ROUND 1: POLL #9
Mercival/Montanewt art by dalooch on Tumblr
ROUND 1 POLLS [HERE]
PROPAGANDA BELOW
Vegas Theerapanyakun/Pete Saengtham:
Got loyal bodyguard who will give his life to his mafia boss and the insane villain with daddy issues. NS/FW [SPOILERS] in brackets -> [Pete decides to fuck Vegas because of how sad and pathetic he looked after the sad passing of his pet hedgehog. Vegas eats Pete's ass out in his torture/sex dungeon safehouse that Pete had been a prisoner in up until recently. Vegas is a brutal murderer who kills and tortures like nobody's issue and then cries into his ramen because Pete chose to escape the safehouse instead of staying with him there. Vegas tells Pete he loves him while Pete is in the middle of beating the shit out of him]
Henry "Monty" Montague/Percival “Percy” Newton:
Look these guys manage to be one sided love AND mutual pining AND slow burn despite having their first kiss like 20 pages or so into the first novel. There's a whole novella just about their misadventures trying to have sex for the first time which granted us the insane quote of: "I want to be the only thing touching him. I want to be the only thing that ever touches him again. I will be envious of every shirt he ever wears, the cuffs of his coats, the trousers going soft with wear where they rub his inner thighs."
31 notes
·
View notes
Do you have any advice for historical fiction authors who want to try harder to use historical queer language without confusing the average reader? It's something that has been a challenge for me and I've been finding your posts helpful, but I was wondering if you had specific tips on how an author could write better queer histfic for the modern reader.
It can be difficult because it is a balance. You probably don't want to just dump a whole heap of molly slang on your reader all at once. But you also don't want your characters to feel disconnected from the real history of the period.
In regards to molly slang you do have to remember that it was somewhat unique to the subculture. Only people involved in the subculture would be familiar with a lot of the slang. So if you wanted to include a character that uses molly slang you could aways have a character who is not part of the subculture, or new to it, who would serve as and stand in for the audience. This way the explanation of slang words can be weaved into the story in a more organic way.
Of course 18th century queer language is much more than just molly slang. It's good to know what the words mean but also what kind of people would be using them and in what context. For example legal writings will talk about sodomy and sodomites while a casual conversation might be more likely to talk about mollies.
While you don't want to overwhelm the reader you also don't want to underestimate them. If you pepper in historical terminology most readers will be able to pick up on the meaning form context. I think the Montague Sibling series actually does a pretty good job of this and it's a YA historical fantasy adventure novel. If Mackenzi Lee can trust her teenage target demo to pick up what a molly is from context then you can certainly trust an adult audience to.
It's also important to remember that it doesn't have to be perfect. Historical fiction is first and foremost fiction. The most important thing in my opinion is to create the feeling of a full fleshed out world. And for queer historical fiction that should be a world that includes queer people and thus have at least some queer language. You don't have to fill a novel with molly slang to do this, just give a bit here and there where it makes sense in context. The best advice I can give is to do the research and understand the history. If you understand it you will be better equipped to figure out when it makes sense to use historical language and when it makes sense not to. If you understand the rules you will better understand when to break them.
I think this is one of the reasons I like the Montague Sibling series so much. Mackenzi Lee has studied history and while her books are historical fantasy that strong base of historical knowledge really helps bring the world of the books to life. Also I just like that she actually used the word mollies in her YA book!
[Spoilers for the Montague Sibling series ahead]
Though it's not perfectly historically accurate the following scene form The Gentleman's Guide to Vice and Virtue feels very grounded in the period. The conversation is between the protagonist Monty and his little sister Felicity. Felicity largely represents the perspective of the popular rhetoric of the day.
"Honestly, Monty, I've never quite understood who's really got a hold on you."
"Do you want to know if I'm a bugger?"
She winces at the crass word, but then says, "It seems a fair question, considering I've seen your hands all over Richard Peele and Theodosia Fitzroy."
"Oh, dear Theodosia, my girl." I collapse backward into the sofa cushions. "I remain inconsolable over losing her." I do not want to talk about this. Especially with my little sister. I came down here for the sole purpose of getting drunk enough to sleep and avoid venturing anywhere near this subject, but Felicity goes on staring at me like she's waiting for an answer. I take an uncivilized swipe at my mouth with my sleeve, which would have earned me a cuff from Father had we been at home. "Why does it matter who I run around with?"
"Well, one is illegal. And a sin. And the other is also a sin, if you aren't married to her."
"Are you going to give me the fornication without the intention of procreation is of the devil and a crime lecture? I believe could recite it from memory by now."
"Monty—"
"Perhaps I am trying to procreate with all these lads and I'm just very misinformed about the whole process. If only Eton hadn't thrown me out."
"You're avoiding the question."
"What was the question?"
"Are you—"
"Oh yes, am I a sodomite. Well, I've been with lads, so ... yes."
She purses her lips, and I wish I hadn't been so forthright. "If you'd stop, Father might not be so rough on you, you know."
"Oh my, thank you for that earth-shattering wisdom. Can't believe I didn't think of that myself."
"I'm simply suggesting—"
"Don't bother."
"—he might ease up."
"Well, I haven't much choice."
"Really?" She crosses her arms. "You haven't a choice in who you bed?"
"No, I mean I haven't much choice in who it is I want to bed."
"Of course you do. Sodomy's a vice—same as drinking or gambling."
"Not really. I mean, yes, I enjoy it. And I have certainly abstained form abstinence. But I'm also rather attracted to all the men I kiss. And the ladies as well."
She laughs, like I've made a joke. I don't. "Sodomy has nothing to do with attraction. It's an act. A sin."
"Not for me."
"But humans are made to be attracted to the opposite sex. Not the same one. That's now nature operates."
"Does that make me unnatural?" When she doesn't reply, I say, "Have you ever fancied anyone?"
"No. But I believe I understand the basic principles of it."
"I don't think you really can until it's happened to you."
The conversation then goes into Monty feelings for Percy which leads to this exchange:
"What are your expectations, exactly? If Percy did feel the same way about you, what would happen? You can't be together. Not like that—you could be killed for it if you were found out. They've been sentencing mollies by the score since the Clap Raid."
"Doesn't matter, does it? Percy's good and natural and probably only fancies women and I am ... not."
While its perhaps a bit of an exaggeration to say that they've "been sentencing mollies by the score since the Clap Raid". It works the word mollies, a word most readers probably aren't familiar with, into the story in such a way that the context makes the meaning pretty clear. While Clap Raid might go over some readers heads they will still get the gist of the meaning behind the conversation and perhaps even inspired some readers to look it up and learn some real history.
This scene also takes advantage of words a modern reader would know like sin, vice and natural. They're talking about queerness in a more-or-less historically accurate way without using too many unfamiliar terms.
The Gentleman's Guide to Getting Lucy then gives us this fantastic scene that uses an 18th century euphemism:
He licks his lips, then nods. I reach for the buttons on his trousers, but he cries, "Wait! And I freeze, panicked I've done something else to muck this up, but then he says, "Just ... slowly, yes? Maybe not ... a full game of backgammon just yet."
And then every inch of him goes red.
"Percy Newton." I sit up over top of him and cross my arms. When he looks back at me with his eyes wide and innocent, I parrot, "A full game of backgammon? What erotic leaflet did you pick up that filthy vocabulary from?"
"None!" he protests, but his mouth twitches. "Some."
"Some?"
Impossibly, he goes redder. "Some erotic leaflets."
"May I have their titles? For purely academic purposes, I assure you."
Again the context allows for the readers to gather what is being talked about even if they've never heard the euphemism before.
And in The Lady's Guide to Petticoats and Piracy they even go to a molly house!
It is our only topic of conversation as the three of us walk to the pub in Shadwell called the Minced Nancy, which from the name alone brands itself a place where mollies like my brother and his beau can be together openly.
Tho I have to point out that while minced is 18th century language the earliest use of Nancy in this sense isn't until the 19th century.
19 notes
·
View notes