#I used to really like him and read his literary criticism like crazy. but his autiobiography bored and annoyed me and now i just make a face

[nizynskis]

Lolita hehehe

:) I’m so excited to read lolita its been on my tbr for ages. I think I’ll like it a lot

#unfortunately through the months nabokov and I have gone on a less than pleasant journey #I used to really like him and read his literary criticism like crazy. but his autiobiography bored and annoyed me and now i just make a face #when I see him. moral: never let the autobiography be the first thing of an author u read. *Bows thankyou #asks #eva tag

[qqueenofhades]

The Green Knight and Medieval Metatextuality: An Essay

Right, so. Finally watched it last night, and I’ve been thinking about it literally ever since, except for the part where I was asleep. As I said to fellow medievalist and admirer of Dev Patel @oldshrewsburyian, it’s possibly the most fascinating piece of medieval-inspired media that I’ve seen in ages, and how refreshing to have something in this genre that actually rewards critical thought and deep analysis, rather than me just fulminating fruitlessly about how popular media thinks that slapping blood, filth, and misogyny onto some swords and castles is “historically accurate.” I read a review of TGK somewhere that described it as the anti-Game of Thrones, and I’m inclined to think that’s accurate. I didn’t agree with all of the film’s tonal, thematic, or interpretative choices, but I found them consistently stylish, compelling, and subversive in ways both small and large, and I’m gonna have to write about it or I’ll go crazy. So. Brace yourselves.

(Note: My PhD is in medieval history, not medieval literature, and I haven’t worked on SGGK specifically, but I am familiar with it, its general cultural context, and the historical influences, images, and debates that both the poem and the film referenced and drew upon, so that’s where this meta is coming from.)

First, obviously, while the film is not a straight-up text-to-screen version of the poem (though it is by and large relatively faithful), it is a multi-layered meta-text that comments on the original Sir Gawain and the Green Knight, the archetypes of chivalric literature as a whole, modern expectations for medieval films, the hero’s journey, the requirements of being an “honorable knight,” and the nature of death, fate, magic, and religion, just to name a few. Given that the Arthurian legendarium, otherwise known as the Matter of Britain, was written and rewritten over several centuries by countless authors, drawing on and changing and hybridizing interpretations that sometimes challenged or outright contradicted earlier versions, it makes sense for the film to chart its own path and make its own adaptational decisions as part of this multivalent, multivocal literary canon. Sir Gawain himself is a canonically and textually inconsistent figure; in the movie, the characters merrily pronounce his name in several different ways, most notably as Sean Harris/King Arthur’s somewhat inexplicable “Garr-win.” He might be a man without a consistent identity, but that’s pointed out within the film itself. What has he done to define himself, aside from being the king’s nephew? Is his quixotic quest for the Green Knight actually going to resolve the question of his identity and his honor – and if so, is it even going to matter, given that successful completion of the “game” seemingly equates with death?

Likewise, as the anti-Game of Thrones, the film is deliberately and sometimes maddeningly non-commercial. For an adaptation coming from a studio known primarily for horror, it almost completely eschews the cliché that gory bloodshed equals authentic medievalism; the only graphic scene is the Green Knight’s original beheading. The violence is only hinted at, subtextual, suspenseful; it is kept out of sight, around the corner, never entirely played out or resolved. In other words, if anyone came in thinking that they were going to watch Dev Patel luridly swashbuckle his way through some CGI monsters like bad Beowulf adaptations of yore, they were swiftly disappointed. In fact, he seems to spend most of his time being wet, sad, and failing to meet the moment at hand (with a few important exceptions).

The film unhurriedly evokes a medieval setting that is both surreal and defiantly non-historical. We travel (in roughly chronological order) from Anglo-Saxon huts to Romanesque halls to high-Gothic cathedrals to Tudor villages and half-timbered houses, culminating in the eerie neo-Renaissance splendor of the Lord and Lady’s hall, before returning to the ancient trees of the Green Chapel and its immortal occupant: everything that has come before has now returned to dust. We have been removed even from imagined time and place and into a moment where it ceases to function altogether. We move forward, backward, and sideways, as Gawain experiences past, present, and future in unison. He is dislocated from his own sense of himself, just as we, the viewers, are dislocated from our sense of what is the “true” reality or filmic narrative; what we think is real turns out not to be the case at all. If, of course, such a thing even exists at all.

This visual evocation of the entire medieval era also creates a setting that, unlike GOT, takes pride in rejecting absolutely all political context or Machiavellian maneuvering. The film acknowledges its own cultural ubiquity and the question of whether we really need yet another King Arthur adaptation: none of the characters aside from Gawain himself are credited by name. We all know it’s Arthur, but he’s listed only as “king.” We know the spooky druid-like old man with the white beard is Merlin, but it’s never required to spell it out. The film gestures at our pre-existing understanding; it relies on us to fill in the gaps, cuing us to collaboratively produce the story with it, positioning us as listeners as if we were gathered to hear the original poem. Just like fanfiction, it knows that it doesn’t need to waste time introducing every single character or filling in ultimately unnecessary background knowledge, when the audience can be relied upon to bring their own.

As for that, the film explicitly frames itself as a “filmed adaptation of the chivalric romance” in its opening credits, and continues to play with textual referents and cues throughout: telling us where we are, what’s happening, or what’s coming next, rather like the rubrics or headings within a medieval manuscript. As noted, its historical/architectural references span the entire medieval European world, as does its costume design. I was particularly struck by the fact that Arthur and Guinevere’s crowns resemble those from illuminated monastic manuscripts or Eastern Orthodox iconography: they are both crown and halo, they confer an air of both secular kingship and religious sanctity. The question in the film’s imagined epilogue thus becomes one familiar to Shakespeare’s Henry V: heavy is the head that wears the crown. Does Gawain want to earn his uncle’s crown, take over his place as king, bear the fate of Camelot, become a great ruler, a husband and father in ways that even Arthur never did, only to see it all brought to dust by his cowardice, his reliance on unscrupulous sorcery, and his unfulfilled promise to the Green Knight? Is it better to have that entire life and then lose it, or to make the right choice now, even if it means death?

Likewise, Arthur’s kingly mantle is Byzantine in inspiration, as is the icon of the Virgin Mary-as-Theotokos painted on Gawain’s shield (which we see broken apart during the attack by the scavengers). The film only glances at its religious themes rather than harping on them explicitly; we do have the cliché scene of the male churchmen praying for Gawain’s safety, opposite Gawain’s mother and her female attendants working witchcraft to protect him. (When oh when will I get my film that treats medieval magic and medieval religion as the complementary and co-existing epistemological systems that they were, rather than portraying them as diametrically binary and disparagingly gendered opposites?) But despite the interim setbacks borne from the failure of Christian icons, the overall resolution of the film could serve as the culmination of a medieval Christian morality tale: Gawain can buy himself a great future in the short term if he relies on the protection of the enchanted green belt to avoid the Green Knight’s killing stroke, but then he will have to watch it all crumble until he is sitting alone in his own hall, his children dead and his kingdom destroyed, as a headless corpse who only now has been brave enough to accept his proper fate. By removing the belt from his person in the film’s Inception-like final scene, he relinquishes the taint of black magic and regains his religious honor, even at the likely cost of death. That, the medieval Christian morality tale would agree, is the correct course of action.

Gawain’s encounter with St. Winifred likewise presents a more subtle vision of medieval Christianity. Winifred was an eighth-century Welsh saint known for being beheaded, after which (by the power of another saint) her head was miraculously restored to her body and she went on to live a long and holy life. It doesn’t quite work that way in TGK. (St Winifred’s Well is mentioned in the original SGGK, but as far as I recall, Gawain doesn’t meet the saint in person.) In the film, Gawain encounters Winifred’s lifelike apparition, who begs him to dive into the mere and retrieve her head (despite appearances, she warns him, it is not attached to her body). This fits into the pattern of medieval ghost stories, where the dead often return to entreat the living to help them finish their business; they must be heeded, but when they are encountered in places they shouldn’t be, they must be put back into their proper physical space and reminded of their real fate. Gawain doesn’t follow William of Newburgh’s practical recommendation to just fetch some brawny young men with shovels to beat the wandering corpse back into its grave. Instead, in one of his few moments of unqualified heroism, he dives into the dark water and retrieves Winifred’s skull from the bottom of the lake. Then when he returns to the house, he finds the rest of her skeleton lying in the bed where he was earlier sleeping, and carefully reunites the skull with its body, finally allowing it to rest in peace.

However, Gawain’s involvement with Winifred doesn’t end there. The fox that he sees on the bank after emerging with her skull, who then accompanies him for the rest of the film, is strongly implied to be her spirit, or at least a companion that she has sent for him. Gawain has handled a saint’s holy bones; her relics, which were well known to grant protection in the medieval world. He has done the saint a service, and in return, she extends her favor to him. At the end of the film, the fox finally speaks in a human voice, warning him not to proceed to the fateful final encounter with the Green Knight; it will mean his death. The symbolism of having a beheaded saint serve as Gawain’s guide and protector is obvious, since it is the fate that may or may not lie in store for him. As I said, the ending is Inception-like in that it steadfastly refuses to tell you if the hero is alive (or will live) or dead (or will die). In the original SGGK, of course, the Green Knight and the Lord turn out to be the same person, Gawain survives, it was all just a test of chivalric will and honor, and a trap put together by Morgan Le Fay in an attempt to frighten Guinevere. It’s essentially able to be laughed off: a game, an adventure, not real. TGK takes this paradigm and flips it (to speak…) on its head.

Gawain’s rescue of Winifred’s head also rewards him in more immediate terms: his/the Green Knight’s axe, stolen by the scavengers, is miraculously restored to him in her cottage, immediately and concretely demonstrating the virtue of his actions. This is one of the points where the film most stubbornly resists modern storytelling conventions: it simply refuses to add in any kind of “rational” or “empirical” explanation of how else it got there, aside from the grace and intercession of the saint. This is indeed how it works in medieval hagiography: things simply reappear, are returned, reattached, repaired, made whole again, and Gawain’s lost weapon is thus restored, symbolizing that he has passed the test and is worthy to continue with the quest. The film’s narrative is not modernizing its underlying medieval logic here, and it doesn’t particularly care if a modern audience finds it “convincing” or not. As noted, the film never makes any attempt to temporalize or localize itself; it exists in a determinedly surrealist and ahistorical landscape, where naked female giants who look suspiciously like Tilda Swinton roam across the wild with no necessary explanation. While this might be frustrating for some people, I actually found it a huge relief that a clearly fantastic and fictional literary adaptation was not acting like it was qualified to teach “real history” to its audience. Nobody would come out of TGK thinking that they had seen the “actual” medieval world, and since we have enough of a problem with that sort of thing thanks to GOT, I for one welcome the creation of a medieval imaginative space that embraces its eccentric and unrealistic elements, rather than trying to fit them into the Real Life box.

This plays into the fact that the film, like a reused medieval manuscript containing more than one text, is a palimpsest: for one, it audaciously rewrites the entire Arthurian canon in the wordless vision of Gawain’s life after escaping the Green Knight (I could write another meta on that dream-epilogue alone). It moves fluidly through time and creates alternate universes in at least two major points: one, the scene where Gawain is tied up and abandoned by the scavengers and that long circling shot reveals his skeletal corpse rotting on the sward, only to return to our original universe as Gawain decides that he doesn’t want that fate, and two, Gawain as King. In this alternate ending, Arthur doesn’t die in battle with Mordred, but peaceably in bed, having anointed his worthy nephew as his heir. Gawain becomes king, has children, gets married, governs Camelot, becomes a ruler surpassing even Arthur, but then watches his son get killed in battle, his subjects turn on him, and his family vanish into the dust of his broken hall before he himself, in despair, pulls the enchanted scarf out of his clothing and succumbs to his fate.

In this version, Gawain takes on the responsibility for the fall of Camelot, not Arthur. This is the hero’s burden, but he’s obtained it dishonorably, by cheating. It is a vivid but mimetic future which Gawain (to all appearances) ultimately rejects, returning the film to the realm of traditional Arthurian canon – but not quite. After all, if Gawain does get beheaded after that final fade to black, it would represent a significant alteration from the poem and the character’s usual arc. Are we back in traditional canon or aren’t we? Did Gawain reject that future or didn’t he? Do all these alterities still exist within the visual medium of the meta-text, and have any of them been definitely foreclosed?

Furthermore, the film interrogates itself and its own tropes in explicit and overt ways. In Gawain’s conversation with the Lord, the Lord poses the question that many members of the audience might have: is Gawain going to carry out this potentially pointless and suicidal quest and then be an honorable hero, just like that? What is he actually getting by staggering through assorted Irish bogs and seeming to reject, rather than embrace, the paradigms of a proper quest and that of an honorable knight? He lies about being a knight to the scavengers, clearly out of fear, and ends up cravenly bound and robbed rather than fighting back. He denies knowing anything about love to the Lady (played by Alicia Vikander, who also plays his lover at the start of the film with a decidedly ropey Yorkshire accent, sorry to say). He seems to shrink from the responsibility thrust on him, rather than rise to meet it (his only honorable act, retrieving Winifred’s head, is discussed above) and yet here he still is, plugging away. Why is he doing this? What does he really stand to gain, other than accepting a choice and its consequences (somewhat?) The film raises these questions, but it has no plans to answer them. It’s going to leave you to think about them for yourself, and it isn’t going to spoon-feed you any ultimate moral or neat resolution. In this interchange, it’s easy to see both the echoes of a formal dialogue between two speakers (a favored medieval didactic tactic) and the broader purpose of chivalric literature: to interrogate what it actually means to be a knight, how personal honor is generated, acquired, and increased, and whether engaging in these pointless and bloody “war games” is actually any kind of real path to lasting glory.

The film’s treatment of race, gender, and queerness obviously also merits comment. By casting Dev Patel, an Indian-born actor, as an Arthurian hero, the film is… actually being quite accurate to the original legends, doubtless much to the disappointment of assorted internet racists. The thirteenth-century Arthurian romance Parzival (Percival) by the German poet Wolfram von Eschenbach notably features the character of Percival’s mixed-race half-brother, Feirefiz, son of their father by his first marriage to a Muslim princess. Feirefiz is just as heroic as Percival (Gawaine, for the record, also plays a major role in the story) and assists in the quest for the Holy Grail, though it takes his conversion to Christianity for him to properly behold it.

By introducing Patel (and Sarita Chowdhury as Morgause) to the visual representation of Arthuriana, the film quietly does away with the “white Middle Ages” cliché that I have complained about ad nauseam; we see background Asian and black members of Camelot, who just exist there without having to conjure up some complicated rationale to explain their presence. The Lady also uses a camera obscura to make Gawain’s portrait. Contrary to those who might howl about anachronism, this technique was known in China as early as the fourth century BCE and the tenth/eleventh century Islamic scholar Ibn al-Haytham was probably the best-known medieval authority to write on it extensively; Latin translations of his work inspired European scientists from Roger Bacon to Leonardo da Vinci. Aside from the symbolism of an upside-down Gawain (and when he sees the portrait again during the ‘fall of Camelot’, it is right-side-up, representing that Gawain himself is in an upside-down world), this presents a subtle challenge to the prevailing Eurocentric imagination of the medieval world, and draws on other global influences.

As for gender, we have briefly touched on it above; in the original SGGK, Gawain’s entire journey is revealed to be just a cruel trick of Morgan Le Fay, simply trying to destabilize Arthur’s court and upset his queen. (Morgan is the old blindfolded woman who appears in the Lord and Lady’s castle and briefly approaches Gawain, but her identity is never explicitly spelled out.) This is, obviously, an implicitly misogynistic setup: an evil woman plays a trick on honorable men for the purpose of upsetting another woman, the honorable men overcome it, the hero survives, and everyone presumably lives happily ever after (at least until Mordred arrives).

Instead, by plunging the outcome into doubt and the hero into a much darker and more fallible moral universe, TGK shifts the blame for Gawain’s adventure and ultimate fate from Morgan to Gawain himself. Likewise, Guinevere is not the passive recipient of an evil deception but in a way, the catalyst for the whole thing. She breaks the seal on the Green Knight’s message with a weighty snap; she becomes the oracle who reads it out, she is alarming rather than alarmed, she disrupts the complacency of the court and silently shows up all the other knights who refuse to step forward and answer the Green Knight’s challenge. Gawain is not given the ontological reassurance that it’s just a practical joke and he’s going to be fine (and thanks to the unresolved ending, neither are we). The film instead takes the concept at face value in order to push the envelope and ask the simple question: if a man was going to be actually-for-real beheaded in a year, why would he set out on a suicidal quest? Would you, in Gawain’s place, make the same decision to cast aside the enchanted belt and accept your fate? Has he made his name, will he be remembered well? What is his legacy?

Indeed, if there is any hint of feminine connivance and manipulation, it arrives in the form of the implication that Gawain’s mother has deliberately summoned the Green Knight to test her son, prove his worth, and position him as his childless uncle’s heir; she gives him the protective belt to make sure he won’t actually die, and her intention all along was for the future shown in the epilogue to truly play out (minus the collapse of Camelot). Only Gawain loses the belt thanks to his cowardice in the encounter with the scavengers, regains it in a somewhat underhanded and morally questionable way when the Lady is attempting to seduce him, and by ultimately rejecting it altogether and submitting to his uncertain fate, totally mucks up his mother’s painstaking dynastic plans for his future. In this reading, Gawain could be king, and his mother’s efforts are meant to achieve that goal, rather than thwart it. He is thus required to shoulder his own responsibility for this outcome, rather than conveniently pawning it off on an “evil woman,” and by extension, the film asks the question: What would the world be like if men, especially those who make war on others as a way of life, were actually forced to face the consequences of their reckless and violent actions? Is it actually a “game” in any sense of the word, especially when chivalric literature is constantly preoccupied with the question of how much glorious violence is too much glorious violence? If you structure social prestige for the king and the noble male elite entirely around winning battles and existing in a state of perpetual war, when does that begin to backfire and devour the knightly class – and the rest of society – instead?

This leads into the central theme of Gawain’s relationships with the Lord and Lady, and how they’re treated in the film. The poem has been repeatedly studied in terms of its latent (and sometimes… less than latent) queer subtext: when the Lord asks Gawain to pay back to him whatever he should receive from his wife, does he already know what this involves; i.e. a physical and romantic encounter? When the Lady gives kisses to Gawain, which he is then obliged to return to the Lord as a condition of the agreement, is this all part of a dastardly plot to seduce him into a kinky green-themed threesome with a probably-not-human married couple looking to spice up their sex life? Why do we read the Lady’s kisses to Gawain as romantic but Gawain’s kisses to the Lord as filial, fraternal, or the standard “kiss of peace” exchanged between a liege lord and his vassal? Is Gawain simply being a dutiful guest by honoring the bargain with his host, actually just kissing the Lady again via the proxy of her husband, or somewhat more into this whole thing with the Lord than he (or the poet) would like to admit? Is the homosocial turning homoerotic, and how is Gawain going to navigate this tension and temptation?

If the question is never resolved: well, welcome to one of the central medieval anxieties about chivalry, knighthood, and male bonds! As I have written about before, medieval society needed to simultaneously exalt this as the most honored and noble form of love, and make sure it didn’t accidentally turn sexual (once again: how much male love is too much male love?). Does the poem raise the possibility of serious disruption to the dominant heteronormative paradigm, only to solve the problem by interpreting the Gawain/Lady male/female kisses as romantic and sexual and the Gawain/Lord male/male kisses as chaste and formal? In other words, acknowledging the underlying anxiety of possible homoeroticism but ultimately reasserting the heterosexual norm? The answer: Probably?!?! Maybe?!?! Hell if we know??! To say the least, this has been argued over to no end, and if you locked a lot of medieval history/literature scholars into a room and told them that they couldn’t come out until they decided on one clear answer, they would be in there for a very long time. The poem seemingly invokes the possibility of a queer reading only to reject it – but once again, as in the question of which canon we end up in at the film’s end, does it?

In some lights, the film’s treatment of this potential queer reading comes off like a cop-out: there is only one kiss between Gawain and the Lord, and it is something that the Lord has to initiate after Gawain has already fled the hall. Gawain himself appears to reject it; he tells the Lord to let go of him and runs off into the wilderness, rather than deal with or accept whatever has been suggested to him. However, this fits with film!Gawain’s pattern of rejecting that which fundamentally makes him who he is; like Peter in the Bible, he has now denied the truth three times. With the scavengers he denies being a knight; with the Lady he denies knowing about courtly love; with the Lord he denies the central bond of brotherhood with his fellows, whether homosocial or homoerotic in nature. I would go so far as to argue that if Gawain does die at the end of the film, it is this rejected kiss which truly seals his fate. In the poem, the Lord and the Green Knight are revealed to be the same person; in the film, it’s not clear if that’s the case, or they are separate characters, even if thematically interrelated. If we assume, however, that the Lord is in fact still the human form of the Green Knight, then Gawain has rejected both his kiss of peace (the standard gesture of protection offered from lord to vassal) and any deeper emotional bond that it can be read to signify. The Green Knight could decide to spare Gawain in recognition of the courage he has shown in relinquishing the enchanted belt – or he could just as easily decide to kill him, which he is legally free to do since Gawain has symbolically rejected the offer of brotherhood, vassalage, or knight-bonding by his unwise denial of the Lord’s freely given kiss. Once again, the film raises the overall thematic and moral question and then doesn’t give one straight (ahem) answer. As with the medieval anxieties and chivalric texts that it is based on, it invokes the specter of queerness and then doesn’t neatly resolve it. As a modern audience, we find this unsatisfying, but once again, the film is refusing to conform to our expectations.

As has been said before, there is so much kissing between men in medieval contexts, both ceremonial and otherwise, that we’re left to wonder: “is it gay or is it feudalism?” Is there an overtly erotic element in Gawain and the Green Knight’s mutual “beheading” of each other (especially since in the original version, this frees the Lord from his curse, functioning like a true love’s kiss in a fairytale). While it is certainly possible to argue that the film has “straightwashed” its subject material by removing the entire sequence of kisses between Gawain and the Lord and the unresolved motives for their existence, it is a fairly accurate, if condensed, representation of the anxieties around medieval knightly bonds and whether, as Carolyn Dinshaw put it, a (male/male) “kiss is just a kiss.” After all, the kiss between Gawain and the Lady is uncomplicatedly read as sexual/romantic, and that context doesn’t go away when Gawain is kissing the Lord instead. Just as with its multiple futurities, the film leaves the question open-ended. Is it that third and final denial that seals Gawain’s fate, and if so, is it asking us to reflect on why, specifically, he does so?

The film could play with both this question and its overall tone quite a bit more: it sometimes comes off as a grim, wooden, over-directed Shakespearean tragedy, rather than incorporating the lively and irreverent tone that the poem often takes. It’s almost totally devoid of humor, which is unfortunate, and the Grim Middle Ages aesthetic is in definite evidence. Nonetheless, because of the comprehensive de-historicizing and the obvious lack of effort to claim the film as any sort of authentic representation of the medieval past, it works. We are not meant to understand this as a historical document, and so we have to treat it on its terms, by its own logic, and by its own frames of reference. In some ways, its consistent opacity and its refusal to abide by modern rules and common narrative conventions is deliberately meant to challenge us: as before, when we recognize Arthur, Merlin, the Round Table, and the other stock characters because we know them already and not because the film tells us so, we have to fill in the gaps ourselves. We are watching the film not because it tells us a simple adventure story – there is, as noted, shockingly little action overall – but because we have to piece together the metatext independently and ponder the philosophical questions that it leaves us with. What conclusion do we reach? What canon do we settle in? What future or resolution is ultimately made real? That, the film says, it can’t decide for us. As ever, it is up to future generations to carry on the story, and decide how, if at all, it is going to survive.

(And to close, I desperately want them to make my much-coveted Bisclavret adaptation now in more or less the same style, albeit with some tweaks. Please.)

Further Reading

Ailes, Marianne J. ‘The Medieval Male Couple and the Language of Homosociality’, in Masculinity in Medieval Europe, ed. by Dawn M. Hadley (Harlow: Longman, 1999), pp. 214–37.

Ashton, Gail. ‘The Perverse Dynamics of Sir Gawain and the Green Knight’, Arthuriana 15 (2005), 51–74.

Boyd, David L. ‘Sodomy, Misogyny, and Displacement: Occluding Queer Desire in Sir Gawain and the Green Knight’, Arthuriana 8 (1998), 77–113.

Busse, Peter. ‘The Poet as Spouse of his Patron: Homoerotic Love in Medieval Welsh and Irish Poetry?’, Studi Celtici 2 (2003), 175–92.

Dinshaw, Carolyn. ‘A Kiss Is Just a Kiss: Heterosexuality and Its Consolations in Sir Gawain and the Green Knight’, Diacritics 24 (1994), 205–226.

Kocher, Suzanne. ‘Gay Knights in Medieval French Fiction: Constructs of Queerness and Non-Transgression’, Mediaevalia 29 (2008), 51–66.

Karras, Ruth Mazo. ‘Knighthood, Compulsory Heterosexuality, and Sodomy’ in The Boswell Thesis: Essays on Christianity, Social Tolerance, and Homosexuality, ed. Matthew Kuefler (Chicago: University of Chicago Press, 2006), pp. 273–86.

Kuefler, Matthew. ‘Male Friendship and the Suspicion of Sodomy in Twelfth-Century France’, in The Boswell Thesis: Essays on Christianity, Social Tolerance, and Homosexuality, ed. Matthew Kuefler (Chicago: University of Chicago Press, 2006), pp. 179–214.

McVitty, E. Amanda, ‘False Knights and True Men: Contesting Chivalric Masculinity in English Treason Trials, 1388–1415,’ Journal of Medieval History 40 (2014), 458–77.

Mieszkowski, Gretchen. ‘The Prose Lancelot's Galehot, Malory's Lavain, and the Queering of Late Medieval Literature’, Arthuriana 5 (1995), 21–51.

Moss, Rachel E. ‘ “And much more I am soryat for my good knyghts’ ”: Fainting, Homosociality, and Elite Male Culture in Middle English Romance’, Historical Reflections / Réflexions historiques 42 (2016), 101–13.

Zeikowitz, Richard E. ‘Befriending the Medieval Queer: A Pedagogy for Literature Classes’, College English 65 (2002), 67–80.

#the green knight #the green knight meta #sir gawain and the green knight #medieval literature #medieval history #this meta is goddamn 5.2k words #and has its own reading list #i uh #said i had a lot of thoughts?

[arcanadreams]

That time you and your demon boyfriend went viral

hi yes hello obey me fandom!! my name is Gabbi and i have never played a single second of the actual game but i have read enough fanon content for the past year to have this idea swimming around in my head and now i am finally letting this accursed thing out of my brain and putting it in yours

also i’m only doing the brothers because any more than that and i’d have an aneurysm probably. oh and shoutout to @obeythebutler and @beels-burger-babe for inspiring me with their works to feel brave enough to write for this fandom

Lucifer:

You and Lucifer go viral on Asmo’s Devilgram story!

You’re in the kitchen helping Asmo with dinner duty and singing along to one of your playlists of human realm music that you like to show him.

Asmo starts filming your cute little dance while you stir the pot on the stove because you are just adorable!

About ten seconds into him filming, Lucifer appears in the doorway with quite the stern look on his face. You know, the one that comes right before a “MAMMOOOOOON” and strikes fear into the heart of all those with functioning eardrums. That one.

He opens his mouth, presumably to tell y’all to shut the fuck up, but then there’s a lull in the music and the eldest can hear your voice ever so slightly above the song’s vocalist and he freezes.

Man stops in his tracks like someone just smacked him in the face with a midair volleyball.

Asmo can be heard stifling a laugh behind his phone.

Lucifer’s face gets so soft and he almost, almost, loosens his metal-rod-through-the-ass posture before you notice him and give a little wave and ask if you and Asmo were being too loud like the considerate darling you are.

Lucifer clears and his throat and says something like, “No, you aren’t. I was just coming to check on how dinner is coming along,” and leaves, after which Asmo immediately presses the post button.

Screenshots of Lucifer’s heart eyes for you go absolutely viral because every demon on Devilgram goes absolutely feral for seeing the eldest demon brother lose his dignified composure. It becomes a meme template. “Get you someone who looks at you like Lucifer looks at MC” and “me at the delivery demon when he shows up with my spicy bat wings” posts become commonplace. (Asmo thinks the memes are totally worth getting strung up with Mammon for laughing at them.)

Mammon:

Much like Lucifer, you and Mammon end up going viral off Asmo’s Devilgram. (Noticing a pattern here?) 

He pulls a silly prank on your asses and honestly I don’t know how you fell for it. But hey, they say “idiots in love” for a reason, so...

You and Asmo are sitting in the common room of the House of Lamentation just chillin. Well, he’s chillin, you’re on the floor studying for an upcoming exam.

The video starts in the middle of a conversation you and the avatar of lust were having.

“No, Asmo,” you say. “Mammon and I don’t use pet names for each other.” Now that’s just a darn lie, and every demon and crow within ten miles of Mammon and you together knows it.

“Really? I find that very hard to believe, MC.~” 

You sigh in response to Asmo’s teasing. “Okay, he has a lot for me but I’m just not much of a pet name person, y’know?” The rest of the exchange goes like this:

“Oh, I totally get it.” *pause* “Hey MC, what do human world bees make again?”

“Honey.”

Cue a sheepish Mammon sticking his head in the doorway at the bluntness of your tone when you answered Asmo.

“Yeah, babe?” he looks like a puppy left on the side of a highway oh my god hUG HIM-

Asmo turns the camera back to his smug ass face and in the background you can be heard tripping on the damn carpet trying to get up and hug your mans. (”MAMMON GET OVER HERE SO I CAN HUG YOU” “W-WHAT? I THOUGHT YA WERE MAD AT ME?!?!?!?!”)

Leviathan:

Streamer Levi? Streamer Levi.

You guys go viral the first time you make an appearance on one of Levi’s weekly (insert cool Devildom streaming service name here) streams. 

It’s completely unintentional. You had been asking him for weeks to play with him on there, but he’s the avatar of envy after all. He doesn’t like sharing his partner, even if it’s with random strangers who have no real access to you.

However, he has his stream on a Thursday instead of a Friday one week, and you come into his room carrying dinner because 1) You didn’t realize he was streaming and 2) No matter what he was doing, the boy needed to eat. It wasn’t unusual for you to bring him dinner, so you had no idea why he was blushing and stammering even more than usual this time in particular. Boy was speaking in beached whale trying to tell you what was wrong.

Then you notice his screen. Oh! “Hi chat!” You wave, setting Levi’s food down on his desk in front of his keyboard. “M-MC!” He full-on whines, slamming a hand over his mouth afterwards when he remembers his viewers could hear that.

Honestly, they’d meme the fuck out of him if it weren’t for the fact that they are FINALLY SEEING HIS HENRY!!! THE MYSTERIOUS MC!!!

Chat is bombarding you with questions while you make Levi eat dinner. And by make him eat dinner, I mean literally feeding this man forkfuls/spoonfuls while he games because you love how flustered he gets when you do that. 

Does it impact his score? Absolutely. Does he care? Not really when you’re pampering him like that.

You start answering chat’s questions about you while he’s chewing so he can’t tell you to stop LMAO-

You’re a natural on stream. The VOD becomes the most popular on Levi’s account in a matter of hours and soon cute highlights compilations of you and him on that stream start making the rounds on Devildom Twitter.

Satan:

There was buildup to Satan going viral, similar to Levi in a way. 

Satan does have a Devilgram, but it’s basically a white woman’s Instagram with added book reviews for variety. Unless you’re a reader his account is pretty boring: candles, books, fireplaces, and cats.

However, after you two started reading together fairly often he began posting pictures of your legs draped over his while you sat together. They’d always be captioned with vague ass pretentious literary criticism. 

This goes on for months, and he gains a lot of (horny) followers after the leg pics start up. He doesn’t really get why but you both joke that it’s because you have some damn nice legs and I mean neither of you are complaining about the new following.

You two go viral when he finally shows your face, entirely by accident.

The post is a video, which is already strange for him and grabs attention. In it, you’re scoffing and reading an excerpt of a book, mocking its understanding of female anatomy.

“I’m quoting here, Satan: ‘her breasts bouncing around like giant pacmen.’ I’M SORRY?? THAT ISN’T HOW BOOBS WORK SIR. WHY ARE MEN ALLOWED TO WRITE?” 

(fun fact that is a very real quote from a very real book I really read last month pls save me)

Originally the camera is focused on your body, with your head out of frame to protect your privacy, but your righteous anger made Satan laugh. Like, a real laugh. The one that makes you and everyone in earshot wonder if he truly was never an angel cause he sure as hell laughs like one but anyway-

When he threw his head back, his DDD angled up just a tad without him noticing, and your face was in view for like .2 seconds. Screenshots of it are making the rounds on Devilgram almost immediately: FINALLY THE LEGS’ OWNER HAS BEEN FOUND.

Satan apologizes profusely but you honestly find it funny and you two opt to just start taking selfies while reading with both of your faces in them from now on. 

Asmodeus:

I’m gonna be real with you: you and Asmo go viral all the time. Pretty much everything Asmo posts can be considered viral because of his social media following and his status as one of the seven avatars of sin.

However, there are some fairly cute highlights to be pointed out among the times you were both featured in a post that blew up.

Your favorite is probably that time Asmo livestreamed on of you guys’ ‘Nail Nites,’ as you call them.

You’re both on the floor, doing your nails and kicking your feet back and forth while talking to chat. A lot of the questions are about your relationship, and there’s a lot of flirting back and forth between the two of you.

A particular clip of the stream does blow the fuck up on Devilgram, though, when someone screen records it and posts it with a bunch of heart emojis edited over it.

“’What colors do you think best describe each other?’ Ooo, that’s a good one, chat!” Asmo claps his hands together excitedly, making sure to be  careful of his nails.

Pretty much everyone expected you to say pink, but you surprised both your boyfriend and your viewers when, after a pensive few moments, you replied with “Hmm...probably yellow or orange.”

“Can I ask why, darling?” Asmo tilts his head in confusion. I mean, yeah, those colors look good on him, but he doesn’t wear them often so he’s wondering about your thought process. 

“Well, in the human world those colors often represent happiness, optimism, and positivity. You’re always the cheerful presence I need in my life when things get hard, so you have the vibe of those colors.”

Asmo proceeds to burst into tears and hug you, messing up both of your nails and prolonging the stream since you both have to start over. But neither of you particularly care. 

Fun fact: Asmo has the clip that demon made of that portion of the stream saved on his DDD and watches it whenever he feels sad.

Beelzebub:

Beel and you probably go the most viral out of everybody. Like this moment is an entire phenomenon across the Devildom internet. 

It’s a video, or well, multiple videos, taken at the end of a Fangol game that Beel’s team had just won. Everyone is cheering and going crazy, yourself included, and you just really wanted to congratulate your boyfriend.

So, like the rational person you are, you elect to climb up onto the railing of the bleachers and wave to get his attention. 

You were absolutely fine up there, and sat all comfortably motioning Beel over to you. He notices, of course, and jogs over, standing right beneath you and looking up. (Back where you were sitting, Mammon is screeching like a hyena in heat and Belphie, who is laying down, has one eye open to glare at him. The youngest knows Beel would never let you hurt yourself; you’re fine.)

A bunch of assorted demons at the game has started filming while you were sat atop the railing since you were rather noticeable. Therefore, there’s a shit ton of different angles of the adorable events that follow:

You slide off the railing, landing right in Beel’s waiting arms bridal style. You’ve got this brilliant smile on your face as you pull his helmet off. None of the DDDs filming can hear it over the crowd noise, but Beel asks you why you just went through all that trouble and you tell him it’s because you wanted to tell him how proud you are.

Soft boy’s chest puffs up and he smiles this big cheesy smile at you reach up to run a hand through his hair. You feel him practically purr at the contact, and with a laugh you pull him in and plant a big ole smooch on him.

The crowd, at least those of them that can see, scream. Everyone is running high on adrenaline and happy emotions; something that cute causes a ruckus!! When you pull away Beel proceeds to put you on his shoulders and you celebrate with him and the rest of his team.

The videos of you two being adorable go completely viral and there are some threads dedicated to stockpiling every single angle taken of the event. Beel is completely oblivious to the attention but you have a lot of them saved on your DDD.

Belphegor:

If you think Belphegor has any sort of social media presence whatsoever then you are sorely mistaken. (Well okay he actually does run some anonymous troll accounts to meme on Lucifer’s posts but that’s neither here nor there-)

Therefore, naturally, you two go viral off of Asmo’s Devilgram. 

Okay so someone in the obey me tag the other say headcanoned that Belphie will go out of his way to nap in ridiculous places and my brain really took that and RAN WITH IT.

So what happens is that Belphie will fall asleep in the fucking weirdest places. I’m talking on top of the fridge, underneath the dinner table, on top of bookshelves...you name it, he has slept there, no matter the effort it takes to get there in the first place. 

And, ever since you two started dating, you would join him. Sometimes it involved putting yourself at risk of great bodily harm, but the little smile he gave when you he saw you fucking scaling the countertop to reach him made it worth it.

So anyway, since Beel adores the both of you to no end, he takes pictures whenever he sees you two napping together, whether or not it is in a crazy place. He sends these to the family group chat because he thinks they’re adorable.

Over a span of weeks to months, Asmo has built up a stock of images of you and Belphie cuddles up in seemingly impossible places. Once he has about ten or so, he posts a compilation of them to his Devilgram with some cheesy ass caption like “The things we do for love <3″.

They become a meme SO QUICKLY. Like UNBELIEVABLY quickly. 

The picture of you and Belphie sleeping on top of a bookshelf, in particular, is a big hit. Memes abound.

“If my girl doesn’t climb up a bookshelf to cuddle my ass, she don’t love me.” “Get yourself a partner who scales bookshelves just to be with your ass.” Etc etc...Belphie doesn’t give a shit but you laugh at a lot of them so he sees that as a good outcome.

#IM SO HAPPY TO HAVE FINALLY WRITTEN THIS #obey me #my writing #obey me headcanons #obey me x reader #lucifer #mammon #leviathan #satan #asmodeus #beelzebub #belphegor #posts

[love-little-lotte]

Ranking the Bridgerton Books

I know I should write this in my book blog, but frankly, I have no idea how to make another section for it, and I'm too lazy to research. So, I'm writing here. Please bear with me.

Recently, I read the Bridgerton books by Julia Quinn. You might be familiar with the first book since it was adapted into a popular Netflix series by Shonda Rhimes. I binge-watched it back in December, and I have to say... not a fan. I guess I just find it too cheesy and annoying. Plus, the actors who portrayed Daphne and Simon had no romantic chemistry whatsoever.

But I'm not here to talk about the TV show. I'm here to talk about the novels! This is actually not my first time reading the books. Well, not exactly. I've read six out of the eight novels when I was in high school, I believe. I found the books when I was in high school as it was in the library (please don't ask me why my high school library has smutty novels in it, I have no idea who's in charge - they had Fifty Shades of Grey for a week but they eventually removed it from the catalog when they learned what's it about, but I digress). As a fifteen-year-old girl, the series hooked me.

If you're not familiar with the books or the Netflix series, here's a short synopsis: Set in the Regency era, the Bridgertons are one of the most influential families of the ton. The books follow the love stories of the eight Bridgerton siblings, alphabetically named Anthony, Benedict, Colin, Daphne, Eloise, Francesca, Gregory, and Hyacinth.

I didn't read it in chronological order back then, though. I just borrowed any available Bridgerton book in the library if there's one. You might think I was too young to read a romantic novel like that, but I guess I was mature enough to understand it.

Rereading it now that I'm twenty-two (cue Taylor Swift!), my heart's not in the same place. I was more skeptical with the writing, the story, and, most especially, the characters. But, really, I'm not that heartless, so I will cut the author some slack. Quinn wrote this at a different time for a different audience. It's not that long ago, but you'd be surprised how fast things change.

However, even though I have major criticisms, I cannot stop reading them. There's something about the novels that put me in a chokehold. Despite everything, I was able to enjoy it overall. This series is the definition of "guilty pleasure."

Anyway, here's my ranking of the Bridgerton books! I only read the eight main ones, which means I didn't include novellas of any kind. Also, as a fair warning, I might discuss spoilers and whatnot, so please beware. And do keep in mind that I'm writing my opinion, so if you don't agree, well... tough. I'd like to hear your comments, though, if you have any.

#8 - An Offer From A Gentleman (Book 3)

Honestly, this was probably one of my favorite Bridgerton books when I was younger. A Cinderella retelling? Come on! As someone who loves fairytales and forbidden romances, this was supposed to be heaven. However... it was not.

Benedict may be my least favorite Bridgerton brother. No, scratch that - he is my least favorite Bridgerton out of all of them. He's whiny and creepy and I was plainly annoyed with how he keeps asking Sophie to be his mistress in the novel. This was not the gentleman I imagined when I was younger. I might have liked him more in the first few parts, but as the story progressed, he became too childish and obsessive. Sophie, on the other hand, was all right. She's definitely one of my favorite Bridgerton heroines. She was tough but kind in her own way. I wish she had a better partner than Benedict, but I guess they suit each other in the end.

I just detest the climax and the ending of this book. It was too comical - and not in a hilarious way. I guess the same could be said for the entire novel. This was so, so different from the rest, to be honest.

Overall Rating: 3/10

#7 - On The Way To The Wedding (Book 8)

Fun fact: this is the first Bridgerton novel I read. And even then, I wasn't a huge fan of it. Just like An Offer From A Gentleman, the climax was a bit silly but more in a soap opera level than comical.

The biggest factor why I didn't like this was the characters. They were all so bland. Especially our hero and heroine. Gregory is the least featured Bridgerton in the novel, so I don't really know what to make of him at the beginning of the novel. In his book, I learned that he was a good guy - and that's all. Maybe he's too young and naive when it comes to romance (which is endearing, I have to admit), but he has no interesting personality whatsoever. Lucy, the heroine in this novel, was the same. She was described as pragmatic and sensible, which perfectly sums her up. Also, she's a great friend to Hermione (whose last name is Watson, by the way, and you can't tell me otherwise that this isn't a Harry Potter reference - Hermione Granger and Emma Watson? If that's not a reference, well, that's a very crazy coincidence, but I digress again). Gregory and Lucy's story was average - not bad, not good, just so incredibly dull.

The fun parts started way too early. It was difficult to find intrigue in the middle and end bits. The second main conflict, which happened near the end of the book, was truthfully not that good and was just obviously a ploy to keep things longer. You'd think that the Bridgerton novels would end the series with a bang. Alas, it did not.

Overall Rating: 4/10

#6 - To Sir Phillip, With Love (Book 5)

Eloise finally gets her turn in her own love story. She used to be one of my favorite Bridgertons, but when she got her own story, she was reduced into a plain girl. Gone was the feisty and outspoken Eloise we knew from the previous books.

Maybe it's because she's paired up with one of the most insufferable Bridgerton heroes, Sir Phillip. Just an inch away from Benedict, Sir Phillip maybe my next least favorite character. And it annoys me so much that Eloise gets to fall in love with someone like him.

It actually started pretty well. Before the events in the book started, Eloise and Phillip had already been corresponding for a year through letters. Phillip was on the lookout for - not a wife - but a mother for his two unruly children, and he thought Eloise was perfect for the role. He's a terrible father, but the book tries to convince us that it's not his fault because he had a bad upbringing by his own father (a recurring theme in the Bridgerton books - four heroes are plagued with different daddy issues). Eloise tried her best to turn things around, and of course, she eventually did, but I just really hate Phillip's initial intentions for seeking out a wife. He gets better in the end, sure, but I still really don't like him. At least the book wasn't short of excitement, else it would've been rated a bit lower.

Obviously, my favorite part in this book was when the Bridgerton brothers stormed into Phillip's house. He got what he deserved, truly.

Overall Rating: 4/10

#5 - The Duke and I (Book 1)

Now, this is the most well-known story in the Bridgerton literary universe, thanks to the Netflix series. I know I've said that I wasn't a fan of the series, but really, the Netflix writers and producers deserve all the gold in the world because they managed to transform this novel into something exciting.

Daphne and Simon had their moments, that's for sure, but as a couple, they were just so... meh. I liked their relationship at the start when they were still pretending to be courting. But as soon as they got married, everything interesting about the two of them sizzled out. And please don't get me started with how Daphne "took advantage" of drunk Simon. Thank God the show fixed that.

Despite my mixed feelings, this was a decent start to the Bridgerton books. There's really nothing majorly wrong about this novel (except for the aforementioned "taking advantage.") It laid out the future characters well. Lady Whistledown was also great. Thinking about her made me miss her because she wasn't featured in the later novels (you'll soon find out why).

Overall Rating: 5/10

#4 - It's In His Kiss (Book 7)

Since Eloise was stripped away from her feistiness when she got her own love story, I was obviously worried for Hyacinth. Thankfully, she didn't change! She was still the same tactless girl in the previous books. And for that, she gets to be my champion as my favorite Bridgerton.

This is the first time I've read this book, and oh, I'm surprised with how exciting it was. Hyacinth's hero, Gareth, perfectly suited her. Gareth was able to tame her impulsiveness, while also proving to be a good romantic partner for her. I loved that he could match her intellectually, too. It was never a bore whenever they have one of their silly banters. Lady Danbury was also featured more in this novel. She's one of my favorite side characters. As Gareth's grandmother, she was determined to bring him and Hyacinth together.

Maybe the only criticism I have in this novel is Gareth's issues with his father. I find it really weird that most of the heroes' problems are with their fathers. It just seemed lazy writing, in my opinion. But oh well, Gareth was interesting in his own way and that's perfectly fine.

Overall Rating: 6/10

#3 - Romancing Mister Bridgerton (Book 4)

I have a feeling that this is Quinn's favorite Bridgerton book. In this book, it's Colin's turn to find love. Colin is featured in several of his siblings' stories - in fact, in almost all of the books, he had an important role to play.

I love Colin and Penelope's story. Long before this book, they already knew each other. Penelope was Eloise's best friend, and she's almost always in the Bridgerton household. Colin has been forced by his mother for God knows how long to dance with Penelope every time there's a party. But it was only now that they became closer. Unbeknownst to Colin, Penelope had been in love with him for half her life, even though he didn't particularly care for her. Penelope speaks for all of us who know about unrequited love all too well.

Furthermore, this is the novel where they finally reveal who was behind the Lady Whistledown column. Yes, viewers of the Netflix series who are not familiar with the books. This is the part - and not in the first book! I'm so mad that they revealed Penelope as Lady Whistledown in the first season of the series, when in fact it's much later than that.

However, that's also one of the lowest points of this novel for me. Lady Whistledown's identity reveal was a bit anti-climactic. A little bit laughable, even. Also, also, also: I hated Colin's reaction to Penelope's secret. He didn't have to be angry and jealous of her, but ah well, whatever makes for conflict. Nevertheless, I love both Colin and Penelope because they had so much character and depth. Quinn was certainly biased when she wrote this.

Overall Rating: 8/10

#2 - The Viscount Who Loved Me (Book 2)

Remember earlier when I said that I cannot stop reading the books because even though I knew it wasn't that good, it was still highly enjoyable? Well, I'm really talking more about this book, to be specific. I think I've read it in less than 24 hours because of how much I love it. And yes, Anthony and Kate had their obvious flaws, but oh God, they were so perfect together. I can't help but imagine Jonathan Bailey from the Netflix series as Anthony when I was reading it. I swoon, all the time.

This used to be my favorite Bridgerton novel, but that's only because I haven't read my new favorite until recently. Anthony and Kate's story was just oh-so good and intimate and romantic. Kate's also my favorite heroine in the entire Bridgerton literary universe. She was headstrong and loving. She's unafraid to put the happiness of her family first.

In so many ways, Anthony was the same. He assumed the role of Viscount Bridgerton when he was only eighteen when his father unexpectedly died. Since then, he overlooks the family's estates and well-being. Yes, this is one of those "daddy issues" stories I mentioned earlier, but this one was kind of done tastefully. He didn't wish to fall in love but everything changed when he encountered Kate. He didn't mean to be attracted to her, but here we are.

Anthony and Kate had so much understanding between them. I agree Anthony was a bit of a dick when Kate asked if they could have one week to get to know each other before consummating the marriage (worse things have been said by Benedict and Phillip, though), but in the end, I can't deny that I truly love them together.

Overall Rating: 8/10

#1 - When He Was Wicked (Book 6)

*blushing furiously* So what if I put the smuttiest and steamiest novel as my top choice?! What about it? Oh, but really, though, I can't stop reading this. Francesca is one of the least known Bridgertons in the books, just like Gregory. I didn't know anything about her, except that she's quieter than most of her siblings. It was also first mentioned in Romancing Mister Bridgerton that she had already married but was sadly widowed after two years.

Michael was Francesca's late husband's cousin and best friend, which makes him her best friend, too. He has been secretly in love with Francesca since the first moment he laid eyes on her but was unable to pursue her because she's with his cousin John. In addition, I'd like to say that Michael is my favorite hero in the Bridgerton books. He's very charming and wicked, and really, my knees buckle at the thought of him.

Long after John passed away, Francesca and Michael reunited. Francesca was looking for a new husband because she desperately wants a family, while Michael... well, Michael was still in love with her. There was undeniable passion and intimacy between them, and it was hard to stay away from each other. I seriously have a thing for men secretly pining over women they love. That's got to be one of my favorite tropes.

However, the book itself was a bit longer than necessary. While I understand Francesca's hesitations in marrying Michael, it could've been shortened because it felt draggy by the end. Her constant changing of minds was a bit annoying, and yeah, it was probably a ploy to lengthen the novel.

Additionally, I was a bit skeptical at first of how they're going to treat their relationship, especially since Francesca was truly in love with her first husband. But it was done so nicely. Francesca and Michael never forget about John, even in the end. I loved what John's mother said to Michael in a letter at the end, "Thank you, Michael, for letting my son love her first."

I guess I love their story more than the other couples because both were already mature and experienced. Just like everyone else in this romantic series, Francesca and Michael belonged together. The entirety of Chapter 19 is proof of that.

Overall Rating: 9/10

***

Overall, the Bridgerton books are quite entertaining, despite being a cheesy and sappy series. I admit that I feel quite lonely and bored now that I've finished all eight of them. Ah well, there's always the possibility of rereading them!

#books #bridgerton #bridgerton books #julia quinn #novels #reading #book ranking #romance #romantic books #historical fiction

[the-other-art-blog]

Jo’s Boys: Chapter 2 Parnassus (Part 2) May and Amy

As I said on Part 1 of these chapter post, the following quote says so much about Amy, but also relates to May.

...for she was one of those who prove that women can be faithful wives and mothers without sacrificing the special gift bestowed upon them for their own development and the good of others.

May married before Louisa started writing this book. It looks like Louisa was very interested in how May balanced family and work. At the time women had two options, either they focused on their careers or they get married. Trying to combine them seemed crazy.

There were a few literary works addressing this issue at the time. In 1877 Elizabeth Stuart published The Story of Avis which depicted a woman who gave up her art after getting married. Louisa read this book and warned May about it, but her sister was determined to prove those thoughts wrong. She writes,

‘I mean to combine painting and family, and show that it is a possibility if left alone.’

This blessed lot is mine, and from my purpose I shall never be diverted... I am free to follow my profession, I have a strong arm to protect, a tender love to cherish me and I have no fears for the future.

And indeed she succeeded those two years of marriage. In fact, 1879 proved to be one of May’s most prolific and successful years of her career. It’s such a shame May died just weeks after giving birth when her career was going so well.

To quote that same letter, “May decided wisely”, and Amy too.

There’s the idea that Amy stopped pursuing an artistic career because Louisa was jealous of how easy things came for May. She wasn’t wrong. May was incredibly lucky and there was always someone willing to help her. And as the baby of the family, she was often shielded from the hardships of life. So if Louisa was bitter, I wouldn’t blame her (although she pampered May too). And if this were true, I think her vision of May changed by the time she wrote this book.

I think Louisa gave Amy this development as part of her curiosity and admiration towards her own sister.   🥰 🥰 🥰

Come to think if it, Amy never really stopped drawing. After rejecting Fred, Louisa tells us that Amy has a quieter trip and that she spends her time sketching ( faceless knights in shinny armor or couples dancing, but that’s another story 😉 ). And in the last chapter, Amy is making a bust of baby Bess. Of course Amy would never drop her art, even if she tried. It’s such a fundamental part of who she is that it’s impossible for her to stay away from it. It defines her and differentiates her from everyone else around her.

Now, long has been discussed about May’s approval or dislike towards the character of Amy. The only direct quote I have found from May about Amy is a letter to Alf Whitman where she refers to her book counterpart as “horrid stupid”. She might be referring to Amy’s selfishness and vanity, as she recognizes she was the same once but now she is changing (like Amy did). However, this was before Part 2 was published.

Regardless, I am convinced that May would have loved how Amy’s life turned out. May was an incredibly generous person who dreamed of offering art to everyone, no matter the social class nor the color of their skin. She was always willing to help a fellow artist. She gifted Daniel Chester French his first sculpting tools, yeah THE Daniel Chester who sculpted the Lincoln Memorial! (In fact, he wrote the preface for May’s Memorial by Caroline Ticknor in 1928. He was always grateful for all the support and encouragement May gave him.)

Another thing that Amy and May have in common is the criticism towards their marriages. Many people don’t consider May feminist enough because she didn’t participated in the suffragette movement, she got married and she expressed how much she loved her domestic life. Who cares if she openly criticized the art system and spoke openly about the unequal opportunities that women have in artistic education. Even less, if she rejected multiple suitors until she found the right one, someone who would love her and respect her career.

In one of her letter, she said,

‘the lonely artistic life that once satisfied me seems the most dreary in the world’

Many people judges her and claims that she succumbed to the patriarchy. Really, what May was calling “dreary” was the lonely life she had. She was in Europe away from the rest of her family, she couldn’t even say goodbye to Marmee when she died. She was depressed for a while and felt guilty for not coming back home. The only person who was able to cheer her up was Ernest (like Laurie did with Amy 😊 ). She could go wherever she wanted because she had nothing attaching her to a certain place. But May always dreamed of marriage and a family. In a previous letter she says,

If mine can’t be a happy domestic life, as such as I have longed for and prayed for, perhaps the good God meant me for great things in other ways.

Just months before meeting Ernest, she still dreamed of romance! So sue her if she was happy with her husband and her domestic life. That was her dream.

I haven’t finished reading The Story of Avis, but by the synopsis, it seems that part of the problem was Avis’ husband and his lack of support towards her artistic career. This is an issue that neither May nor Amy had.

Ernest was one in a million. He never represented an obstacle to her career, on the contrary, he was an enthusiast. In the end, May got her Laurie   🥰 🥰 🥰

Now that I think of, Louisa followed the destiny of the real-life people in her characters. Beth, John and Marmee died in the novels because Lizzy, John and Marmee died in real life. However, she kept Amy alive.

Nobody expected May’s death. She had had such luck in life that it felt impossible for it to stop.

In various letters, May had asked Louisa to visit her in Meudon (where she lived with Ernest). Unfortunately, Louisa couldn’t go. There were responsibilities at home and her health was a big issue and she didn’t want to be a burden.

May’s death was devastating for Louisa. In one of her diary entries she remembers the last time she saw her, waving goodbye from the ship to London. Then she writes,

A lonely time with all away. My grief meets me when I come home, and the house is full of ghosts.

To me that phrase is incredibly personal. My grandparents and two of my aunts lived together. In the last years they’ve all been passing away and now the house that once was full of life is abandoned.

Louisa apologized in the preface of this book for writing little about Amy,

Since the original has died, it has been impossible for me to write of her,...

Indeed, I would have love to read more about Amy, but these first two pages about her are so important and tell us so much about her, her marriage and her career.

Maybe Louisa had already written this chapter before May’s death. Who knows. Maybe Louisa couldn’t bear another loss in her fictional family too. If May was gone, at least Amy would live and have a happy long life.

#there's a latter where Anna refers to May's 75th love affair #it migt be an exageration #but it does show how popular May was #little women #louisa may alcott #jo's boys #may alcott nieriker #amy march #amy laurence #ernest nieriker #may x ernest #amy x laurie

[bookofmirth]

everyones entitled to their opinion but the amount of people who have been saying how “confusing” az’s chapter is and how sjm’s a bad writer for writing it that way honestly annoys me? you said you felt vindication when you read it and tbh, same, it confirmed everything i thought since acowar and made perfect sense with what we know of az as a character - that he’s deeply traumatized and incapable of creating and maintaining healthy relationships (as of rn). but beyond that, i dont see how it was unclear in the terms of which ships will be endgame?? before that chapter i was still uncertain and thought it could go either way (tho i was leaning to elucien bc of the already existing bond), and now im pretty certain its not gonna be elr*el in the long term. idk, i just feel like a part of fandom has built their own vision of the characters and future events that isn’t supported by text and now that theyre disappointed it isnt canon, they blame sjm for it? i really dont think it was a confusing chapter at all, i thought her intentions were perfectly clear with the types of tropes she used, i dont think its fair to say it was badly written just bc it didnt support their fanon ideas that was built more on headcanons than actual textual evidence... idk if i sound mean lol but just my 2 cents, obviously it doesnt go for everyone i feel like a certain part of fandom has a certain version of characters in their heads that they consider as canon bc they want to see them that way, but they aren’t really the same as the actual characters we’re presented in their story

Anon, I am going CRAZY over here.

I’ve been trying to figure out why I take on some arguments and others I don’t, and it basically comes down to 1) what is supported in the text, 2) people’s very wild interpretations of the text, and 3) people confusing their interpretation, fanon, what have you, with canon. 

I actually make my students read this article before they respond to a text because it’s super important to understand what, exactly, they (and we) are responding to. It’s nothing to do with literary criticism, but it still has bearings here because people are taking lines of text and imposing these wildly different meanings that have zero support. Like I mentioned in this post, we cannot say why Elain’s face gets tight or she shrinks from Lucien. There is literally no evidence one way or another, so I could that she like....... has a bad problem with farting when he’s around and is embarrassed. And who’s to stop me????

And you’re right, the problem here is that they think they are responding to canon, when actually it’s this wild interpretation of canon that began before acowar even came out, for the sole purpose of furthering hate on Mor. It had nothing to do with actually, genuinely liking it. But it’s grown into this monstrosity we see today and yeah... people are literally making posts where their “evidence” is two people being a room together and noticing that fact = endgame super romantic ship.

And that’s totally different from actually acknowledging the bare minimum of evidence, and saying “fingers crossed I hope it happens because I love it!!” That would be fine. I literally do not care if people do that. I do care when they willfully misinterpret what’s on the page and try to act like 1) they have found facts, and 2) they pretend like that “fact” should have any bearing on what other people ship. 

So, re: Az. 

I literally made this argument four years ago lol and if you read it real quick you can see that that ship came about (in January 2017) not because of all this “evidence” people found in acowar, which didn’t exist yet for us, but before that for other fandom, fanon reasons. 

And since acowar came out, I’ve pretty much avoided talking about Az because I know that somehow, the fact that he’s dark and twisty is.... controversial??? Yeah, I compared him to Tamlin and I still hold to that (I saw a vagueblog about my idea and I still think that comparison is accurate, but anyway). But people just? Don’t want to hear anything like that about Az. Even though that’s literally what we are given.

There is nothing wrong with saying that he’s dark af. In fact, all of the evidence we have from the book is that he is not only dark, but that he is increasingly  losing control. There was the blowup in acowar, and the increased disrespect of Rhys (and Feyre) in acosf, refusal to take orders from someone he is supposedly so loyal to. Even back in acomaf there were multiple signs that Mor was concerned about bruising his ego (literally the first thing that Mor says about Az is that he would want to know something, I’m not going to look it up but the implication was that he would be upset if he didn’t know).

From acosf:

Az had a vicious competitive streak. It wasn’t boastful and arrogant, the way Cassian himself knew he himself was prone to be, or possessive and terrifying like Amren’s. No, it was quiet and cruel and utterly lethal. (pg. 254)

“He’d tortured it out of someone. Of many people.” (pg. 224)

“Some silent conversation passed between him and his mate, and Cassian knew Rhys was asking about the torture - apologizing for making Feyre witness even the ten minutes Azriel had worked. (pg. i lost my place idk)

“Opening movements in a symphony of pain that Azriel could conduct with brutal efficiency. (pg. 375)

So asdkhasldkjasda if only we could STOP saying that Az is actually a dark soft boi and just acknowledge that he’s fucked up and that him being with ANYONE at this point would potentially be harmful to that person, be it Elain or Gwyn or whoever? That chapter did NOTHING but continue a line of character development that had already been in place, and I get the need to romanticize dark boys, but idk, don’t pretend he’s something he’s not.

#acosf #acosf spoilers #spoilers #azriel #ask #okay now I have a meeting lol #anon

[thetypedwriter]

Midnight Sun Book Review

Midnight Sun Book Review by Stephenie Meyer 

Oh my god, you guys. 

Just. Oh. My. God. 

This book took ten years off of my life. 

As a heavy reminder, these book reviews are entirely subjective and my very personal opinion. I don’t need the hoards of Twihards coming after me with pitchforks and pretend fangs from Party City because I didn’t fall head-over-heels with this canon spinoff like my fourteen-year-old self would have. 

With that measly disclaimer out of the way, let’s move onto the actual book review. If you haven’t heard of Midnight Sun or don’t know what it is, then I don’t know what to tell you except that you avoided 600 plus pages of stream of conscious ranting. 

For those of you that would like to be enlightened, Midnight Sun is the retelling of the infamous Twilight book-yes, that Twilight, Robert Pattinson as Edward Cullen Twilight, complete with vampires, not so-stellar acting, and the more than notorious forest scene of Edward demanding she say… “vampire!” Gasp. 

But no really, like most women in my now mid-20’s, as a teenager, I was obsessed with the Twilight saga and everything it had to offer, especially the dreamy, chivalrous, too good to be true Edward Cullen (fuck Jacob). 

I voraciously devoured the books while I was in middle school, attended the midnight book premier for Breaking Dawn, and stayed up way too late for each and every movie screening that followed, a loyal fan to the end. To give you some perspective, I even joined the Twilight club my freshman year of high school. 

Yes, if you were wondering, I was indeed that cool. 

I was obsessed and in love and outside of Harry Potter, it’s still one of the few book fandoms and series that I was truly enveloped and consumed by. Whether that was due to my age, the experience of the fandom, the cultural phenomena that was following the movies and new releases, or for other reasons, it was an experience I look back on now with simultaneous fondness and slight embarrassment. 

I wasn’t embarrassed by my involvement or my experience in the fandom, like many other people, I made great friends through Twilight (including my best friend, whom I met in college when we mutually bonded over our love of Twilight), read countless fanfiction that, to this day, I still remember and cherish with my heart, and it was one of the series that cemented my love of reading and book culture as a whole for me. 

However, like everyone else, I inevitably grew up, matured, and my reading tastes changed and became more refined. As an avid re-reader of books, I have tried going back to re-read the Twilight saga multiple times... 

...and failed. 

The books had simply lost their magic for me. 

The story seemed dull and nonsensical, Bella had become the epitome of a Mary Sue, the writing was now apparently mediocre, and Breaking Dawn’s lackluster climax angered me to the point of speechlessness (it still does). 

So, I gave up re-reading the series and while I deemed that it was perhaps not as wonderful and life-changing as it had been for 8th grade Melissa, I still appreciated what it had done for me personally and the experiences that I had gained through the books. 

Speaking of 8th grade Melissa, the original Midnight Sun, that being twelve chapters of the original manuscript that had been leaked back in 2008, had been put up on Stephenie Meyer’s website for all to enjoy. 

Like the good, whipped fangirl I was, I devoured all 12 chapters with ease and lamented the loss of never getting more than that snapshot of Edward’s thoughts and musings. 

Now, twelve years later, the full book has been written, published, and released to the delight and downright shock to many age-old Twilight fans that had believed that series to be dead and buried, myself included. 

So, when the book came out this August, I swallowed my trepidation, knowing that my love for the characters was now long gone, but I believed that the sentimentality of 8th grade Melissa’s obsession would long linger, making this a pleasant blast from the past to lift my mood. 

Unfortunately, this wasn’t the case. 

Now, that I’ve told you my whole life story in an effort to explain why I have the feelings I do and to justify that I’m not just being negative for the sake of being negative, this book did not hold up to any of my expectations. 

One, it was so freaking long. 

Holy shit, was this book long. 

As I have said countless times on this blog, I like big books (and I cannot lie). It’s the best feeling in the world when you get into a story and you realize that you have many days ahead of you of being engulfed within this new world that you’ve fallen head-over-heels for. 

It’s the opposite, sinking feeling of dread when you feel like you’ve been reading the book for weeks and are getting nothing out of it. 

Midnight Sun was a lot like that.

It was too long to be good, especially considering the length was not generally driven by plot, but instead driven by Edward thinking of every fucking thing to the nth degree and driving me crazy in the process. 

Homeboy needs to take a chill pill, he overstresses, overthinks, and overanalyzes everything to the point of irritation as a reader. 

Meyer’s editor really needed to step in and say, “Hey, Stephenie...is all of this really necessary?” and then proceed to cut out at least 300 pages of nonsense. 

But that didn’t happen, probably because first and foremost, the book was already going to sell no matter what changes or edits were made, and this seemed like a book more for Stephenie than anyone else. 

It was very much stream of consciousness like I’ve already said, a style of writing defined as a literary style in which a character's thoughts, feelings, and reactions are depicted in a continuous flow uninterrupted by objective description or conventional dialogue. 

It wasn’t on the level of James Joyce’s Ulysses or other notable works, but damn was it close. 

This writing style I found abhorrently repetitive and exceptionally dull. 

Perhaps my fourteen-year-old self would have felt differently and would have sucked up anything about Edward Cullen eagerly considering he was the fictional love of my life. 

Or perhaps this book would have made me go running and screaming in the opposite direction as Edward is...kind of awful?

One positive thing I can say about this book is that it paints Bella Swan in a very rosy light, which was actually very refreshing. One of the most famous criticisms that Meyer’s has received is Bella’s lack of character, development, and attributes. 

Seeing Bella from Edward’s perspective instead of vice-versa actually showed how kind, thoughtful, and selfless she is, all things that I had never really picked up on before. 

I still find her inexcusably dumb sometimes, but much of time during this book, Bella was actually far favorable to Edward or any other character, a blasphemous statement of irony if I had ever heard one. 

The payoff, however, is Edward’s reveal as not chivalrous, not gentlemanly, and not as wonderful as I remember. He’s arrogant, selfish, obsessive, and honestly? Downright creepy. 

The stalking reaches new levels of not okay, often with him trying to justify his less than criminal activities with the notion of her “safety” as the priority, which I found complete bullshit. 

I found Edward domineering, cold, aggravating, and lackluster, statements which would literally have made my old self sob, which I honestly did when Edward left in New Moon. 

I used to be an avid Jacob hater and lover of Edward to the extreme back in the day. Now, I would weep for joy if he left, root for Jacob all the way, and hope that the horrible name of Renesmee never needed to come to fruition in the first place. 

Oh, how the turns have tabled. 

Other than the atrocious length, my other large criticism came in the form of well...the book was naturally boring in my opinion. Meyer tries to create tension and moments of suspense, but...we already know what happens. 

We know the next few years actually. We know they get married, have a baby, and Bella gets turned into a vampire. So all moments of tension and suspense are unceremoniously tossed out the window. 

You might say, typedwriter, that’s unfair! We didn’t read this for the tension and suspenseful plot that we already know! We read this to get new information and insight into the Cullens and Edward especially. What do the Cullens do at home? How do they interact? What does this juicy insider insight look like?

Well, I still don’t know because we hardly saw any of it. 

I was the most curious about the Cullens as a family unit and more information into how they functioned, interacted, and cohabited. I even wrote a fanfiction back in the day about what freaking Esme did home alone because I was so intrigued by the idea, but nope! 

Edward was always stalking Bella 24/7 so almost no new information was gleaned about the Cullens, sucks for you. 

There would be little nuggets here and there, little bouts of cool information (Apparently Esme just stays home all day every day doing….nothing?), but not nearly enough to justify a 600+ page book of a recycled plot that we were already familiar with. 

I needed more from this book, craved all the little moments in between, and it was a letdown to the most extreme proportions. 

Recommendation: I didn’t really enjoy this read despite my past involvement with the series, my lingering fondness for the movies on a cold, rainy day, and the still sporadic delves into Twilight fanfiction that maintains its reputation of quality and characters. 

Twilight will always have a special place in my heart for what it did for me and the people it brought into my life, but I wish I had remembered Midnight Sun as the 12 chapters I read on Stephenie Meyer’s website when I was fourteen and infatuated instead of 26 and uninterested and unforgiving. 

Score: 4/10

#midnight sun #stephenie meyer #twilight #new moon #eclipse #breaking dawn #twihard #book blog #book review #Book Recommendations #YA Books #YA Book Review #edward cullen #bella swan #fanfiction #book blogger #book photography #book analysis #book aesthetic

[thejakeformerlyknownasprince]

Hi! As someone who’s literary opinion I really trust, I was surprised that you’re a twilight fan? I know almost nothing except commen knowledge things about that series, and I always assumed it was actually bad/un-feminist. What is it that you like so much that others seem to miss? I’m just genuinely curious about your take on the hate it always seems to get vs. it’s actual quality. I’m not gonna judge bc animorphs is also one of those books where you see it and assume it’s bad.

In over 14 years of loving this series, I’m not sure anyone has ever asked me why I enjoy it instead of simply trying to convince me that I’m wrong to do so.  So thank you for that.

First and foremost, I love the Twilight saga because of the vivid detail in Stephenie Meyer’s writing style.  The descriptions are so lush and dense with sensory information that you can practically bite down on them as you read.  Bella and Jacob aren’t just sitting on the beach; they’re sitting on a gnarled log of driftwood, worn smooth at the top from where so many Quileute teens have sat upon it during bonfires but still uneven enough to rock on its branches when Bella suddenly stands to rage at her own mortality.  Meyer describes that log in Twilight, so tangibly and with such economy of detail, that we recognize it immediately when Bella and Jacob return to that spot in Eclipse.  I’ve always disliked the movies, because I’ve always felt that the best part of Meyer’s writing simply did not translate well to the screen.

Secondly, I love the feminism.

Okay, let’s take a quick pause to let everyone gasp and clutch their pearls over me calling Twilight a feminist work.  I will address the criticisms later.  For now, please just hear me out.

Twilight strikes me as a premier example of what Hélène Cixous means when she calls for “women’s writing,” or writing for women, about women, by women, with a strong focus on the concerns and strengths and desires of womanhood.  This is a series about building and maintaining close relationships, both romantic and platonic.  It celebrates beauty, and love, and care.  Bella moves to Forks because she recognizes that her dad is lonely while her mom is quite the opposite, torn between family priorities.  She doesn’t simply subsume her interests to those of other people, but instead actively chooses how and when and where to express her love for her birth family and her found families.  Most of the other major decisions throughout the story — Alice “adopting” Bella, Carlisle moving the family to Alaska, Jacob becoming werewolf beta, the Cullens going up against the Volturi, etc. — are motivated by care and devotion for one’s family and friends.  Even the selfish or morally ambiguous character choices are shown to be motivated by love.  Rosalie tells Edward that Bella died because she genuinely thinks it’ll help him move on.  Victoria creates an army that nearly destroys Forks because she’s avenging James.  Alice abandons Bella and the others before the final battle because if she can’t save her entire family, then she’ll settle for saving her lover before letting him die in vain.

Not only is there a striking concern with love and care, but there’s also a strong commitment to avoiding violence.  Bella’s eventual vamp-superpower proves to be preventing violence and protecting others, an awesome character decision that I’d argue gets set up as early as the first book.  She lives in a violent world — this is a YA SF story, after all — but she has the power to suppress violence and create peace, both in herself and others.  I was already sick of “power = ability to inflict damage” in YA stories well before I knew the word “patriarchy.”  Twilight was one of the first books to convey to me that power could be refusing to do harm in spite of hunger or anger, that power could be shielding ones’ family, that power could be about building enough friendships and alliances to have an army at one’s back when facing an enemy too strong to take on alone.

Closely connected to all of that love and care, I love how much Twilight is about navigating teenage girlhood.  Is it empowering, intersectional, or all-inclusive?  Hell no.  Does it still dare to suggest that a completely ordinary teenage girl could have valid concerns about the world?  Yep.  The main conflict of the story, as Stephen King so derisively explained, is about the romantic entanglements of a teenage girl, and the book therefore has no literary merit.  (To quote my dad’s response: “Bold words from the guy who inflicted Firestarter on the world.”)

There is, indeed, a lot of romance in Twilight.  There are a lot of clothes.  Alice and Rosalie especially spend a lot of time on makeup, and hair, and choosing the prettiest cars and houses.  Twilight embraces all the stereotypically “girly” concerns of adolescence, and makes no effort to apologize for or condemn them.  Bella isn’t particularly good at performing them — she likes but doesn’t excel at shopping, fiercely defends her ugly car as ugly, hobbles through prom on crutches — but she can still enjoy the feeling of being pretty in a sparkly dress while dancing with her sparkly boyfriend.  And Twilight, like Animorphs with Cassie, takes the daring step of treating that feeling as valid.

Speaking of sparkles, I love the commitment to the fantasy concept in Twilight, including the myriad mundanities that Meyer brings with that commitment.  If you have super-speed, why not use it to play extreme baseball?  If you’re a mindreader with a clairvoyant sister, why wouldn’t you two play mental chess games?  I couldn’t tell you, after seven seasons of Buffy or eight of Vampire Diaries, what Spike or Damien or Angel or Stefan does all day when not brooding or lurking in the bushes to creep on human women.  I can tell you what the Cullens get up to.  Emmett and Rosalie work on their cars, usually by holding them overhead one-handed.  Carlisle and Alice read plays, and sometimes talk the whole family into home Shakespeare productions.  Edward and Carlisle debate theology, Emmett and Jasper have dumb athletic competitions, Edward and Esme play music, Alice manipulates stock markets, the twins go shopping online, etcetera.  The Cullens feel real, feel like the vampires next door, in a way that Louis and Lestat simply do not.

To get to the elephant in the room — I just described Twilight as a feminist text! — let’s talk about the other thing the Cullens do for fun: they have sex.  Weird sex.  Kinky furniture-breaking sex.  Sex that Emmett (who would know) compares to bear-wrestling.  These books suck with regards to queer representation, but they are sex-positive.  They feature an old-school Anglican protagonist offering his daughter-in-law a medical abortion.  They treat Edward’s desire for sex only within marriage and Alice’s desire for sex outside of marriage as both being valid.  Like I said, not groundbreaking, even by the standards of 2005, but still more than most teen novels do even today.

There’s a passage from Breaking Dawn that people love to pull out of context as “everything wrong with Twilight in two paragraphs” because it describes Bella waking up the morning after sex with bruises on her arms.  That moment is shocking out of context, to be sure — but in context, it’s the end result of an in-depth consent negotiation that lasts four books.  Bella says that she’d like to become a vampire.  Edward says okay, but only if she spends a few more years living as a human and considering that choice.  Bella says okay, but only if Edward, not Carlisle, becomes the one to turn her.  Edward says they can use his venom, but that Carlisle, who’s an MD, really needs to supervise the process.  Bella doesn’t love the idea of Edward’s stepdad cockblocking what’s supposed to be an intimate moment, and so agrees only on the grounds that she gets to have sex with Edward as a human first.  Edward’s hella Catholic, so he requests that they get married first.  Bella’s super horny, so she demands that the wedding happen within six months.  Edward says that he might hurt her during sex, and Bella says that she wants a little hurt during sex.  They marry.  They bang.  During the banging, Edward makes every effort to be controlled and courteous and gentile, while Bella goes wild and crazy.  The next morning, she has bruises and he does not.  Edward apologizes, but Bella’s actually really into it.  She spends a while admiring her sexy vamp-marked self in the mirror, touches the bruises many times, and reminds us yet again that Bella Swan’s whole M.O. is being a monsterfucker.  Her kink is not my kink, and that’s okay.

To be clear, I think there are other aspects of the romance that get criticized for good reason.  Edward does not negotiate with Bella before sneaking into her room to watch her sleep, and he does make unacceptable use of their power differences when he thinks she’s in danger of being mauled by werewolves.  The text condemns Jacob’s “don’t wanna die a virgin” ploy to manipulate a kiss out of Bella, but not the wider conceit of all the male characters as possessing uncontrollable urges.  Bella’s struggles to adjust to a new town feel very feminine and realistic; her amused tolerance of Jacob’s and Mike’s sexual harassment as the price for their friendship does not.  Werewolf imprinting might be mostly platonic, but that doesn’t make it okay for Meyer to depict it as a form of soulmate bonding that happens with child characters. Those are good points, all around.  I just wish that most of them didn’t come up in the context of post-hoc rationalizations for loathing the femininity of a feminine text.

I’m not calling Twilight an unproblematic series.  I’m saying that it gets (rightly!) criticized for appropriating Quileute culture, while Buffy’s total absence of main characters of color and blatant anti-Romani racism are (wrongly!) not remarked upon. I'm saying that I’ve been told I’m a misogynist for liking Twilight but not for liking James Bond.  I’m saying that there’s a reason people tend to go “oh, that makes so much sense!” when I let them in on the fact that reactive hatred for “Twitards” started and spread on 4Chan, later home of Gamergate and incel culture.  I’m saying that Twilight depicts problematic relationship dynamics as sexy — but then so do Vampire Academy, Blue Bloods, Supernatural, Vladimir Tod, and Vampire Diaries.  All of which take the time to stop and thumb their noses at Twilight, smug in the superiority of having vampires that fly rather than vampires that sparkle, and for thoroughly condemning teenage girls for being girly while continuing to show men inflicting violence on them.

After all, as Erin May Kelly puts it: “we live in a world taught to hate everything to do with little girls.  We hate the books they read and the bands they like.  Is there anything the world makes fun of more than One Direction and Twilight?”  No one has ever called me a misogynist for liking the MCU, in spite of less than a third of its movies even managing to clear the low-low bar of the Bechdel test.  Because people are still allowed to like Harry Potter in spite of its racism, or Lord of the Rings despite its imperialism.  Because hatred for Twilight was never about its very real sexism, or the genuinely silly sparkle-vampires, until it had to justify itself as something other than hate for everything that teenage girls have ever dared openly love.

I enjoy the novels, and I enjoy the fan fiction that tries to fix some of the problems with the novels.  I appreciate the extent to which Meyer has elevated fan culture, and made an effort to acknowledge her own past mistakes.  I would love to be able to talk about my love for the series as a flawed but beautiful work of literature, but for now I’ll settle for asking that the world just let me enjoy it in peace.

#twilight #the twilight saga #breaking dawn #eclipse #new moon #stephenie meyer #fandom #nothing to do with animorphs #misogyny #ableist language #sexist language #long post #sexism #romance #anonymous #asks

[aion-rsa]

Best Serial Killer Movies of the ’90s Ranked

https://ift.tt/3tcsgCf

Someone must have left the freezer door in the morgue open, because grisly reminders of the past are thawing before our eyes. You can see it this weekend with the release of John Lee Hancock’s The Little Things, a throwback to the days when movie stars hung out at crime scenes instead of in spandex, and it’ll be more apparent next month with the launch of Clarice, a television spinoff of 1991’s The Silence of the Lambs. All the evidence points to only one conclusion: the serial killer thrillers of the ‘90s are back!

Not that we’re complaining. For a macabre minute or two, every Hollywood name appeared eager to play either the detective or the killer—the hunter or the obsessed, which often proved interchangeable for both characters. Granted that means there can be something formulaic about many of these movies. Yet they can also be bleak, hard-edged, and ambiguous. From our modern gaze, where the dominant studio conventions prefer reassuring morality tales and sunny lighting, these movies’ preference for shadows and discomfort in the mainstream is kind of startling.

So grab your magnifying glass and fortify your stomach, because we’re about to revisit some of the best (and worst) of ‘90s serial killer thrillers. (Also this list is strictly for the decade when the genre was at its height and it excludes slasher movies like Scream, which may feature serial killers but were not exactly adult-oriented thrillers.)

12. Eye of the Beholder (1999)

Eye of the Beholder is a tonal oddity that only passingly flirts with the conventions of ‘90s serial killer thrillers, all while it tries to pay homage to (read: rip-off) Alfred Hitchcock. But any credit it deserves for deviation—including making Ashley Judd’s central femme fatale the killer—it loses in execution. As a muddied, impenetrable tale about an intelligence officer (Ewan McGregor) who spies on and falls in love with a serial killer, Eye of the Beholder is a scattershot of bad ideas that run the gamut from ludicrous to misogynistic.

Beauty may be in the eye of the beholder, but this movie will close the lids over your pupils inside of 30 minutes.

11. Nightwatch (1997)

It feels a little mean to rag on Ewan McGregor back-to-back, but maybe serial killer movies just aren’t his genre? That could be at least one takeaway from an ill-advised double feature of Eye of the Beholder and Nightwatch, the latter of which is a remake of a 1994 Danish film that I’ve not seen… and probably won’t since both the original film and American remake are directed by the same man.

McGregor plays medical student Martin here, a kid who gets an after school job by becoming the night watch security at the local morgue. But as a series of grisly prostitute murders pile up, Martin realizes he needs to figure out who the killer is—that or continue to be framed by the necrophiliac fiend who keeps coming by the morgue for one last liaison. It’s exactly as skeevy as it sounds. Do yourself a favor and go your whole life without hearing Nick Nolte sing “This Old Man” while climbing onto a corpse.

10. Natural Born Killers (1994)

The movie that Quentin Tarantino disowned, Natural Born Killers is a seedy mess based on a Tarantino script that was heavily rewritten by Oliver Stone, David Veloz, and Richard Rutowski. The concept itself is a seemingly inevitable escalation of the “bad romance outlaws” archetype that’s been floating around Hollywood since at least 1950’s Gun Crazy, and which was then made iconic by Bonnie & Clyde (1967).

But whereas those films relied on bank robbers living fast, Natural Born Killers descends into a seeming final form with Mickey and Mallory (Woody Harrelson and Juliette Lewis) as giddy serial killers who are eventually out for maximum carnage. Technically the pair are supposed to be presented as victims of traumatic child abuse—and who are then wrongfully glorified by the media. But Stone’s sloppy and tanked vision lacks the discipline to achieve anything beyond its maliciousness. Early sequences imagining Mallory’s abusive childhood like it’s a television sitcom, and later psychedelic visions of Robert Downey Jr.’s opportunistic news reporter as the Devil, do little to divorce the film from its shallow self-satisfaction in close-ups of heads being shot.

The movie came under controversy in the years after its release for inspiring alleged copycat killers as well as school shooters. It feels irresponsible to blame media for actual violence, but it’s still quite an indictment that Stone’s attempt to criticize media glorification became a favorite for many a disturbed individual with a gun.

9. Kiss the Girls (1997)

When studying competent, middle of the road Hollywood thrillers, Kiss the Girls is a solid place to start. As a decently made bit of studio convention, the movie is anchored by strong elements like Morgan Freeman as James Paterson’s literary hero, Alex Cross, and Ashley Judd as Kate, the victim who survives a masked killer’s attempt to abduct her into his harem.

Moments like Kate’s escape sequence through the North Carolina wilderness are effectively filled with adrenaline, and Judd particularly gives the salacious piece conviction. However, it is salacious to a fault. Even if the movie toned down the source novel’s even more lurid misogyny, the film studies Kate and the other victims with a lascivious male gaze, blurring sex with violence, real world horror with leering entertainment. Right down to its title, the film can be rightly criticized as Hollywood glamourizing another story about violence against women. Whether that damns the whole movie depends on the viewer, but it certainly keeps it low on our list.

8. The Bone Collector (1999)

Marketed with a hell of a tagline about there being thousands of taxi cabs in New York City that’ll get you home—and one that won’t—The Bone Collector is almost comically slavish to the clichés of ‘90s moviemaking. The wrinkle here is that after a faux cab driver begins abducting his victims off the street, the crime psychologist who must stop him is entirely stuck by his bedside. Due to a tragic accident, Denzel Washington’s Lincoln Rhyme is paralyzed from the neck down. Yet he is still able to catch serial killers by communicating in the earpiece of police officer Amelia Donaghy (an entirely unconvincing Angelina Jolie).

Read more

Movies

Lost Girls Review: Netflix Takes on the Long Island Serial Killer

By Rosie Fletcher

Books

The Last Book on the Left Takes on the Grim History of Serial Killers

By Alec Bojalad

Together the pair stay one step behind the mystery killer’s tracks as he executes a series of increasingly gruesome and ridiculous murders. It’s preposterous, and in some ways a forerunner for Saw with the satisfaction it takes in absurd death traps, but Washington is effortlessly compelling, even when he never leaves his apartment. As a bit of absurd Hollywood fluff, right down to the ultimately lackluster unmasking of the killer, it can be entertaining, even if you’ll deny it afterward.

7. Copycat (1995)

More potent than I remembered, Copycat is a genuinely well-crafted Hollywood thriller that may not reinvent the wheel but takes it out for a damn good spin. In the driver’s seat is Sigourney Weaver as Dr. Helen Hudson, a criminal psychologist who is an expert on serial killers until one follows her into the bathroom after a guest lecture. He nearly hangs her from the ceiling. Following that white-knuckled opening, the film jumps years ahead and Helen has become agoraphobic and afraid to leave her home.

Yet when a local series of murders reveal the pattern of a predator imitating the methods of his favorite “celebrities”—one crime scene is like the Boston Strangler and another emulates the horrors of Jeffrey Dahmer—Helen is pulled out of retirement by a no-nonsense detective (Holly Hunter). The winning chemistry between Weaver and Hunter—who are refreshingly free from the studio-mandated romantic subplots in some of the other movies on this list—and the blunt force power of their performances aid this sincerely disquieting flick. A needlessly convoluted third act aside, the movie still works as a warning about the danger of fanboys a generation early.

6. Fallen (1998)

Denzel Washington appears again thanks to this clever supernatural spin on the serial killer genre. At the beginning of Fallen, Washington’s John Hobbes appears on top of the world. The serial killer he chased for years (Elias Koteas) is about to breathe deeply in the gas chamber. Yet after the lever is pulled, and with Koteas singing the Rolling Stones’ “Time is On My Side” until his last breath, a funny thing happens: the murders continue.

In fact, more than just the killings, strangers in the street sing “Time is On My Side” in Hobbes’ ear, and he soon realizes that he faces a devil of a killer whose been operating since the beginning—quite literally since the villain is a demon who was once an angel that fell with Lucifer. It’s a bizarre premise given strutting confidence thanks to Washington’s performance, as well as good supporting work by John Goodman and Donald Sutherland. Twenty years later and its ending still sticks with me.

5. The Exorcist III (1990)

If you haven’t seen The Exorcist III, we know what you’re thinking: “Really?!” Yes. In fact, this isn’t even an exorcist movie; it should’ve been titled Legion like the 1983 novel it’s based on. Alas writer-director William Peter Blatty was forced to use the title and do reshoots that added an exorcism in the climax. Still, this supernatural thriller which involves a serial killer back from the dead is far better than it has any right to be.

Following the character of Lt. Kinderman from the 1973 masterpiece, the middle-aged gumshoe is now played by George C. Scott instead of the late Lee J. Cobb, and he possesses Scott’s usual love for contrasts between the restrained whisper and a bombastic howl. He also makes a sympathetic, secular detective forced to face the horrors of Hell when a series of murders committed against Catholic priests appear to be the work of the Gemini Killer (Brad Dourif), a serial killer whom Kinderman sent to the chair more than 10 years ago.

Read more

Movies

The Exorcist III is a Classic and Better Than You Remember

By Jim Knipfel

Movies

The Exorcist Is Still the Scariest Movie Ever Made

By David Crow

Somehow the fiend—plus Kinderman’s long dead pal Father Damien Karras (Jason Miller)—appear to now be living in the same body of a John Doe kept in a mental asylum. With an unrelenting atmosphere of dread, palpable tension, and more of Blatty’s intellectual struggle with concepts of faith and evil, the film is more high-minded than its hacky title suggests. It also features one of the best jump scares in movie history.

4. Summer of Sam (1999)

The only movie on this list directly based on an actual serial killer’s crimes, Spike Lee’s Summer of Sam is a serious-minded joint. However, it’s only partially about the murders perpetrated by David Berkowitz, aka the “.44 Caliber Killer,” aka the Son of Sam. Rather the film focuses on the effects a serial killer has on the culture of New York City during the sweltering summer of 1977, and how it affects young lives trying to make it in the big city.

Influenced by Lee and his co-writers Michael Imperioli and Victor Colicchio’s memories of growing up in 1970s New York, the pic is a love letter to a grim moment in history when the city was about to explode with murders, blackouts, crime, and disco. All of this is digested from the vantages of Vinny (John Leguizamo), a philandering hairdresser guilt-ridden for cheating on his wife (Mira Sorvino), and his childhood pal Ritchie (Adrien Brody), who’s left the old neighborhood behind to join the fledgling punk rock scene.

With a greater interest in how a serial killer affects the culture and institutions of a city on edge than being a traditional crime drama, Summer of Sam is a bit of a forerunner to David Fincher’s far more polished Zodiac from a few years later. With heavy-handed dialogue and a plot too big for Lee to fully get his arms around, even at 142 minutes, Summer of Sam can be uneven and messy. But it has the sweaty incorrigibility of a long night out, and of revelries half remembered like from a fever dream.

3. The Talented Mr. Ripley (1999)

The rare serial killer movie told entirely from the perspective of the killer, Anthony Minghella’s The Talented Mr. Ripley is disarmingly creepy. Despite its glossy awards bait sheen, there is a cold-blooded streak that runs deep to the heart of the piece, likely due to Patricia Highsmith’s source 1955 novel. Starring Matt Damon fresh off his Good Will Hunting golden boy sheen, the film uses its casting to disorient and ultimately disturb.

Like Highsmith’s book, the film is not structured like a traditional thriller. It instead favors a detached ambivalence about its seemingly nebbish hero as he agrees to become an errand boy for the rich by traveling to 1950s Italy in order to retrieve a silver spoon cad (Jude Law) for his father. But the more time Tom Ripley (Damon) spends with Law’s Dickie Greenleaf, the more he grows envious of Dickie’s lifestyle, his wealth and confidence, and maybe even his affection for socialite Marge (Gwyneth Paltrow). There is a subtle—too subtle due to ‘90s Hollywood conventions—homoerotic undercurrent throughout the film as Ripley slowly works up the courage to take his first life. It won’t be his last.

Read more

Movies

Knives Out: When Murder Makes You a Better Person

By Natalie Zutter

Movies

Seven: The Brilliance of David Fincher’s Chase Scene

By Ryan Lambie

Highsmith wound up publishing four subsequent sequels to The Talented Mr. Ripley, but unfortunately no more were made with Damon. Perhaps because this was too unsettling for an ongoing franchise.

2. Seven (1995)

While watching David Fincher’s masterful Seven, the thing that immediately stands out is the oppressive nihilism that permeates throughout. There were decades of neo noir before this detective yarn about the hunt for a serial killer, but none demonstrated such an overbearing sense of despair before the opening credits were even concluded. And perhaps what makes it unshakable is how welcoming the film is toward bleakness; it succumbs long before the gut-punch finale.

Telling the story of an old cop days from retirement (Morgan Freeman) and a hotheaded rookie detective (Brad Pitt), Andrew Kevin Walker’s script has an economy of pace that still impresses despite its cynicism. Very quickly one murder becomes two, then three, and soon four. Yet none of the atrocities are reveled in by Fincher’s blocking; they’re off-screen mutilations which leave psychic damage on his two leads and, eventually, us. The deaths also quickly establish a pattern that their serial killer is targeting seven souls, each intended to embody one of the seven deadly sins.

The movie is a classic now for its climax where the killer “John Doe” (a reptilian Kevin Spacey) turns himself in and leads the cops into the darkest pit, but it’s the entire package that makes this one linger more than 25 years later. At the end of the film, Somerset quotes Hemingway by saying, “‘The world is a fine place and worth fighting for.’ I agree with the second part.” I’m not convinced his film does.

1. The Silence of the Lambs (1991)

As the film that kick-started the idea that serial killers could create their own film genre, The Silence of the Lambs still remains the best of its kind. Blessedly unaware that it was creating conventions for countless copycats, the film tells its psychological drama with simplicity and clarity. Whereas other films on this list bask in their bleakness, there is a dogged optimism and even perverse warmth to this Jonathan Demme adaptation of Thomas Harris’ Silence of the Lambs novel. And that’s of course largely attributable to the casting of Anthony Hopkins and Jodie Foster.

As Dr. Hannibal Lecter, Hopkins is of course monumental. It’s a performance that turned a quinquagenarian into an overnight movie star, and became Hopkins’ calling card as he returned to the not-so-good doctor’s well one too many times. Still, he’s undeniably enthralling as Hannibal, a cannibal psychologist with superhuman powers of observation and mental menace. Even so, Foster is often overlooked by critics for her own contributions as the FBI trainee who’s proverbially fed to the incarcerated Lecter—a pretty face to get the serial killer to consult pro bono on the crimes of another mass murderer. It’s just one more example of casual sexism faced by Clarice that gives Foster as much to play as Hopkins.

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Culture

David Fincher’s Zodiac: The Movie That Never Ended

By Don Kaye

Movies

The Little Things Ending Explained

By David Crow

Surrounded by the slights and prejudices of men—be they in law enforcement or straight jackets—Clarice is constantly underestimated. She finds an intellectual rapport with Hannibal, but she pulls herself out of the darkest night, and the screaming of the lambs, without assistance. Her perseverance matched by Hannibal’s darkly seductive qualities is the juxtaposition that makes Silence of the Lambs one of the finest films of its decade.

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Chapter 12: The Petals on Her Brow

“No.”

“But—”

“No. Close your eyes.”

“This is boring! Do I really have to—”

“Yes.”

“But—"

“Yes. You do. I will not tell you twice.”

— — —

Back in the cabin, Team Regular People had set up camp in the living room.

Only about an hour had passed since breakfast, but in that time, they’d already managed to turn the couches into literary chaos. On the coffee table, stacks of atlases and maps had been supplemented—then supplanted—by the hundreds of pages of chemistry notes that Nott was supposed to be preparing for the summer semester. Jester similarly had strewn all her summer homework onto the carpet. Fjord was half-slouched in an armchair buried nose-deep in a tome titled The United Nations Convention on the Law of the Sea, looking for all the world like would rather throw himself into the ocean than keep reading.

And as those three languished in the rigors of academia, Caleb, Beau, and Caduceus were sitting at the kitchen table, hunting for Yasha’s mystery flower. So far, they had already eliminated almost everything growing in Eastern Europe, though Caleb had been convinced for a while that the flower was liverwort.

“Its name is ‘Leberblümchen’ in German,” he said. “We used to see it in our garden.”

Beau stared critically at the page, then turned to examine Yasha’s drawing. “Your thing isn’t pointy enough,” she said. “And it doesn’t have enough of those…stringy things in the middle.”

“Liverwort is usually blue, too,” Caduceus said. “Sorry, Mister Caleb.”

He sighed. “It is fine, perhaps we should move farther south.”

Beau pulled over another book and started flipping through the pages. “Do you miss being home?” she asked idly. “I know you haven’t been back there in a while.”

She mentally kicked herself when she noticed Caleb’s smile turn melancholy.

“Oh, fuck, I didn’t mean to remind you—”

He shook his head. “No, no, it is alright, Beauregard. I do miss it, of course. In many parts. Your beer in America is piss poor, for example.”

She immediately rolled her eyes. “Yeah, you say that all the time.”

“It’s a sticking point. Oh, and your trains are very bad—”

“Ugh, I know—”

“—and none of your restaurants know what eggs and soldiers is.”

“No one knows what the hell that is.”

“I don’t,” Caduceus piped up. “What is that?”

“It is a soft egg eaten with little strips of toast. It is the only way to eat toast,” Caleb said wistfully.

“It sounds like you haven’t been back in a while.” Caduceus dipped his head. “It must be difficult, being so far from your family like that.”

“Ah.” Caleb’s expression changed. It was subtle, but the softness in his eyes went still. “That is…I do not have family there, anymore.”

“Oh, I—Caleb, I’m sorry—”

He raised his hand. “It is alright, Caduceus. You did not know. It is not, ah….”

“He doesn’t go around advertising it,” Beau said.

“Well,” Caleb huffed, though not at all angrily, “that is certainly one way to put it. And…yes, to elaborate a little more, since the rest of these people already know, I…some time ago, something happened back home and I decided to leave. It…was not an easy choice, but inevitable, I think, in some ways. And while I do miss Germany, as I said, being here, with my friends, has helped me quite a lot. I am…I find that when I say ‘I’m okay,’ lately, I mean that more and more.”

“You should’ve seen him before,” Beau grinned. “He had such a stick shoved up his ass he could barely smile—though, uh, I guess that’s not surprising since—”

She shut her mouth. She opened it.

“I’m going to go back to staring at flowers now.”

Caleb snorted. He slid another book across the table. “Here, try this one,” he said. “Plants of Italy. If it is not in here, we switch to the Americas.”

She took it. “Thanks. Here’s hoping.”

“Let’s go for another thirty minutes,” Caduceus said. “Don’t forget, it’s important to stretch and take breaks.”

— — —

“Seriously, if you don’t let me, I’ll die.”

“You will not.”

“I will. I swear, I will. I have to take a break. Ten minutes. Five minutes! Sixty seconds, at least, or I drop dead.”

From her perch on the large grey boulder that lay at the edge of the woods behind the cabin, Yasha opened one eye and saw that Mollymauk was already lying down.

He’d rolled off his log and was even in the grass. She frowned. “You are not even trying.”

“I tried, but none of this makes any sense! Sit still and try to ‘feel myself’?” He made air quotes. “Yasha, dear, if that’s what you really wanted, I definitely would not be sitting still.”

He waggled his eyebrows. She ignored him.

“Controlling your energy instinctive,” she said instead. “It is tied to our ability to see and read auras. But because you do not know how to do either, I am doing my best to explain it to you. This is the only way I know how. You are really not taking this seriously.”

“You think I’m not taking this seriously?” He scoffed. “Do you really think I would put myself through any of this if I didn’t think I had to? Need I remind you that my family was attacked by those crazy bikers as well?”

“What? They are not your family,” she blinked. “We were your family. But you left us when you fell.”

He made a show of dramatic incredulity. “Then I also need to remind you, dear, that I haven’t the faintest idea what that means. I’ve got amnesia, remember? Accidental hellfire and devilish charms aside, I really am not a demon. Not culturally.”

She frowned. “Culturally?”

“And I’d really prefer not to dwell on it,” he continued. “As far as I’m concerned, as soon as I get this ‘aura’ nonsense under control, I’m going to go home and get back to living an extraordinary, charmed, non-demonic life.”

Her frown took on a confused note. “But…you are a demon. That is that.”

“No, no, you’re not getting it, Yasha.” He rolled over and looked her in the eye. “Listen to me. Whoever had this body before, maybe, maybe that person could’ve been a demon. But whoever that was, they weren’t me. They were just some stupid asshole who got buried in the earth for, for—I don’t know. Frankly, I don’t even care. Because it’s no concern of mine.”

“Er…buried?”

“Long story,” he shrugged. “Not important. What is important is that the person you see now, that person is me—Mollymauk Tealeaf. Fortune-teller, sword-spinner, lover of…well, lover. You aren’t going to get anywhere until you at least understand that. Alright?”

He rolled back over, crossed his arms on his chest.

“Besides, it seems as if—at least, from the context clues that I’ve pulled together myself—you’re missing a few memories too, aren’t you, Angel? Maybe you should try reinvention.”

Yasha was silent a moment. Eventually, “But I still know who I am. I did not lose that.”

“A pity.”

“It is…no, it is not a pity. It means I still have a purpose. And a past.”

Molly scoffed. “A past isn’t worth bragging about. The present, though, now the present is something.”

She titled her head. “Er…meaning?”

He waved a hand. “Well—well, okay, for example, can you honestly tell me that you aren’t enjoying what you have right now? In this cute little cabin? I still happen to be offended that you don’t think the carnival is my family, but you seem to have found one of your own, too. These people, here, and their delicious pancakes.”

“W—yes, the pancakes are good, but—"

“And those tiny little blueberries, delicious!” he sighed. “I haven’t had berries that sweet since…who knows?”

“You…like sweet things?” Yasha blinked. “Wait, go back, what was it that you said about family?”

“Oh, so you do care that you upset me?”

“I did?”

“Of course you did! My god, The Fletching and Moondrop might not’ve been the most functional of units, it might not’ve been the most traditional, but I certainly cared about them a lot. They found me when I had nothing, was no one. They gave me a home. They took care of me. They were my whole world, and trying to deny me that is basically like—it’s spitting in my face!”

Her gaze drifted downward. “I did not know. I am sorry.”

“Oh, cheer up, cheer up!” He scrambled upright. “You didn’t know, it’s alright, Yasha. God, have I just made an angel feel guilty? Isn’t it supposed to be your job to do that?”

Her brow furrowed. “I have been trying to do my job for two hours. I am supposed to teach you. You do not listen.”

“Because that’s boring. Sitting still is no fun.”

“I explained it already, Mollymauk. You are not just sitting still, you are centering yourself to connect with the world’s energy, then turning it inward—”

“Oh, I know! Why don’t I teach you, instead?”

She stopped. Her brow furrowed. “You…what?”

“Let me teach you something!” He clapped his hands together, eyes shining with glee. “Come on, come on, what do you say? It can be anything you like! Tarot reading!”

“No, what—”

“Alright, alright, it’s not for everyone, okay…how about sword spinning?”

She frowned. “Why would you do that?”

He rolled his eyes. “Why not? It’s flashy, exciting, and you can show off your skills! What, think won’t don’t have the dexterity for it?”

Something in Yasha bristled. “I am good with swords.”

“Then prove it! I’ll go back into the house right now and fetch the glass ones, then—"

The fog cleared; she caught on. “Wait, wait. If you go in, I am sure that you will not come back out.”

He laughed, completely unashamed. “Fine, fine, how about…oh! Why don’t I teach you to make flower crowns?”

She immediately opened her mouth in protest, but for some reason, somewhere along the line, the response that came out was a semi-choked, “Huh?”

“Flower crowns!” He grinned again, sensing weakness. “Come on, it’s great if you like flowers. Don’t tell me you don’t have those in Heaven.”

“I…it is called Elys—of course we have flowers.”

“Perfect! Do you have a favorite kind?” He leaned forward. “C’mon, I promise it’ll be quick, and then I’ll absolutely pay attention to the energy stuff. Just ten minutes! Only ten.”

She wanted to argue again. She knew she had to, it was her duty, her responsibility to tell him no way, to pick him up and throw him over her shoulder and sit him up straight and threaten him until he listened…

But what she said was:

“…fine. Ten minutes, and then we start again.”

“Yes!”

— — —

“Do you think he’d look good with pink instead?” Jester let a strand of Caleb’s hair fall from her hand and back onto his shoulders. “Caduceus could probably help, too. Couldn’t you, Caddy?”

“Sure I could.”

“I don’t know,” Nott rubbed her chin. “I mean, pink, don’t get me wrong, it’s a great color—”

“Thank you.”

“—but close to the original. If we’re going to do a dye job, it should be wild.”

Caleb counted to ten. “The ‘if’ in your statement should sound more hypothetical,” he said.

“Well, it’s only if you want it, Caleb. But you know, you’d look really cool with dyed hair!” Jester gushed. “How about a streak? Like Fjord? To be stylish?”

“I’m glad you think I’m stylish,” Fjord called from his armchair, Conventions now draped across his face. “But you know I didn’t do this on purpose.”

“Right, right—”

“What, really?” Nott glanced at him. “What happened? Don’t tell me it was a prank someone pulled.”

“Why?” he grunted. “Upset you didn’t do it first?”

“Yes! Of course I am!”

He sighed, and tugged the book off his face. He ran a hand through his short black hair and found the shock of white streaking through it.

“I got it in the accident. With the shipping company, remember? That whole thing with the engine malfunction. Big storm, boat went down, but, uh, I got rescued.”

“Yeah,” said Nott, immediately relenting. “I…remember. You nearly drowned.”

“Yeah, well,” he shrugged. “I noticed this grey streak after leaving the hospital. So…either a nurse used some real strong hair dye, or…I dunno, maybe it was from the stress?”

Jester very quickly reached over and squeezed his hand.

He gave a tiny smile. “It’s alright, it’s been a while since it happened. And you know, thanks to all the bad press they got after, they had to do something for me. So…it balanced out.”

“They sent you to college,” said Caduceus, remembering. “The scholarship?”

“Yeah. And an offer to work for them again after I graduate.”

“Hell no!” screeched Nott. “Are you kidding me? After everything that happened, do they really expect you to work for them again? Or even to go out on the water?”

“I dunno,” he shrugged, “I really liked sailing, I…I miss it sometimes, actually. But I probably shouldn’t go back to them, that’s true.”

“What was the name of the company?” she demanded. “I’m going to leave them terrible reviews.”

“I don’t think you can do that for corporations.”

“Just give me a name, Fjord, it’ll make me feel better, if not you.”

He sighed and put his book back on his head. “U.K. Toa Shipping Industries. Have fun.”

“U.K.?” Caleb gently tugged himself free. “It is British?”

Fjord was quiet for a moment. “Huh,” he said. “You know, I don’t actually know. I always assumed so, but I guess I never asked.”

“That’s it,” Caduceus suddenly said.

They all turned.

“That’s what, Caddy?” Jester said.

“Fjord’s accent,” he grinned. He sounded incredibly satisfied. “You’re British now, aren’t you? I knew there was something different.”

A pause. Then:

“Oh my god, I completely forgot—”

“Nott—”

“That’s right! You did do that, Fjord—”

“Jester, I’m begging—”

“You told me you were Texan,” Caduceus nodded. “You talked all…twangy, before. In freshman year.”

“He did, didn’t he?” Nott all but beamed.

“I want to die,” Fjord moaned. “I want to die, it was—it wasn’t a phase, but…oh god…” He sunk down even lower in his chair.

“It’s a sweet reason,” Jester said supportively. “Real sweet.”

“Really?”

“Yeah! Fjord, can I tell him?” she asked.

He vaguely waved his hand and Jester removed his book to tap him on the nose.

“Well, you see, Fjord did it partially ‘cause he was going to America and he didn’t want to stick out as the British kid. But he also did it because he wanted to remember his old captain. Vandren.”

“He was Texan,” Fjord mumbled. “And it wasn’t just, you know, remembering by itself, it was also…I dunno, I wanted to emulate him. He was…he had this way of commanding a room that just…you know.” He shifted awkwardly. “I…I wasn’t the…most confident person, before. When I was younger, especially. But putting on a mask, pretending to be Vandren, it…helped. Especially since nobody knew me here.”

Caduceus hummed his understanding, and nodded.

“What changed?”

Fjord’s cheeks colored. “Well…you know. After a while, I realized it was…pretending to be Vandren was preventing anyone from knowing me. The mask was comfortable, but it wasn’t…true.”

Caduceus smiled. “Jester was right. That is very sweet. I’m happy for you. And this accent isn’t bad.”

Fjord chuckled. “Thank you,” he tipped his book like a hat. “That is—thank you kindly, partner.”

“It’s tragic that you decided to be genuine,” Nott sighed, leaning back into a cushion. “Your southern accent was way hotter—”

“I got it!”

This outburst came from Beau, who had ended her break early to resume the search. Fjord all but threw himself out of the living room in pursuit of this new distraction.

“What?” he asked, sliding into the kitchen. “Is it a match?”

“Fuck yeah it is, look! Everyone, look!”

The rest trailed in behind him and gathered around Beau, who was practically vibrating.

“Trientalis borealis! The starflower!” she yelled. “Here it is—” she slapped Yasha’s drawing onto a page displaying a faded photo. “It’s a perfect match, seven pointed petals, a lot of yellow stringy stuff in the middle. And it’s tiny. Half an inch wide.”

“The starflower is one of the more common spring wildflowers native to eastern North America,” Caleb read, sitting down in the chair next to her. “The species name borealis refers to being from the north, although this plant is also distributed in the Midwest and the higher elevations of the southern Appalachian Mountains. Depending on latitude and altitude, starflowers generally bloom from mid to late spring into early summer.”

He leaned back, and gave Beau an amazed look. “You are right, this photo is exactly the same. You…you did it, Beauregard, that is…incredible.”

She punched the air. “Now who’s the king of nerds?! Wait, gross…”

— — —

“—little longer, you just need a second color. Something, hm…maybe blue. Or yellow. Preference?”

“P—what? Oh, uh…either is fine.”

Yasha and Molly had drifted away from their makeshift stools and into the forest, coming through the grass for summer blooms. Molly was flitting from flowerbed to flowerbed, plucking up stems and laughing when bumblebees had to spiral out of his way. Yasha had taken to sitting below a tree trunk, moving as little as angelically possible, so as to not disturb her crown.

Molly had placed it atop her head, and she could feel the petals on her brow. They were purple wildflowers. They were soft.

Yasha was always surprised by just how soft flowers could get—after all, they had to live outside all the time and there was so much danger, so much weather, it was a miracle they could grow at all. Still, it made her nervous to touch flowers; she was worried that her big, calloused hands would break them, maybe damage or ruin them somehow—

“Don’t be silly, love. You could never do such a thing.”

Yasha flinched, startled. “What?”

“Er…I just asked if you liked these,” Molly frowned. He’d flopped back down beside her and was showing off a hand of pudgy yellow blossoms. “Are you alright, dear?”

“Oh, er…yes. I am fine.” She blinked, and that whispered voice was gone. A second later, she wasn’t sure if it’d been there at all.

“In that case, look, look, what do you think?” He held the flowers up to the sun. “Nice, right?”

Yasha felt her face soften. A tiny smile crept into the corners of her mou—

“Hey, where’d they go? Yasha? Mollymauk? Where are you guys?!”

“I think I see them, through there—"

“Uh-oh.” Molly turned to Yasha and grinned. “I think we’ve been made.”

She groaned, and shut her eyes.

— — —

“—you understand how important this is?! We told you what the stakes were, I can’t believe you were picking flowers!”

“Hey! Why does everyone think I don’t understand anything? And anyway, Yasha was with me the whole time—”

“Oh, right, pin it on her, you asshole—”

“Fuck you, I’m not pinning anything on anyone—”

“Hey, hey, okay, calm down,” Fjord stepped between them and raised his hands. “Whoa, déjà-vu. Anyway, let’s just relax. Please?”

“She’s accusing me for no reason,” Molly said, hackles lowered but still with a bite.

“And he’s slacking off,” Beau glared.

“Yasha did say they agreed to take the break together,” Fjord reminded her. “And it’s the first day. It’ll take time to perfect the, uh, formula, right, Yasha?”

The three of them turned to look at Yasha, who was standing back with the rest of their friends, wearing an expression of absolute discomfort.

“Er…er…yes, right,” she said clumsily. “We just got…carried away.” She gave Beau a nervous nod. “Sorry.”

This was enough to soothe Beau’s foul mood. She sighed. “I don’t blame you, Yasha, I blame that one.” She jabbed a halfhearted thumb at Molly.

“Hey!”

“Just let her have this,” Fjord said.

“It’s not your fault,” Beau continued, ignoring them. “And—ugh, I hate being the bigger person—I get it. It’ll take time. You need breaks. I’m…sorry I freaked out.”

“Thank—” Molly began.

“Not you.”

“Well, It was worth a try.”

Yasha seemed more than relieved by Beau’s words. “You do not need to be sorry either, but thank you. And I will be more, ah, better next time.”

“Next time,” Molly grumbled. “Well, as long as she isn’t there, next time.”

“That is right,” Yasha tilted her head. “Beauregard, why did you come outside?”

From the back, Jester grinned. “Oh, Yasha, it’s so exciting!”

“That’s right!” Beau’s face lit up immediately, her annoyance at Molly all but melting away. “Guess what?”

“Er…what?”

She whipped out a book, small and bound with a soft green cover.

“I found it. Your flower.”

Yasha’s eyes widened. “You—what? You did? Where is it? What is it called?”

Her grin widened as she turned the pages. “It’s the Trientalis borealis, let me show you the picture—"

“Tren…” Yasha frowned in concentration. “The…three-foot…no, one-third—”

Beau actually laughed, then flipped the book around, pointing to a small picture beneath text. “Its common name’s ‘starflower.’ Sound familiar?”

“Star…flower.” Yasha hesitated. “That sounds…I’m not sure…”

“It would be ‘ʢƾʯɬƺƛᵿɿʑʖɕʚɬ,’ I think—” Caduceus said.

“Yeah?” Beau asked hopefully.

Yasha nodded. Her frown had vanished, and now she was staring at the book, nearly frozen, glued to the image of a little white flower. “…starflower,” she murmured. “ʢƾʯɬƺƛᵿɿʑʖɕʚɬ. You found it.”

“Hell, yes!” cheered Nott from between the others.

Yasha managed to tear her gaze away and this time, it fell on Beauregard.

“Thank you,” she breathed. “You…found it. Thank you.”

Beau’s cheeks flushed. She forced herself to stay still. “Oh, well, you know, it was…it…nothing.”

She did not resist as Yasha took the book, moving it closer to get a better look. “No, it is everything,” she said. “You did it.”

“Well—fuck, I mean, you know,” she scratched her neck and looked down, “I told you I would.”

“And you did. Thank you.”

“Now that she has found the flower,” Caleb cut in, both to Beau’s relief and disappointment, “we can start narrowing down a region. In fact, we already know from this book that the starflower is endemic to the United States.”

Yasha patiently waited for him to elaborate.

“That is, it grows near us. It is common on the east and west coasts, and is usually found in the early summer.”

He stepped forward, and with Yasha’s permission, flipped the page and showed her a map. Much of the US and Canada were blue.

She traced this with a finger. “Wait, then…does that mean I might have been in Iothia this whole time? Or right next to it?”

“That remains to be seen. It depends on how big Iothia is,” Caleb said. “And of course, again, exactly where it is. But we can use this map, and the geographical features we know, to compile a list of locations that would give you the most likely areas of Iothia.”

He gave Yasha a satisfied nod. “You are well on your way to going home, Engel.”

Her gaze fell back to the book. She turned the page to look at the flower.

Its name is ‘starflower.’ Isn’t that funny?

“Wha—why is that funny?” she said out loud.

“Hm?” Caleb cocked his head. “Why is what funny?”

She frowned. “The…name of the flower, I think. Or the…stars?”

“Actually, I was thinking that too,” Nott said. “Since, you know, you fell from the sky, right? And I guess these little flowers did too!”

Beau groaned. “So, this whole time, we were looking for a pun?”

“I think that’s irony, actually—” Fjord began.

Yasha blinked.

—and that whispered voice was gone…

When she looked up again, everyone was staring at her.

“Are you okay?” Jester asked. “You…is everything alright?”

—a second later, she wasn’t sure if it’d been there at all—

She shook her head, then realized that looked like a negative and managed to produce a weird, swooping nod.

“I am very happy,” she said quickly. “I am just…it is just a lot to take in. The flower. This…memory, it was…something important.”

Caduceus smiled. “Then it gets to be important again. This time, it’ll help you find your way home.”

Seven little petals. Bright like a star. Tiny enough to fit in someone’s hand.

She passed the open book back to Beau. She noticed Beau’s hand brush the flower.

“I…you are right,” she said, half to herself. “I think it will.”

“We all will,” Beau grinned.

—

✨ Ko-Fi Link in Bio! ✨ | Requests are OPEN!

#critical role #critrole #cr2 #critfic #fic #fanfiction #fanfic #woof this is a MEATY chapter #i hope you guys enjoy!! #jay writes #beauyasha #a storm is blowing in from paradise #<3333333333 #text #long post

[docholligay]

I finally got around to reading Turn of the Screw (technically rereading, but it's been over a decade) and I'm really curious to hear your thoughts on it. My immediate reaction as I finished it was "that was interesting, and I will be chewing it over in my mind for a while, but I'm not sure if I liked it." I was very aware of reading it with my Eng Lit Student hat on. Also James's approach to sentence structure sure is... something.

I really like Turn of the Screw, but I think not liking Turn of the Screw is incredibly valid. 

Obviously, spoilers for Turn of the Screw. 

What I thought was so interesting about Bly Manor, and I thought this extra once I thought about Hill House--Flanagan LOVES to take novels where the ghosts are ambiguous, where a place may or may not be haunted, where there’s an equal chance, presented in the narrative, that people are crazy, and make it explicit. I don’t really understand why this is. There are loads of stories where the ghosts are very obviously ghosting about, so it’s really interesting to me that he has done it twice now, where it’s not explicit, and made it explicit. 

(This is getting off the topic of Turn of the Screw itself, but maybe this need he has for things to be “real” explains some of why he clearly Did Not Get Doctor Sleep. I don’t know if he really embodies or gets the idea of The Haunting is Coming From Inside the House, which is weird given how well he explored that tension in Hill House, but seeing his other work that might be a fair criticism of him.)  ANYWAY. Some of what I really like about Turn of the Screw is that sense of uncertainty--the novella never tells you whether it was ghosts, or the mind of the governess, and I LOVE that sort of thing. AN ambiguous answer is my favorite one, I adore stories where sort of decide what happens in them, what was “real” and what wasn’t, I think that it speaks so much to what it’s like to be human, and to the nature of our own personal histories. VERY VERY much my thing. 

But James’ way of writing, HUH??? He’s super stream of consciousness and even I can sometimes find it, uh, TOOTHSOME, if you will, to try and get through, and this is largely my time period! Western Novels/writings from 1860ish to 1900ish is my literary THING. So it’s not like I can’t take a long sentence, bring it on, but his style is JARRING AS HELL. That’s why I did the live read, I think the story comes across better when it’s read to someone instead of written. 

But yeah! I have a lot of feelings about the role of stories and literature and are they always meant to be ENJOYED???? Or is that a really reductionist way to look at the role of stories? Should stories not challenge us, make us feel uncomfortable, show us truths that we would really rather avoid? I would say “or are we children?” but I actually think even children should be exposed to things that frustrate, confuse, and challenge them, so they can learn to grow up to be frustrated, confused, and challenged. 

So I don’t even know if I would say I like ToS in the way that I like, say, Watership Down, where I could read it a million times (and do read it once a year) but I will say I REALLY appreciate the things it does and the way it plays with reality in a way that wasn’t super common in horror stories to that point. 

#tallangrycockatiel

[ceruleansageredux]

anyway, time to distract myself by talking about my latest WIP: a Fate fanfic! Or rather, my own Holy Grail War, with a spin that evolved from taking a joke too far.

Specifically, the joke arouse from a single question: would Harry Houdini be a Caster, or an Assassin? After my friend and I chuckled for a bit, shooting ideas one way or the other, something clicked for me: Semiramis was basically both, so why not Houdini?

And thus Harry Houdini, Caster/Assassin who can cut Magecraft to ribbons, escape any trap and slip past any barrier, and hates his current status of being one step away from an actual ghost, was born. Double Classes ftw.

Of course, after that, I started thinking: what about a HGW where all the Servants summoned were dual-classed for Perspective Reasons? This would probably be set in the Apoc timeline, if not a completely new one, to explain all the weird choices - or maybe a HGW where almost everyone got dragged into it unknowingly.

Anyway, having this as a base made filling out the rest of the roster much easier - if I couldn’t decide what class someone should go in, I could just put them in both! I’ll keep the rest underneath a readmore for brevity, because this has already gone on way too long.

So, we have Harry Houdini as the Caster/Assassin. What about the Knight classes? First off, a few ground rules: there would be a max of seven Servants, for my own sanity, and each one would have a main class and a ‘sub-class’, defined by the ‘reality’ and the ‘perception’ of the Servant, aka how they were during their lifetime, and how history/pop culture remembered them afterwards.

The second servant I came up with also started as a joke: Berserker/Saber, known secretly as one of the last Mystic Hunters to operate semi-openly, but now seen as a literary creation and laughstock...Don Quixote, hunter of dragons and slayer of windmills. Of course, at the moment, I don’t have more on him than that, just like I honestly don’t have much more on Houdini...but as I said, big WIP.

Then for some reason, I set my sights on Lancer. Originally when the concept was still about ‘perceptions’ but I hadn’t hit on the double classes yet, I had thought about going full OP route and making the Lancer Odin, for the obligitory ‘OP antag’. After coming up with the dual classes and thinking a bit more, I instead opted to go for another character we have yet to see in Fate, yet has been mentioned in FGO a few times: a Lancer/Berserker(?), the Monkey King. Cause...he’s known for having a temper, but not for going completely crazy (i think) and his most well known weapon/item is of course, his Power Pole Ruyi Jingu Bang, so that makes sense, right? Of course I still have to research him more and actually read Journey to the West, but still, he’s one of the most popular characters in literary history, so of course he’d be powerful on top of all the insane shit he does in Journey to the West.

I’ve also got Napoleon, the Archer/Rider (or vice versa) who, believe it or not, I actually thought of before I knew he was in FGO. So yes, in my fic he will be Short, because yadda yadda perceptions and all that.

Beyond that, however, I’ve only got even vaguer ideas, not really worth putting down here. As I said, the theme of this fic/HGW would be something like ‘the gap between reality and perceptions’, and...well, I’d mostly just muddle through beyond that. As I said, this mostly came about from a joke that I took too far and a bit of a fascination with the Innocent Monster skill, so it might be a while before I even start churning out proper character bios, much less chapters.

Still, if you actually sat through all this: thank you so much! If you’ve got any ideas, suggestions, or criticisms, feel free to comment or hell, even DM me. Might end up transfering this to my writing blog and start using that more.

#fate #monkey at a computer #My writing

[ba-mi-soro-orisha]

What books are on your nightstand?

“All the Stars and Teeth,” by Adalyn Grace; “Ninth House,” by Leigh Bardugo; “The Last Arrow,” by Erwin Raphael McManus. I always have an itch for great fantasy, which Grace and Bardugo provide. And I’m always interested in self-development and books that feed my soul like “The Last Arrow.”

What’s the last great book you read?

“Daring Greatly,” by Brené Brown! I was really moved by her Netflix special, and listening to her audiobook came at the perfect time in my life. She has a way of perfectly describing some of the most intimate human emotions and experiences, and she provides concrete, actionable solutions. She gave me a new level of self-awareness that’s helped me navigate my life in a meaningful way, so I’m a big fan.

Are there any classic novels that you only recently read for the first time?

Recently, no. The vast majority of American classics were ruined for me because schools made me read them too young. If I remember correctly, I think I had to read “Self-Reliance,” by Ralph Waldo Emerson, in seventh grade. I remember reading “Death of a Salesman” in high school and hating it, but when I read it in college I loved it. I was blown away by what Arthur Miller had created. Because of that, I’m saving my reread of the classics for a time when life isn’t too crazy and I can focus. I want to make sure if I don’t like what society has deemed a classic story, it’s because I don’t like the actual story, and not because I didn’t understand it when I was 12.

Describe your ideal reading experience (when, where, what, how).

My ideal reading experience is on the beach, under an umbrella, with my Kindle, and with a tasty drink and snack by my side.

What’s your favorite book no one else has heard of?

I don’t think I have one? I’m a pretty basic person. I’m not even cool enough to like niche anime. Everything I gravitate to is pretty well known because they are such amazing stories.

If I had to pick one, I’d say most of my younger readers probably aren’t familiar with “The Souls of Black Folk,” by W. E. B. DuBois, and most of my older readers probably aren’t familiar with “Six of Crows,” by Leigh Bardugo.

What book should everybody read before the age of 21?

“The Poet X,” by Elizabeth Acevedo. It’s a stunning story told in verse about a young Dominican poet learning to use her voice and take up space. I think as we grow up and start to discover who we are, we also have to discover what we want to say. Then we have to get comfortable saying it. I think this is the kind of story that makes you feel strong when you’re reading it, and then you can lean on that strength when you need to use your voice and take up space in your real life.

Which writers — novelists, playwrights, critics, journalists, poets — working today do you admire most?

For novelists, I’m a forever-fan of Sabaa Tahir. Her debut fantasy — “An Ember in the Ashes” — was the epic tale that inspired me to write “Children of Blood and Bone.” It moved me in ways a story hadn’t moved me before and gave me a chance to imagine a fantasy world with characters I’d never gotten to see before.

For journalists, Shaun King. The work Shaun does for the black community is incredible. I respect his strength, tenacity and passion, and I admire him deeply for the commitment to getting our stories out.

For critics, I think YouTubers like Cosmonaut Variety Hour and Alex Meyers? I get a lot of entertainment from their television and movie reviews, and also get refreshers on good storytelling.

What writers are especially good on adolescent life?

Angie Thomas, Nic Stone and Jason Reynolds!

How do you distinguish Y.A. books from adult fiction?

Honestly, the main difference to me is how quickly I’m captured and transported into the story. I find the best young adult novels have all the best parts of adult fiction — the extensive world-building, the complex characters, the beautiful prose — layered over a fast-paced, exciting plot. Most of the adult fiction I read takes its time building to the climax.

Which young adult books would you recommend to people who don’t usually read Y.A.?

I always recommend “An Ember in the Ashes” and “Six of Crows” after one of my readers has finished “Children of Blood and Bone.” I find those three fantasies crossover really well and help hook people into reading other young adult books.

What’s the most interesting thing you learned from a book recently?

That you’re not supposed to fight your anxiety, you’re supposed to fight the things that are causing your anxiety by setting better boundaries for yourself and for others. That’s one of the golden nuggets in “Daring Greatly.”

Which genres do you especially enjoy reading? And which do you avoid?

I love a good romance! I’m always game for young adult fantasy and sci-fi. I want to read more adult books, contemporary books and poetry. And sadly, I avoid nonfiction. When I read, I like to go somewhere else in my mind with stories that touch our real world without taking place in it.

What makes for a good fantasy novel?

I think the most magical fantasies will always be the ones with a world you want to live in forever. For example, I think we loved Harry Potter, but we were in love with Hogwarts. We all wanted to go to class with him. We all wanted our own wands. I think great worlds are important because they allow readers to play in that world with their imagination long after the book is done, but a great world isn’t complete without a great protagonist.

What moves you most in a work of literature?

Acts of love. Be it familial, friendly or romantic. A beautifully described, tender act of love destroys me.

How do you organize your books?

ORIGINAL STORIES: I have a lot of the stories I wrote when I was young on my Kindle — they are hilarious and incredible and always funny to read.

BOOKS ON WRITING: I always want to be a better writer/storyteller than I am now. I love books and YouTube videos that break down the art of story.

FICTION: Most of my library is Y.A., so this is where my “I’m an adult” fiction goes.

SCI-FI: Though I’m a child of fantasy, my interest in the stars and spaceships is growing.

FANTASY: Includes all the great franchises of the past and all the exciting, diverse stories that are being published today.

Who is your favorite fictional hero or heroine? Your favorite antihero or villain?

Antiheroes: Zuko, from “Avatar: The Last Airbender”; Logan, from “X-Men”; Kaz Brekker, from “Six of Crows.” Villains: Light Yagami, from “Death Note,” and Magneto, from “X-Men.” I guess my Slytherin is showing, because I love my antiheroes and my villains more than my heroes.

What kind of reader were you as a child? Which childhood books and authors stick with you most?

I was a voracious reader when I was young. I lived for the summer reading challenges where I could read 50 books and get like three Airheads at the end of August. The authors and books that worked themselves into my heart were Mary Pope Osborne and her Magic Tree House series, J. K. Rowling and Harry Potter, Masashi Kishimoto and “Naruto.” I consider myself a creative child of fantasy and anime.

How have your reading tastes changed over time?

My Kindle is loaded up with several of the stories I wrote as a girl and as a teenager. It’s wild reading them now because I vaguely remember the nights and weekends I stayed up writing these tales, and I see the plots and character types that I’ve loved reading about and imagining since I was young.

I’ve always loved sweeping romances and magical fantasies. I’ve loved headstrong, determined female protagonists and epic battles. I still like to read the same things. I think the difference now is that I get to read all the things I like with characters who look like me. My childhood stories didn’t give me that. Even in the stories I wrote myself, I was only writing white characters and biracial characters. I didn’t realize it at the time, but that erasure was painful and damaging to my sense of self. So getting to create and read stories that fight that erasure and build on my sense of self is the only significant change in my reading tastes.

You’re organizing a literary dinner party. Which three writers, dead or alive, do you invite?

Oprah Winfrey, Octavia E. Butler and Toni Morrison. I would be extremely uncomfortable in the midst of all that greatness, and I probably wouldn’t speak. But while stuffing my face with little lobster rolls, I would get to learn from and be inspired by those three incredible women.

Whom would you want to write your life story?

Honestly, me, because I’m a perfectionist. But I don’t think I’m the best person to write my story because while I have a unique take on my story, I also lack a lot of necessary perspectives that would be needed to write an accurate life story. I’m going to cheat this one and say I would like Shonda Rhimes to do a highly dramatized mini-series of my life story.

What do you plan to read next?

“Blood Heir,” by Amélie Wen Zhao. I’ve heard really great things. I’m excited to check it out!

#tomi adeyemi #interview #long post #reading #book recs #welp this explains the inan bullshit LMAO

[starfxckersinc]

You don't have to answer this if you don't want to but what's up with the Courtney Love controversy? Why are people accusing her of manipulation or whatever? I'm totally new to this discussion

hey darling!! no worries, I love discussing Kurt & Court bc theyre my surrogate parents and they emotionally raised me when I had a difficult relationship w my Mom and Dad, plus I’m named after Kurt and he’s part of the reason I realized my ~gender~, so needless to say I have a surplus of information on them. Plus their music fucks. anyways, this is gonna be a masterpost-

my credentials(sources I have taken my information and formed my opinion on Kurt & Court’s relationship from if u need to look into them):

-Heavier Than Heaven(Book by Charles Cross, authorized by Kurt’s estate. Charles Cross is a well known grunge/music historian and has literally devoted his life to researching and writing rockstar biographies, including several on Nirvana. One of my favorite books ever.)

- Montage Of Heck(Documentary on Kurt’s life. Produced by his daughter, Frances. I have some heavy criticisms of this film and of the interviews in it, but it does have some reflections on Kurt and Courtney’s relationship that I think are important.)

- Hit So Hard(a documentary on Hole’s drummer, Patty Schemel. Minor discussions of Kurt and Kurt and Courtney.)

- Verse Chorus Verse(Fan-made documentary series on Kurt’s life, widely regarded by Nirvana fans the most in depth play-by-play biography that exists- and it’s free on YouTube, which is lit.)

sources I don’t pull from, but many younger Nirvana fans do(the people who buy into the conspiracies generally):

Kurt and Courtney- A documentary made in the late 90’s under the guise of biography, but is actually about the conspiracy theory that Courtney killed Kurt. I saw it when I was a new fan and I literally laughed out loud from how apeshit it was.

Soaked In Bleach- ‘Biopic’ about Courtney killing Kurt. I haven’t seen it but straight men who think Courtney is ugly take it more seriously than the Bible. Very little truth ever goes into these theories, besides maybe names and dates.

Anything Hank Harrison(Courtney’s father) has to say- He wrote a book on the subject. He also gave her acid and lost custody of her when she was three years old. He’s a shit parent and I doubt he’s actually seen his daughter since the 80’s.

Anything Buzz Osborne(Kurt’s friend, singer for the Melvins, a band Kurt looked up to in Montesano) says- I think Buzz’s opinion is taken way too seriously by a lot of the fan base, I read an interview of his criticizing Montage Of Heck because Kurt ‘didn’t really have a stomach disease’ and was just lying about it to get high, and also about how he hated having to see Courtney naked, and made a good long point about how disgusting her body is. IOn top of all that(none of which really has to do with critiquing the film...?), he mocked Kurt and called him a loser for committing suicide. I don’t care what your opinion on his stomach, his wife, or his music is, that shit is callous and idiotic, but totally reflective of the 70’s and 80’s mentality regarding the mentally ill. He’s part of the legion of pretentious punk dudes who *kind of* knew Kurt, who think Courtney’s the one who ‘corrupted’ him, which brings me around to answering your question.

So, there’s this idea regarding Kurt and Courtney’s relationship, which is pretty similar to the one surrounding Sid and Nancy’s(or at least used to.) Courtney is the whiny, annoying, petulant bitch who attached herself to the first trophy she could find, and through her terrible manipulative personality kept him with her and kept him from getting better. In this mode of thinking, She’s also the person who ‘started’ him on drugs, and in a few people’s eyes, the person who ‘forced’ him to have Frances.

The reality of the situation, as I see it, as someone who’s gone to pretty decent lengths to inform themselves on the subject, is that Kurt and Courtney’s relationship was toxic: But the toxicity was mutual. This doesn’t mean they were a “problematic” couple, or that they were abusing each other, or even that either one of them was ‘evil’, it means that they fell deeply in love as young trauma survivors with substance abuse issues and huge ambitions. That’s a lot to put on any relationship and it’s a lot to talk about, so I’m gonna split this into categories of complaints that you’ll hear pretty routinely as a new Nirvana/Hole fan.

1. “She got him into drugs!”

Courtney started on heroin in the late 80’s in L.A., when she was still playing with Sugar Baby Doll(her band with Jennifer Finch and Kat Bjelland). Kurt, as said in Heavier Than Heaven, tried heroin for the first time around 1988-1989(I don’t remember exactly.) At the time, he was still living with(though I don’t believe they were still dating) Tracy Marander. Because he was destitute, he didn’t have enough money to start forming an actual habit until Nevermind started gaining speed, and by the time he and Courtney started dating(they met a couple of times and phoned a couple of times before cementing a relationship) he had been taking it for a while. That’s the thing I think people look over when it comes to Kurt- He was embarrassed about his addiction and he hated the physical side effects, but he loved heroin.

Courtney says in Montage Of Heck that she had both tried and kicked heroin by the time she met Kurt, but I think the Heavier Than Heaven description is probably more accurate: That she did heroin socially, and her addiction worsened after the two of them began living together because Kurt was(in her own words) ‘obsessed with oblivion.’ She also said in Montage Of Heck that his dream was to ‘Get to three million dollars and become a junkie.’ She’s stated several times that her drug problems came out of a need for ‘comfort’, and Kurt was into getting so fucked he couldn’t do anything else(also confirmed by his friend, Dylan Carlson, who was also into heroin and did it with him often.)

On top of that, Courtney was the one who orchestrated interventions for Kurt, went through the process of reviving him when he’d overdosed, and broke his syringes/scared off his dealers to try and keep drugs away from him as much as possible. At one point, she even made a rule that no drugs were to be done in the house- So he started renting motel rooms and doing them there. It was she who was the head of his final intervention before he went missing.

If anything, Courtney is the person who tried her hardest to keep drugs away from both of them. Considering how much people still talk about her doing heroin while pregnant(which occurred very early on before she was aware of her condition), Kurt is the person who struggled the most to stay off drugs during her pregnancy and after Frances’ birth, even going so far as to hide in the bathroom from her while she was struggling with morning sickness so she wouldn’t know he was getting high.

2. “She manipulated him into dating her/marrying her!”

Here’s the thing about Courtney; She is an enigmatic, entertaining, talented, maternal individual. Here’s the thing about Kurt; He’s a shy, quiet, non-confrontational guy with mommy issues. There’s been a lot of discussion on how Courtney was ‘obsessed’ with Kurt, and how she wouldn’t rest until she pinned him down: That’s untrue, or at least it reads less like crazy-bitch-steals-rock-god and more like cute-singer-has-crush-on-fellow-cute-singer. She was really into him, but when she met him she was still dating Billy Corgan, which deterred her from pursuing him until that relationship(basically) dissolved. When Kurt met her, he had just gotten out of a relationship with Tobi Vail, which most likely fell apart because she refused to be what Tracy Marander had been for him. She wasn’t interested in caring for him and she wasn’t interested in a full-time monogamous relationship. She was working too hard at her own career and was way too involved in the burgeoning riot grrrl movement to worry about looking after Kurt Cobain. That just wasn’t going to work for him.

Kurt was a big believer in the nuclear family model, he was very monogamous, and besides that he lacked the ability to physically take care of himself. If he wasn’t living with a partner who would clean up the house and remind him to wash his hair, it just didn’t happen. He was chronically ill, depressed, and he’d spent most of his adolescence AWOL from anyone who would actually raise him, so Tobi’s rejection deeply hurt him for a number of reasons- While Courtney, the opposite of Tobi in a few key ways, was exactly what he wanted. On top of looking like the archetypical punk girl, “I was attracted to her because she looked like Nancy Spungen,” she had a maternal streak (In Montage Of Heck, when he’s found sitting beside her while she cuts his hair, and, typical for people living with Kurt, mentions that she cleans the house because ‘nobody else fuckin does.’) Early on in their relationship, Kurt had a meltdown and begged Courtney to come to his apartment. She did, and looked after him the rest of the night, a pattern which would become common for them, and was stated by her half sister to be the ‘original strain on the relationship.’

Besides her mothering elements, Courtney was brassy and loud, and her presence allowed him to be less introverted and freer with himself. She was an ambitious young musician who shared a similar childhood to him, and had the same yearning for a safe home life that he did. She was well-read and artistic, and introduced him to the literary side of music creation, which he hadn’t explored yet. After spending a night on the phone with her, he went around telling everybody she was ‘the coolest girl in the world,’ and broke off another burgeoning relationship with Mary Lou Lord on live TV after spending the night with her. The famous quote, “Courtney Love is the best fuck in the world.” is in fact real. And yeah, he could’ve handled that one better.

The attraction was mutual, and I find it hard to believe that Kurt was ever forced into anything romantic with her based on how well she suited his tastes.

3. “She used him for his fame/money!”

As stated above, Courtney was attracted to Kurt before Nevermind was even recorded, and if she wanted to marry a famous dude right out the gate, at the time they met there were plenty of people who were way more famous than Kurt. In Heavier Than Heaven she mentions really liking their song “Dive,” and later in life she mentioned hearing “Sliver” and being impressed with Kurt’s writing abilities. Both of those songs were released a solid two years before Nevermind. She was interested in Kurt because he was cute and talented and she was savvy in the music scene, meaning that she kept up with underground bands.

Now, a point of contention between Kurt & Courtney was their different attitudes towards fame. That is entirely true. Courtney wanted to be famous, enjoyed celebrity, loved attention, and could handle touring, press, and the craziness of success. She was very charismatic, very physically strong, and let’s face it, definitely an attention whore. Kurt liked being praised, he liked being successful, and he definitely had a thing for attention- But he hated pressure, he had inferiority issues, he didn’t know how to handle his life being pried into all the time, and he wasn’t strong enough to do massive tours. Courtney just didn’t understand that, which is pretty common if someone doesn’t share your same mental illness/physical illness: Touring hurt Kurt’s stomach, it worsened his anxiety and emotional instability, it wore his body out, it didn’t agree with him. He loved playing live but couldn’t handle the mania or the travelling, meaning he didn’t mind blowing off huge tours that would bring in loads of money. Courtney, who did feel envious and intimidated regarding his success, would get angry at him for that- She didn’t want him to blow off massive paychecks and press coverage because it’s not what she would’ve done. I definitely side with Kurt on this, nothing is more frightening and frustrating than people trying to force you to do things you can’t handle health-wise. Courtney, being naturally business-oriented, was also aware of how things appeared to the public, and definitely cared about their image more than Kurt did- One of their fights revolved around her nagging him about how important the “Heart-Shaped Box” music video would be for him, and how he should look good. He reacted by stubbing out a cigarette on his forehead and saying, “Do I look fucking good enough for you now?”

So yeah, Courtney, like a lot of people in Kurt’s life, was all about furthering his career and success. A lot of people read that as her being money-hungry or manipulative, in my opinion it’s just a natural response from a person who’s spent their whole life trying to be a success and wouldn’t really get there until 1994. I think some of it was envy and I think some of it was her using him a little vicariously, neither of which are healthy but neither of which are malicious, either. She wanted to be a rockstar, she was ready to be a rockstar, she wasn’t; He thought he’d wanted to be a rockstar, he didn’t really want to, he was.

4. “She emotionally abused him!”

I hate to say this because I love Kurt so much but, as someone who’s been through a codependent relationship where they were bailing water out of a sinking boat, Kurt’s behavior throughout their marriage set off way more red flags for me than Courtney’s did. I don’t think he was actually abusive, but I do think he was a little too underdeveloped and unresolved to be married to someone. He had to grow up slower than everyone else because he missed out on having concrete mature influences, which Courtney did as well, and like I said earlier I think a lot of their problems came through a lack of adult communication skills. Both of them were really jealous people: Courtney couldn’t stand Kurt talking about Mary Lou Lord or Tobi Vail, Kurt was completely convinced that Courtney was cheating on him with Billy Corgan(even going so far as to talk to their lawyer about a divorce shortly before he died.) This was the catalyst for a lot of mind games and unnecessary drama, especially coming from Kurt.

Kurt couldn’t handle conflict. He was really passive aggressive, and would do things to purposely piss Courtney off or communicate to her that he was displeased. While she was trying to stay clean he would declare that he was going to do drugs in the apartment, when she started talking to a psychic to help her with her problems he mocked her and put her down, when she staged his final intervention his entire argument against rehab was that she was just as ‘fucked up’ as he was(she had already agreed to go into rehab, though whether he was aware of this or not I’m not sure.) He made his first suicide attempt by overdosing on Rohypnol on their wedding anniversary because she took some pills and fell asleep and he decided that meant she wasn’t interested in him anymore. I’m not arguing that that’s an irrational response to your partner getting stoned and falling asleep, especially when he’d apparently set the night up to be as romantic as possible, but the overdose put him in a coma and sent Courtney into hysterics.

Her mental health began to decline due to paranoia that he’d end up dead, and her weight dropped due to the added stress. As someone who’s been through a pretty similar situation to that and exhibited the same symptoms, I can tell you that it is never okay to use a suicide attempt to deal with a perceived injustice from your partner. By this time, Kurt was facing either getting clean or dying, and his behavior was very depressed and erratic, so there are explanations for the way he was acting and I don’t think he was trying to manipulate her with a threat. Despite my understanding of that, there is nothing more exhausting than being the caretaker of someone who is hellbent on never getting better. I can’t imagine being the caretaker of someone who won’t stop until they’re dead, and I do think at that point it would’ve been better for them to separate.

But that isn’t to say Courtney wasn’t toxic herself, I’m not trying to paint a wholly negative image of Kurt here. I’m merely trying to stand in the way of Nirvana fanboys who have no grasp on the more sickly sides of his personality, and give Court a bit of a break. Definitely, she struggled with her jealousy: As stated, she never wanted his ex girlfriends mentioned around her and would tear them apart if they were. She was ambitious and career driven, which eroded a lot of her platonic relationships/working relationships as well her marriage to Kurt. She was one of the people who was pushing him to recover in time to play Lollapalooza, and she was one of the people who pushed him into his last stunted tour before his death. She weaponized his relationship with Frances in ways that I and most people agree are gross: She told him he should be playing massive gigs to support his daughter(though their medical and legal bills were big they were hardly poverty stricken), and admitted in an interview later that she called him in rehab once to tell him he’d dropped Frances on her head(She mentioned during this that Frances was wearing a furry hood, and that he didn’t hurt her. In my opinion he was doing his best by even trying rehab again, and that he was already so worried that he was a terrible father that it was just cruel to make him feel worse.)

She has a tendency to be self-obsessed, and to put her own self interest before people she cares about, even if she regrets it later. She struggles herself with mental illness and addiction, both of which tend to give a person poor judgment regarding the people they care about.

Once again, Courtney and Kurt weren’t a healthy couple, but it wasn’t because they were evil or abusive towards one another. They cared for each other deeply, they had a very pure devotion. Underlying all this nastiness were two people who prayed together, wrote together, fantasized about a Valentine’s Day wedding, and faxed each other R-rated love letters like modern versions of James Joyce and Nora Barnacle. During one of his more successful stints in rehab, Kurt wrote Courtney love letters every night(though he did decorate them with blood, wax, and semen.)

They had some serious therapy they needed to attend, the both of them. But 90% of these demonizations of Courtney are either untrue or blown out of proportion.

#aberdeen spoken word #ik this runs on so much but i love talking abt this shit and i didnt #want to spend tomorrow editing bc i have other shit i need to do so #have a basically unedited essay on my parents fndndfn

[thesilverheroineproject]

Kate Zambreno’s Heroines is a hard book to read. Every page is a reckoning with the unbearable phallocentrism of Writing as An Institution, and for the reader who’s also a marginalised, struggling writer and/or female, it’s a memory trigger. There’s a thread running through Heroines that memory-work is political. That the literary canon is “a memory campaign that verges on propaganda, that the books remembered are the only ones worth reading.” It’s impossible to review the book dispassionately. Zambreno’s style invites personal recollection; it’s affecting, and in order to get what she’s doing with this book one has to be able to feel it.

Heroines is part literary criticism, part literary history, part memoir, part feminist polemic. In its form and in its writing, Heroines is what the author is trying to rescue and reclaim: to use Zambreno’s favourite words, it's messy, girly, and excessive. It’s also sharp, finely-structured, and meticulously (voraciously) researched. Heroines grew out of Zambreno’s blog, Frances Farmer is My Sister, or more precisely, the blog grew out of ideas for a book. In an interview with The Rumpus, Zambreno talks about her earlier plans to write a fictionalised notebook titled “Mad Wife”—and is comprised of many things, but is most clearly made up of equal parts rage and reflection.

Zambreno began blogging after her partner took up a university job in Akron, Ohio, and the early sections of Heroines record much of what Zambreno finds stultifying and destabilising about being The Wife in a new place: “I have become used to wearing, it seems, the constant pose of the foreigner.” Like Helene Cixous in “Coming to Writing”, Zambreno begins to form an invisible community—communing with the women writers and the “mad wives of modernism”—a community borne out of invention, yes, but also need. The brutal honesty with which Zambreno recognises her particular condition—“I am realising you become a wife, despite the mutual attempt at an egalitarian partnership, once you agree to move for him”—is both disruptive and comforting to the reader. Here is a truth alongside other truths and someone is finally speaking it, but here is the truth and we must now face it.

At the end of reading Heroines, I had accumulated about 17 pages of handwritten notes. Heroines brought into clear view for me names that had only circulated vaguely around my head from an undergraduate survey course in Modernism in Literature. Perhaps my professors had mentioned Zelda Fitzgerald and Vivien(ne) Eliot’s writing, but then why didn’t I remember any of it? The result is that I read the early sections of Heroines with a kind of numb shock. As Maggie Nelson writes in her blurb for the book, “if you didn’t know much [about the “wives” of modernism], your mouth will fall open in enraged amazement.” Vivien(ne) and Tom’s troubled and troubling marriage; Vivien(ne)’s writing cast aside, T.S. Eliot the writer winning the Nobel Prize a year after her death—after he left her, after he hid in bathrooms allowing his secretaries to calm his “mad” wife, after using her lines, her typing services, and disregarding her worth as her writer. Vivien(ne) with her female maladies, staining the bedsheet red. Zambreno tells us of what Vivien(ne)’s brother said to Michael Hastings, the British playwright who wrote Tom & Viv: “Viv’s sanitary towels always put a man off.”

Dear reader, I read that and saw red.

These “wives” of modernism didn’t just suffer at the hands of various men, including their husbands, but were also negated or ignored, made invisible or an object of derision by other women, particularly women writers like Virginia Woolf who had to slay their own demons both in life and on the page. Woolf, who so memorably and wittily describes Vivien(ne) as “this bag of ferrets … Tom wears around his neck”. Zambreno writes: “I think of Viv as the mad double Virginia both identifies with and wants to disassociate herself from.” And this is perhaps also something that infuses Elizabeth Hardwick’s critical writings of other women writers.

Hardwick’s essay on Zelda Fitzgerald in Seduction and Betrayal is curiously committed to omitting the recognition of gender and patriarchal norms; she talks of Zelda and Scott as being twins, and how “only one of the twins is the real artist”, seemingly complacent in her acceptance of the accepted notion that F. Scott Fitzgerald was the real artist while his wife was merely mildly talented, but more of a dilettante. It seems like a neverending senseless loop, this question of artistry, genius, and legitimacy: only a real artist like F. Scott Fitzgerald would be acclaimed; thus, because F. Scott is acclaimed, he is the real artist. Nowhere in this interrogation does Hardwick devote much attention to how phallocentrism structures the creative output of men and women, and how it structures how those works are received. As Zambreno points out, even while Hardwick seems sympathetic to Zelda’s situation, she seems keen to distance herself from that kind of “mess”, to render a particular form of female experience as sick, perhaps, and dysfunctional, and therefore something to be pitied but not common or predictable or in any way relatable.

But then I think of Linda Wagner-Martin’s biography of Zelda, and how she writes that “Zelda’s crack-up gave [Scott] both alibi and cover.” If men’s wives are officially mad—diagnosis confirms it!—then men are never to blame. Badly-behaving, outright misogynist husbands can be forgiven, excused, comforted, and indulged. But as Zambreno points out through all her meticulous research of these ignored and sidelined women, all Zelda wanted to do was whatever she needed to do at the time: write, using her own life—herself—as the material. This made the Real Writer of the marriage, the husband, really, really angry. Scott tells Zelda, “You were going crazy and calling it genius.” Hardwick seems to buy this assessment in her essay. Zambreno explains: “In a way, Hardwick’s essay reads as an elaborate defense of the supreme rights of (male) artist.” Wagner-Martin, in her biography: “The irony of the Scott-Zelda relationship from the start, however, was that Scott regularly usurped Zelda’s story.”

Heroines is thus also a meditation on writing and the act of creation: whose lives count as “material”, and who gets to use and shape the material into the story? Whose hand guides the words? When it’s women who are mining their own lives for both material and meaning, it’s all-too easily seen as easy, lazy, unreflective, unworthy work. “The self-portrait, as written by a woman, is read as somehow dangerous and indulgent,” Zambreno writes, and asks, “Why is self-expression, the relentless self-portrait, not a potentially legitimate form of art?” For me, these questions bring up attendant questions about writing and accountability, about how the need to create can be an almost-parasitical hunger that feeds on people’s lives, even (or perhaps especially) their own.

Zambreno takes exception to Toril Moi’s aversion to a certain type of women’s confessional writing in Sexual/Textual Politics, where Moi dismisses it as a kind of “narcisstic delving into one’s own self”. Yet these are questions that trouble me, and I can’t oppose them as clearly as Zambreno does, to see all objection to narcissism (or even the use of the term narcissism) as a form of censorship that attempts to silence women’s writing. Clearly the fact of sexism structures how writing and publishing operate as an institution, and Zambreno certainly makes a fine case about just how openly and covertly patriarchy attempts to silence women’s voices that do not fit its image of “good woman”.

But I also wonder about the dangers of looking inward, the idea of the self that might harden and become its own kind of hegemony. The danger when one starts to believe that one’s condition doesn’t reveal a particular human condition, but is the human condition. Can looking inward feed upon itself so thoroughly that it, does, in fact, become a form of narcissism? Where you’re so attuned to your own pain that you’re unable to recognise the pain of others, or worse, imagine that your pain is the pain of others?

I recognise that a big part of Zambreno’s project in Heroines is its effort of reclamation: as such, she tells the stories of the neglected, abandoned, derided writers and writer-wives of literary history in order to project a different, erased history. As such, her perspective is clear and focus is sharp: these women are rescued from formerly patriarchal narratives and given new forms of being in the pages of Heroines. Still, all of these women are white, and most of them come from a background with roots in bourgeois respectability, and so I recognise that while another story is being told, the whole story is, perhaps, still unclear.

Heroines is a record of how these women were wronged, and it’s a necessary intervention into both literary history and criticism, but we don’t hear anything about how these women may have used their class and social position and their whiteness in order to get ahead, how they may have exploited other people, people who were economically, politically, and socially positioned as middle and upper class white women’s lesser others. (I think of Toni Morrison’s 1989 interview in Time magazine, quoted in Nina Power’s One Dimensional Woman, where Morrison talks about the old-boys network and the “shared bounty of class.” Although many of the women writers Zambreno writes about were often deprived of independent income, and some even fell into poverty, I still wonder about the class networks and social connections that may have worked in their favour, even when patriarchy stood in the way.)

As such, these women tend to come off uniformly victimised, wholly victims of patriarchy and nothing else. And while I recognise Zambreno’s need to record instances of “girl-on-girl” crime, it also makes me somewhat uncomfortable—as though all writing by women, then, is somehow necessarily above criticism. This is a grey and complex area, obviously, but I can’t help but wonder if this lets women writers off the hook a little too easily. Criticism from other women critics can often stem from internalised sexism, no doubt, but other forms of criticism take to task certain forms of confessional writing by women writers because it stays silent on issues of race, class, and sexuality, or worse, considers those issues unimportant in relation to one’s own work. Zambreno writes:

"This idea that one must control oneself and stop being so FULL of self remains a dominating theory around mental illness, and, perhaps tellingly, around other patriarchal laws and narratives, including the ones governing and disciplining literature."

This is certainly true, but I would rather not see it as an either/or option: either write, FULL of self, or suppress the self and suffer. The problem of writing the self is that the self can become all-encompassing, preventing the writer from hearing the stories of others. Being full of self can work as a form of self-care and self-preservation, and this is necessary, but sometimes the self needs to be shattered open into recognising and accepting other possibilities. So there is a danger, perhaps, in not interrogating statements like “The subaltern condition of being a literary wife,” when literary wives may at least get a stab at writing and giving voice to their thoughts on the page, while the true subaltern (may speak, write, shout, scream) and remain unheard by ears that are trained only to listen to the voice of the self or voices that sound similar to the self. There is a form of power in writing, despite how it’s received—and perhaps this is a power that is all too conveniently ignored by those of us who do write.

And Zambreno does exhort her girl readers/writers to write—“to write and refuse erasure while we’re living at least”—and is ecstatic about the proliferation of Tumblrs, blogs, and Livejournals by girls and young women that are at turns “emo, promiscuous, gorgeous, dizzying, jarring, irreverent, cinephilic, consumed, consuming, wanting, wiity, violent, self-loathing or self-doubting”, to quote just some of her adjectives, I’m also wondering about the attendant tyranny of these forms of social media and blog platforms that demand and require the personal. If we’re writing on the internet we’re using some if not most of this technology, and all of us are daily exhorted to share, divulge, like, favourite, promote, or take a gpoy or a selfie.

While it’s true that many subvert the rules of engagement on social media and blog platforms—by posting deliberately unappealing selfies, for example, or selfies of the ungroomed self—the internet is also run by corporations who try to exploit, in increasingly covert and “creative” ways, users’ personal information. And the young, pretty, wayward girl is now profitable data in a still (still!) sexist society. So much of girls’ writing online, like in the case of Marie Calloway, is (still!) used against them. One thinks about the problem of encouraging girls to write and also to be responsible and accountable to themselves and to each other; the problem of how to use oneself and one’s loved ones as material or content with care in a culture of increased surveillance, especially when the technology we use for writing and performing is also the technology that enables the surveillance and scrutiny.

In her earlier works of fiction O Fallen Angel and Green Girl, Zambreno gave us devastating yet finely-wrought portraits of girls in distress—portraits of acute suffering, where the girl in question (Maggie in O Fallen Angel, Ruth in Green Girl) is unable to consider the world outside of her because she is, in some ways, trapped inside. This, I think, is a testament to Zambreno’s intelligence and artistry—and a cultivated sense of empathy—and also a searing portrait of the fractious and unstable female self and its relation to mental illness. An important theme in Heroines is the institutionalisation and medicalisation of women—how the same misogyny that brings about or catalyses the splits in self in the female subject is the same misogyny that is applied to treat and “cure” it, and it is in these passages that Zambreno is particularly acute, sensitive, and moving. As she points out, language is itself complicit: “I’ve always found the language of borderline personality diagnosis, a label assigned to women almost entirely, compelling in that it’s an identity disorder which is defined almost exclusively by not actually having an identity.” Zambreno writes about always having had a “tremendous fear of being institutionalised”—and relates this to how works and canonised:

"(She was institutionalized, as Mad Woman, as Bad Wife, and he was institutionalized, as the Great American Author.)"

Institutionalisation is also a memory campaign, where the man-artist is generalised and the woman-artist individualised. I’d like to think of Heroines as a cure for this wilful, institutionalised amnesia. It’s a book that has lodged itself in my mind and likely to stay there for a long time, despite, or maybe even because of some of my problems with certain sections of the book. It seems fitting to let Zambreno have the last word:

"Fuck the canon. Fuck the boys with their big books."

#silver heroine #thesilverheroineproject #women are mad men are geniuses bs #female tropes that need to die