poetry, then where is this republic of India going?”
Ahmed's poem is influenced in structure by "Identity Card", a 1964 poem by by Palestinian poet Mahmoud Darwish which uses the symbolic figure of the Palestinian working man to confront Israeli occupiers. Darwish's identity card, a symbol of Israeli subjugation transformed into a cry of Palestinian national identity, is reshaped by Ahmed into the National Register of Citizens for Assam and the accompanying fear of statelessness and disenfranchisement for the Miya people.
This solidarity between writers from oppressed groups is, of course, not one that ends with Darwish and Ahmed, nor with the Black, queer, feminist, and Dalit influences of Miya Poetry. As long as there is oppression, there will be companionship and recognition reflected in art and activism. On December 13, 2023, Black Agenda Report reprinted Refaat Alareer's "If I Must Die", acknowledging the connection between Alareer's poem and "If We Must Die" by Claude McKay, written in 1919 in response to the Red Summer white supremacist riots. In 2000, Haitian community activist Dahoud Andre translated "If We Must Die" into Kreyòl, and the Black Agenda Report editorial honors Alareer in a similar way, reprinting "If I Must Die" with an accompanying Kreyòl translation. (POEM: If I Must Die, Refaat Alareer, 2023.)
Transcripts under the cut.
[Hafiz Ahmed Transcripts (Assamese and English):
লিখি লোৱা, মই এজন মিঞা
লিখা,
লিখি লোৱা
মই এজন মিঞা
এন. আৰ. চিৰ ক্রমিক নং ২০০৫৪৩
দুজন সন্তানৰ বাপেক মই,
অহাবাৰ গ্ৰীষ্মত জন্ম ল’ব আৰু এজনে
তাকো তুমি ঘিণ কৰিবা নেকি
যিদৰে ঘিণ কৰা মোক?
লিখি লোৱা,
মই এজন মিঞা
পতিত ভূমি, পিতনিক
মই ৰূপান্তৰিত কৰিছোঁ
শস্য-শ্যামলা সেউজী পথাৰলৈ
তোমাক খুৱাবলৈ
মই ইটা কঢ়িয়াইছোঁ
তোমাৰ অট্টালিকা সাজিবলৈ,
তোমাৰ গাড়ী চলাইছোঁ
তোমাক আৰাম দিবলৈ,
তোমাৰ নৰ্দমা ছাফা কৰিছোঁ
তোমাক নিৰোগী কৰি ৰাখিবলৈ,
তোমাৰে সেৱাতে মগন মই অনবৰত
তাৰ পিছতো কিয় তুমি খৰ্গহস্ত?
লিখা,
লিখি লোৱা
মই এজন মিঞা
গণতান্ত্ৰিক, গণৰাজ্য এখনৰ নাগৰিক এজন
যাৰ কোনো অধিকাৰ নাইকিয়া
মাতৃক মোৰ সজোৱা হৈছে সন্দেহযুক্ত ভোটাৰ
যদিও পিতৃ-মাতৃ তাইৰ নিঃসন্দেহে ভাৰতীয়
ইচ্ছা কৰিলেই তুমি মোক হত্যা কৰিব পাৰা,
জ্বলাই দিব পৰা মোৰ খেৰৰ পঁজা,
খেদি দিব পাৰা মোক মোৰেই গাঁৱৰ পৰা,
কাঢ়ি নিব পাৰা মোৰ সেউজী পথাৰ
মোৰ বুকুৰ ওপৰেৰে চলাব পাৰা
তোমাৰ বুলড্জাৰ
তোমাৰ বুলেটে বুকুখন মোৰ
কৰিব পাৰে থকাসৰকা
(তোমাৰ এই কাৰ্যৰ বাবে তুমি কোনো
স্তিও নোপোৱা)
যুগ-যুগান্তৰ তোমাৰ অত্যাচাৰ সহ্য কৰি
ব্ৰহ্মপুত্ৰৰ চৰত বাস কৰা
মই এজন মিঞা
মোৰ দেহা হৈ পৰিছে নিগ্ৰো কলা
মোৰ চকুযুৰি অঙঠাৰ দৰে ৰঙা
সাৱধান!
মোৰ দুচকুত জমা হৈ আছে
যুগ যুগান্তৰৰ বঞ্চনাৰ বাৰুদ
আঁতৰি যোৱা,
নতুবা
অচিৰেই পৰিণত হ’বা মূল্যহীন ছাইত!
Write Down ‘I am a Miyah’
Hafiz Ahmed, 2016
trans. Shalim M. Hussain
Write
Write Down
I am a Miya
My serial number in the NRC is 200543
I have two children
Another is coming
Next summer.
Will you hate him
As you hate me?
write
I am a Miya
I turn waste, marshy lands
To green paddy fields
To feed you.
I carry bricks
To build your buildings
Drive your car
For your comfort
Clean your drain
To keep you healthy.
I have always been
In your service
And yet
you are dissatisfied!
Write down
I am a Miya,
A citizen of a democratic, secular, Republic
Without any rights
My mother a D voter,
Though her parents are Indian.
If you wish kill me, drive me from my village,
Snatch my green fields
hire bulldozers
To roll over me.
Your bullets
Can shatter my breast
for no crime.
Write
I am a Miya
Of the Brahamaputra
Your torture
Has burnt my body black
Reddened my eyes with fire.
Beware!
I have nothing but anger in stock.
Keep away!
Or
Turn to Ashes.
]
[Mahmoud Darwish Transcripts (Arabic and English):
سجِّل
أنا عربي
ورقمُ بطاقتي خمسونَ ألفْ
وأطفالي ثمانيةٌ
وتاسعهُم.. سيأتي بعدَ صيفْ!
فهلْ تغضبْ؟
سجِّلْ
أنا عربي
وأعملُ مع رفاقِ الكدحِ في محجرْ
وأطفالي ثمانيةٌ
أسلُّ لهمْ رغيفَ الخبزِ،
والأثوابَ والدفترْ
من الصخرِ
ولا أتوسَّلُ الصدقاتِ من بابِكْ
ولا أصغرْ
أمامَ بلاطِ أعتابكْ
فهل تغضب؟
سجل
أنا عربي
أنا اسم بلا لقبِ
صَبورٌ في بلادٍ كلُّ ما فيها
يعيشُ بفَوْرةِ الغضبِ
جذوري
قبلَ ميلادِ الزمانِ رستْ
وقبلَ تفتّحِ الحقبِ
وقبلَ السّروِ والزيتونِ
.. وقبلَ ترعرعِ العشبِ
أبي.. من أسرةِ المحراثِ
لا من سادةٍ نُجُبِ
وجدّي كانَ فلاحاً
بلا حسبٍ.. ولا نسبِ!
يُعَلّمني شموخَ الشمسِ قبلَ قراءةِ الكتبِ
وبيتي’ كوخُ ناطورٍ
منَ الأعوادِ والقصبِ
فهل تُرضيكَ منزلتي؟
أنا اسم بلا لقبِ!
سجلْ
أنا عربي
ولونُ الشعرِ.. فحميٌّ
ولونُ العينِ.. بنيٌّ
وميزاتي:
على رأسي عقالٌ فوقَ كوفيّه
وكفّي صلبةٌ كالصخرِ...
تخمشُ من يلامسَها
وعنواني:
أنا من قريةٍ عزلاءَ منسيّهْ
شوارعُها بلا أسماء
وكلُّ رجالها في الحقلِ والمحجرْ
فهل تغضبْ؟
سجِّل!
أنا عربي
سلبتُ كرومَ أجدادي
وأرضاً كنتُ أفلحُها
أنا وجميعُ أولادي
ولم تتركْ لنا.. ولكلِّ أحفادي
سوى هذي الصخورِ...
فهل ستأخذُها
حكومتكمْ.. كما قيلا!؟
إذنْ
سجِّل.. برأسِ الصفحةِ الأولى
أنا لا أكرهُ الناسَ
ولا أسطو على أحدٍ
ولكنّي.. إذا ما جعتُ
آكلُ لحمَ مغتصبي
حذارِ.. حذارِ.. من جوعي
ومن غضبي!!
Identity Card
Mahmoud Darwish, 1964
trans. Denys Johnson-Davies
Put it on record.
I am an Arab
And the number of my card is fifty thousand
I have eight children
And the ninth is due after summer.
What's there to be angry about?
Put it on record.
I am an Arab
Working with comrades of toil in a quarry.
I have eight children
For them I wrest the loaf of bread,
The clothes and exercise books
From the rocks
And beg for no alms at your door,
Lower not myself at your doorstep.
What's there to be angry about?
Put it on record.
I am an Arab.
I am a name without a title,
Patient in a country where everything
Lives in a whirlpool of anger.
My roots
Took hold before the birth of time
Before the burgeoning of the ages,
Before cypress and olive trees,
Before the proliferation of weeds.
My father is from the family of the plough
Not from highborn nobles.
And my grandfather was a peasant
Without line or genealogy.
My house is a watchman's hut
Made of sticks and reeds.
Does my status satisfy you?
I am a name without a surname.
Put it on record.
I am an Arab.
Color of hair: jet black.
Color of eyes: brown.
My distinguishing features:
On my head the `iqal cords over a keffiyeh
Scratching him who touches it.
My address:
I'm from a village, remote, forgotten,
Its streets without name
And all its men in the fields and quarry.
What's there to be angry about?
Put it on record.
I am an Arab.
You stole my forefathers' vineyards
And land I used to till,
I and all my children,
And you left us and all my grandchildren
Nothing but these rocks.
Will your government be taking them too
As is being said?
So!
Put it on record at the top of page one:
I don't hate people,
I trespass on no one's property.
And yet, if I were to become hungry
I shall eat the flesh of my usurper.
Beware, beware of my hunger
And of my anger!
]
5 notes
·
View notes
Summary: Even if the Seven Days of Mourning has passed, your grief will not let you rest. Your father, your kingdom's crown, has untimely left the earth. Now it's your job to go from Crown-in-Waiting to actual Crown of the Karasuno Kingdom. With the kingdom's grief and responsibility on your shoulders, it's your time to rule - all the while figuring out how an assassination on your beloved father succeeded. You're just grateful that you have your advisor - and biggest supporter - Sugawara Koushi, by your side to ground you.
wordcount: 28.7k words
General tags: Royal Advisor AU, Fantasy AU, SFW, mild to medium angst, gender neutral reader, POC!friendly reader, bodytype!friendly reader, slow-burn, romance, no use of y/n, comfort, mutual pining, idiots to lovers, reader is royalty, mentions of loss and grief, minor character death (reader's father), these idiots are so tense and official around each other that it hurts, minor violence, surely it should be illegal to type out 'your majesty' as much as i have, i'm sorry if my little crime solving takes up space - i dont even like the crime and thriller genre 🤡, i cared too much abt world-building here, if anyone wanna know the economic history of this world (including the three recessions and inflation time periods) let me know! im insane!, vaguely described sword fighting and related wounds in the final chaper
go to each chapter for more detailed tags and warnings
A/N: i have made a big effort into making this reader as gender neutral as possible so that men, women and nonbinary people can all insert themselves! therefor i refer to the ruler of the kingdom as 'the crown' instead of king/queen etc! clothes are not described in whether or not theyre pants/dresses but instead in fabric and colors. this has been my main goal as a nb person! ✨ i hope i succeeded! otherwise i dont have much else to say, but that i hope u enjoy this baby of mine! 🧡
Chapter 1: miles, 8.7k words
Chapter 2: inches, 7.9k words
Chapter 3: collision, 12k words
ao3 link
34 notes
·
View notes
I was thinking about BSD's female characters again (as one does) and being mildly frustrated that a lot of their trauma comes from being controlled by an outside male source....and then it hit me.
Almost EVERY BSD character has a past and trauma rooted in being controlled or having a lack of control.
Atsushi under the orphanage headmaster. Akutagawa under Dazai. Kyouka under Akutagawa (and keep in mind Koyou helped get her out in the end). Yosano under Mori. Kenji losing control after his best friend dying. Chuuya under the government and then the Port Mafia. Koyou losing control over her freedom thanks to the old boss. Ranpo having no control over his own self and having been isolated from the world. The Hunting Dogs under the government. Sigma under the DoA and the Book. Even Dazai a little (more on that later).....just this persistent theme of people not getting control over their lives.
And you know what that sounds like? Characters in a story being manipulated by an author.
We have this persistent theme of literature and writing and books throughout BSD, after all. And this incessant use of a character having a tragic past rooted in lack of control or losing control and being manipulated by some superior force screams (to me at least) literary imagery. And what's most interesting is that Dazai both is a character and a manipulator.
Of course he's not the only one pulling the strings, as we know. But he does eat up a BIG part of the narrative, I think...a character who previously had no will to seek out anything to do (and thus adopted the values or reasons of the people around him) trying to craft a narrative of his own after the death of his friend. A character essentially trying to become the author (the light novel Beast just makes me wonder more about this, tbh). But also one whose story is told through the stories of other characters.
And what I find interesting about that AND Beast with regards to Dazai is this page from Vol 17...
People writing. The writer including their own self into the story. Being both a character AND an author and in that sense taking control of your own life and your circumstances....
I'm not sure where I'm going with all this, but I just wanted to really point out that part of a lot of the BSD characters' narratives have to do with this lack of control over their own lives....and we see the ADA full of people trying to take back control. Kunikida and his ideals, Yosano and her healing, Ranpo being the agency's core, Atsushi trying to save people, and Dazai trying to become the author in other people's lives if he can't be the author of his own (his inability to die, you know?).
So my question honestly is just what's the deal with that? Am I making mountains out of molehills or seeing themes and motifs that aren't there? And if not, what does the existence of the Book say about these characters struggling to write their own narratives? (Or the narratives of others, in Dazai's case). Just....literary imagery in BSD and the "toxic" relationship between the author and the character....
127 notes
·
View notes