Can everyone please read the Big Bad Wolf series by Charlie Adhara? Is it gay? Yes. Is it the most slept on gay werewolf detective books in existence? Yes. Did it change my brain chemistry? Yes. Is there smut? Yes.
Read ittttt, it made my brain feel good and I feel like all my ROTE besties would like it too :)))
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The funny thing about the PJO cabin system is that everyone's always all 'oh the twelve' this and 'the twelve' that but that's absolutely not even remotely accurate. To start, right off the bat it's thirteen, not twelve, because they don't count Hades. But not really because before Percy, there were no big three kids, so we're down to ten active cabins already but it's actually eight because Artemis and Hera don't make demigods.
And of those eight, Mr. D is stuck at camp (thus not really making new demigods all that often) and his only two kids don't even sleep in a cabin, they sleep in the Big House with him.
So, pre-Percy, there are seven active cabins at Camp Half-Blood:
Glee club, the Jocks, the Nerds, the Geeks, the Farmers, the 'Sketchy Kids' and the Popular Kids.
Or, in other words, the Apollo, Ares, Athena, Hephaestus, Demeter, Hermes (and the unclaimed kids) and Aphrodite cabins.
What's cool is that you can already see the cabin dynamics in the show. For example, the Athena cabin allies with the Hermes cabin for the numbers. The Hermes kids plus all the unclaimed kids? It's the biggest cabin in the camp by far. It's a battle strategy. Luke and Annabeth's close relationship is just the cherry on top for Annabeth. It'll be really cool to see how the show develops the differences in the cabins during the series.
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She was dreadfully romantic. She read too many novels and carried her ideal world wherever she went.
- Mary Elizabeth Braddon, The Doctor’s Wife (1864)
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Another reason I dislike Les Mis adaptations that make Jean Valjean constantly openly angry/violent is because they miss that Jean Valjean is not allowed to be angry. The fact he is forbidden from expressing anger is, I argue, actually a very important part of his character in the novel!
One of the subtler political messages of the story is that some people are given freedom to express anger, while others are forced to be excessively meek and conciliatory in order to survive.
Wealthy conservatives like Monsieur Gillenormand can “fly into rages” every five minutes and have it treated as an endearing quirk. Poor characters like Fantine or Jean Valjean must be constantly polite and ingratiating to “their superiors” at all times, even in the face of mockery and violence, or else they will be subjected to punishment. If Gillenormand beats his child with a stick, it’s a silly quirk; if Fantine beats a man harassing her, she is sentenced to months in prison.
(Thenardier and Javert are interesting examples of this too. Thenardier acts superficially polite and ingratiating to his wealthy “superiors” while insulting them behind their backs. Javert, meanwhile, is completely earnest in his mindless bootlicking. But I could write an entire other post on this.)
The point is that….Jean Valjean has to be submissive and self-effacing, or he puts himself in danger. He can’t afford to be angry and make scenes, or he will be punished. The only barrier between himself and prison is his ability to be so “courteous” that no one bothers to pry into his past.
Jean Valjean is excessively polite to people, in the way that you’re excessively polite to an armed cop who pulls you over for speeding when you secretly have a few illegal grams of marijuana in the your car trunk. XD It’s politeness built on fear, is what I mean. It’s politeness built on a desperation to make a powerful person avoid looking too closely at you.
It’s politeness at gunpoint.
Jean Valjean has also spent nineteen years living in an environment where any expression of anger could be punished with severe violence. That trauma is reflected in the overly cautious reserved way he often speaks with people (even people who are kind and would never actually hurt him.)
So adaptations that have Jean Valjean boldly having shouting matches with people in public and beating cops half to death without worrying about the repercussions just make go like “???”
Because that’s part of what’s fascinating about Jean Valjean to me? On one hand, he is a genuinely kind compassionate person, who cares deeply about other people and behaves kindly out of altruism. But on the other hand, he was also “beaten into submission” by prison, and forced into adopting conciliatory bootlicking behaviors in order to survive. And it can sometimes be hard to tell when he is being kind vs. when he is being “polite” — when he is speaking and acting out of earnest compassion vs. when he is speaking and acting out of fear.
The TL;DR is that I think it’s important that even though Jean Valjean is very (justifiably) angry about the injustice that was inflicted on him, his anger is harshly policed at all times— by other people, and by himself. He has been told his anger is wrong/selfish so often that he believes it. His anger takes weirder more unhealthy forms because he has no safe outlet for it. His rage at society becomes a possessiveness towards Cosette and silent hatred of Marius, but primarily it becomes useless self-destructive constant hatred of himself. And while I might be phrasing this wrong, I think that’s what’s interesting about Jean Valjean’s relationship with anger— the way his justified fury at his own mistreatment gets warped into more and more unhealthy forms by the way he’s forced to constantly repress it.
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I was sitting here, letting my thoughts run, and had the thought that “the reason it’s so hard for some people to tell that Shen Qingqiu really reciprocates Binghe’s romantic feelings is because we’re not seeing it from his perspective”
We. We are, though. We are seeing it from his perspective. He’s just a LIAR, so it’s easier to see what Binghe is thinking than what the man narrating the story is thinking!!!
(I was specifically thinking about the way he’s literally always been obsessed with Binghe, and that’s kinda easy to forget because he never addresses it. Repressed little man…)
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grief will make you do crazy things. it will electrify the elegant, flower-stem neurons in the amygdala of your brain, will pluck them like an instrument. in ancient rome, grief made men twirl in their thin, leather sandals and pirouette until their feet bled; in india, it walked widows onto pyres waiting for fire. the persians gave the bodies of their deceased beloveds to dogs; the egyptians buried them with their servants. grief will make you laugh at the funeral, weep over the cereal bowl; it will buzz your feet until they start dancing in the middle of the night. it’s grief that inspires the unlikeliest of bedfellows. it will convince you, tugging at the hem of your ragged cotton robe — the one you’ve had since your father bought it for you in latakia when you were fifteen, the one that will always smell hazily of summer — that the building is on fire, the world is on fire, and you’ll only find water in one place: a city as far away from here as you can imagine. grief will pack your bag, quit your job, buy a white dress. it will make you say yes.
the arsonists’ city, hala alyan
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