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#literary interview
lyndentree63 · 6 months
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Oohhhhhhh. So far, all of Aabria's Dimension 20 seasons are intensely literary Misfits and Magic - Harry Potter ACOFAF - Jane Austen, Bridgerton Burrow's End - Watership Down, Mrs. Frisby and the Rats of NIMH, Animal Farm, 1984, etc.
There's something delightful hearing her talk about not coming to TTRPGs through high fantasy like Lord of the Rings and Wheel of Time, but yet there's so much bookish influence on her GMing work. Diversify the literary influences!
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fuckyeahgoodomens · 1 year
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Neil at St. Louis Literary Award 2023 (Jon was supposed to visit but couldn't so he recorded a video message for Neil :))
Neil: There are things that I have done to Jon Hamm or had other people do or that have happened to Jon Hamm in the Second Season of Good Omens that while I am not at liberty to actually reveal what they are I will say that I'm in many ways glad he's not sitting opposite me getting his own back.
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thecaduceusclay · 2 months
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"this character in iwtv isn't a victim-" but YES they ARE!!!
literally everyone in this entire series is victimized, at some point, by something! that's half the point! like whether it is a system or society or individual or circumstance!
your problem is just that you're conflating victimhood with innocence, with being morally right, with being the "good" one. and your problem there is that no one in this series is innocent
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iwtv-az-hours · 4 months
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floaty boi
I would trip and die on those stairs
red tape on the floor
fucked up little chair
limp wrist
tinfoil in your bookshelf
doors designed by Jerry of Tom&Jerry fame
the diaries are in a safe but fuck them 400yo books gathering dust in the punishment library
unless the cleaning lady is a flying vampire too istg
grandma orthopedic slippers are superglued to his feet I bet
look at that pattern in the sand that was Louis walking in circles with a rake
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delphdelphdelph · 1 month
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"And so, that wednesday night, hiding under the sheets the marks of Vadinho's kisses on her neck, and suffocating in her heart the fear of his absence, Dona Flor welcomed her husband Teodoro, with him beginning the discreet and sweet ritual. But, as soon as the doctor risen over her, like a comfortable umbrella, Vadinho's laughter rang in Dona Flor's ears and made her shudder.
First it was the joy of seeing him there, balanced on the foot of the bed, he hadn't gone forever as Dona Flor had feared. Then joy turned to anger, upon seeing his mocking laugh, that false air of pity on his mocking face. That demon was having fun, lifting the corner of the sheet to better appreciate and mock. Dona Flor heard his voice inside her chest, his libertine laugh, mocking and mocking: - And you call that screwing? Is this Doctor Know-it-all, the master of whores, the king of sluttiness? This shit, my dear? I've never saw anything more insipid… If I were you, I'd ask him, instead, for a bottle of syrup: it cures coughs and is pleasanter… Because what he's doing, my dear, is the sorriest thing I have ever seen… She still wanted to say 'I really like it', but she couldn't. The doctor was coming to an end and she was lost in Vadinho's laughter, dying of shame (and desire)."
(Jorge Amado's Dona Flor and Her Two Husbands, 1966) This is a book about a woman who is haunted by the ghost of her shitty late husband. Rolin Jones, "is that a motherf_ckin Brasil reference???"
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It's really unfortunate that a number of people (mostly white people) in the IWTV fandom here on Tumblr seem to have this watered down view of the gothic genre as "cool, sexy monster stuff." I mean, yeah. That's *part* of it, but that's like, a very high school Hot Topic view of it. I mean, nothing wrong with liking the stuff you did in high school or Hot Topic, but it shows a lack of a deeper understanding.
I know I've ragged on Anne Rice a lot here, but I honestly think that this is partly her responsibility. Did she craft interesting characters? Yes. Did she give them flaws? Yes. But does she do a good job of challenging them? Not really. In fact, the way she frames then makes it seem like they're not flaws at all. I can accept the fact that slavery was normalized in Louis time, but I cannot accept the idea if no one in the story challenging it. It is not unreasonable for Daniel to be attracted to Louis during the interview, but at the very least, he should be uncomfortable with his attraction to him. Sometimes bad people are still attractive. That's an uncomfortable truth. But AR doesn't handle it this way. She never addresses it.
So, it's really not hard to understand why her fandom carries such limited views on uncomfortable matter, because her writing didn't challenge them to feel uncomfortable with their attraction to Louis. To Lestat. To even fucking Marius (who I won't get into here. Other people have already written about him here and have done so better than I can). AR made the sexy vampire books, and her fans just go along with all the awful things they do because, hey, they're monsters and it's cool because they live outside human expectations of morality (even though Louis was awful before becoming a monster). AR presents shock value, but doesn't address what's shocking. Her fandom, in fact, seems to take pride in illustrating no shock over what is shocking. This, in my opinion, is an illustration of *failure* to create an effective gothic story.
The show does a much better job, in my opinion, at presenting something gothic. I, a Black biracial woman of the audience, should not be attracted to Lestat. But I *am.* I shouldn't be attracted to Louis, but I *am.* I shouldn't be looking at their family dynamic with Claudia in her earlier days as a vampire through heart-shaped lenses, but I *do.* And it's uncomfortable. It's supposed to be. And I think Daniel's character does a good job of bringing the audience back into the horrible reality of the situation and causes us to check ourselves.
And I think white fandom really does a disservice to Jacob Anderson *AND* Sam Reid by trying to argue with Black fandom over the subject of race. Racism is a central theme in this version of the story. But they don't want us to talk about it, because they're uncomfortable with it. They'd rather pretend it doesn't exist and doesn't need to be discussed. But it's *supposed* to make them uncomfortable. They're just not used to seeing the benefits of being challenged, because AR never did. And unfortunately, they're missing out in a very fulfilling part of enjoying the story because they want to keep themselves in a little bubble where they can pat each other on their backs for not being shocked by shocking things and never growing as people.
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captain-noir · 1 year
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now that i have rereread iwtv i realize that rolins is godsent wallahi this show would be doa if we got a one to one straight adaptation and not because of any content issues or the moral constitution of a modern audience but because that shit would have been boring as hell. like change the channel, scroll thru twitter diy lobotomy sesh boring. love the book, truly a formative masterpiece but if i had to sit through it in visual format id kill myself 
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nnoceurr · 28 days
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dykekingofhell · 15 days
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b0bthebuilder35 · 2 years
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noweakergirl · 2 years
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Love and Hatred
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bookinit02 · 2 months
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why did nobody tell me that interviewing for big girl jobs is so SCARY
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shinesurge · 3 months
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hounse of leaf makes me so furious i can't articulate it into a coherent post even as a joke i am just full of ire lmfao
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fru1tb3tz · 5 months
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y'all think angel enjoys the many great works of Anne Rice?
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neosatsuma · 2 years
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Sorry to everyone who's not me but I am just marveling at Luke Arnold's decision to present a largely stereotypical, angst-ridden noir hero for an entire book and a half, before dissecting that archetype and why it sucks and then allowing his character to grow out of that mindset and into a better person. And the fact that he always planned to take that apart and examine the issues with it like!!!
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Luke Arnold: "I think maybe the thing I unlocked for myself when I was turning it into the full manuscript [of The Last Smile] was maybe... dissecting why I liked this noir hero. Why I attached to it [as a child]. What [those heroes] represented to me, and why it was maybe a flawed idea to want to aspire to be someone like that. Like, y'know, 'It's so cool to be--' and I'd kind of go back and realize that as a somewhat insecure teenager, the idea... like, when you look at Bogart playing these characters: he doesn't care anymore, because something awful's happened to him, and he doesn't give a shit, doesn't care what anyone thinks, and it just felt like an, 'Oh, god, I'd love-- I can't wait till I turn into that!'" [Laughing] "'That sounds so much EASIER than all this weird social anxiety I get every time I open my mouth.'
"And then of course as you grow up, you go like, 'Well, that's not...' Like, 1) it doesn't FEEL good to be--"
Interviewer: "It's like the 'Asshole as Aspiration' doesn't really work out in the real world."
Luke Arnold, laughing: "No! That's right! Well, and even if you go like, 'Oh, yeah, maybe it DOES make things easier' when you just cop out of everything like that, it doesn't make you a good person in any way. It doesn't make you good to the people around you. It doesn't make you a useful part of society."
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sideshrimp · 2 years
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“-horror can be a very transgressive space. It reflects so many of our anxieties and fears. When you enter into horror, you’re entering into your own mind, your own anxiety, your own fear, your own darkest spaces. When horror fails, it’s because the writer or director isn’t drawing on those things. They’re just throwing blood wherever and seeing what sticks. But horror is an intimate, eerie, terrifying thing, and when it’s done well it can unmake you, the viewer, the reader. That tells us a lot about who we are, what we are, and what we, individually and culturally, are afraid of. I love the ability of stories to have spaces in them where the reader can rush in. That is the work I am most interested in, and that is the work I am most interested in writing.”
Carmen Maria Machado interview for the Paris Review
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