#Biographical literature

[petnews2day]

Jo Van Arkel describes a dog-shaped absence

New Post has been published on https://petn.ws/8bhIv

Jo Van Arkel describes a dog-shaped absence

Jo Van Arkel |  Springfield News-Leader My guest this week on Poetry from Daily Life is Jo Van Arkel, who lives in Springfield, Missouri. Professor Van Arkel is a Teaching Fellow in Writing, Department of Languages and Literature, at Drury University. She started writing poems and stories when she was a child, inspired by the […]

See full article at https://petn.ws/8bhIv #DogNews #And, #Biographical, #BiographicalLiterature, #BooksAndLiterature, #Books, #Dogs, #Drury, #DruryUniversity, #Exclude, #ExcludeFromPaywallLogicTesting, #From, #Laureate, #Literature, #Logic, #Mo, #Overall, #OverallPositive, #Paywall, #Pets, #Poetry, #Poets, #PoetsLaureate, #Positive, #Springfield, #Testing, #University

[pleasecallmealsip]

i have hobbies so unheard of i cannot even find another person with the same hobbies on this website (i.e. the not-so-popular hobbies website)

[scotianostra]

John Galt, the Scottish novelist died on April 11th 1839.

As well as writing the first biography of his acquaintance, Lord Byron, Galt’s main achievement lies in his thirteen innovative and entertaining novels. A group of them, which Galt called Tales of the West, is set mainly in the Scotland of his youth, and they give a complete picture of Scottish life from about 1760 to 1820. Galt spoke of the Scottish people as possessing the whole range of the English language as well as their own, by which they enjoy an uncommonly rich vocabulary, and indeed he used the Scots tongue for dialogue and sometimes narrative.

As well as his life as an author Galt appointed Secretary of the Canada Company, a charter company established to aid in the colonisation of the Huron Tract in Upper Canada along the eastern shore of Lake Huron. The community of Galt, Ontario was named after him. On returning from North America he spent time in King’s Bench Prison in London for failure to pay debts.

Galt is remembered as one of Scotland’s most prolific writers, having published over 50 works during his life, he died aged 59 in Greenock in 1839 and is buried with his parents in the New Burying Ground in Greenock (now called the Old Burying Ground).

You can find a more in depth biography here http://www.biographi.ca/en/bio/galt_john_7E.html

[tafelrunde]

Penthesilea: I thought as such: if every one of them, Those magnificent moments in history, Repeated themselves for me, if the whole flock Of heroes, celebrating celestial songs, Descended from the stars for me, I would find No one as apt, who I could with roses Crown, as him, the one my mother chose for me — The lovely, wild, sweet, horrible, The one to beat Hektor! Oh, Pelide! My forever thought as I woke, My forever dream was you! The whole world Lay as a patterned web, unfolding, Before me; into every stitch, wide and big, One of your deeds was tied, And in my heart, like silk white and pure, With flaming colours every deed was burned.

(Heinrich von Kleist: Penthesilea, Entrance No. 15)

[konstantya]

Nice misogyny and homophobia you got going on there, buddy.  Mrs. O’Reilly would have kicked your ass.

[authorjacobfloyd]

THE BLACK DAHLIA by James Ellroy

This is number one in what is called the LA Quartet by James Ellroy, whom I think is one of the hardest hitting crime writers to have ever done it. I remember hearing of this crime when I was young, and then I saw the Brian DePalma film in the mid-2000s. Though I am a huge DePalma fan, I didn’t think it was one of his best. Not bad, but not up to his usual aesthetic. Near to a decade later, I…

[semperardens-juli]

The figure of Rimbaud served as a kind of stand-in or proxy for the artist, inserted into places that mattered to David, places where he'd been or which still exerted a power over him. [...] 'I've periodically found myself in situations that felt desperate and, in those moments, I'd feel that I needed to make certain things ... I had Rimbaud come through a vague biographical outline of what my past had been --- the places I had hung out in as a kid, the places I starved in or haunted on some level.'

The Lonely City, Olivia Laing (x)

[who-is-page]

CALL FOR SUBMISSIONS: Inky Paws #3

Inky Paws is a nonhuman anthology zine for original fiction writings by nonhumans and alterhumans about nonhumanity, alterhumanity, and similar, related themes. This zine is primarily literature focused, but will also be open to more illustrative methods of story-telling such as comics. The zine’s focus is on fictional pieces that are centered around nonhumanity, alterhumanity, therianthropy, and similar (see Submission Guidelines section for more details).

You are welcome to submit:

Short stories

Microfiction

Satire

Poetry

Song lyrics

Experimental fiction (fake newspapers, fake recipes, fake blogs, fake posters, etc.)

Mixed media

Comics

And more! If you're unsure, just ask! Seriously, please just ask. I promise I would 10000% love to hear about your idea even if you're unsure about submitting it, there is no such thing as a bad idea and I cannot stress this enough.

How to participate:

You can submit your pieces in this Google Form!

OR

Email invisibleotherkin(@)gmail(.)com with your submission, and please title the email "Inky Paws Zine #3 Submission". With your submission, please include:

The piece's title or name,

A name or pen name to attribute the piece to,

Any content warnings that you feel are necessary for the piece,

Any social media handle or personal website you’d like to be published alongside your name with the piece (optional), and

Any relevant author notes or author biographical information (optional).

Anonymous pieces are also welcome.

Once submissions have been collected and the deadline has passed, these submissions will be put into the zine and it will be posted online as a free PDF. Submissions are due by April 30th, 2024.

Please see the Submission Guidelines, and Submission FAQ, below cut.

SUBMISSION GUIDELINES:

Each individual may contribute up to 3 accepted submissions to be published in Inky Paws; individuals within systems may each submit 3 pieces, that is to say 3 pieces per systemmate/headmate/preferred term.

Comics and similar multi-part pieces count as one submission altogether: if you submit a single story that has been divided into two sub-stories for dramatic emphasis, or if you submit 10 pages of a single-story comic, or if you submit a written piece of fiction and an accompanying image that you drew or otherwise created to go along with it, that would still only count as one piece.

Submissions must fit the thematic criteria of:

Being explicitly about or based on nonhumans, otherkin, therianthropes, fictionkin, alterhumans, or similar groups, or;

Having strong themes or describing experiences strongly reminiscent of or related to nonhumans, otherkin, therianthropes, fictionkin, alterhumans, or similar such as (but not limited to):

Characters experiencing nonhumanity or alterhumanity as being a part of themselves/their identity,

Characters experiencing anything similar to a shift (including physical shifting),

Characters struggling with (emotionally, socially, or otherwise) being both human and nonhuman or alterhuman in some way,

Characters having a past-life as something nonhuman or alterhuman that strongly still impacts their current life, or

Characters desiring to be nonhuman or have nonhuman attributes.

TL;DR - Your submissions have to relate to or be about alterhumans or nonhumans in some way, shape, or form.

Written submissions must not exceed 7500 words, and must also use a reader-friendly font with a text size of or exceeding 16 pt.

For stories that use multiple different fonts, such as pieces meant to imitate newspapers and similar, every effort will be made to preserve the general "feel" of your piece but fonts may not be transferred over 1:1 due to potential conflicts with font copyright, readability, and overarching zine style.

Multi-part image submissions must not exceed 10 pages in length, and must also use a reader-friendly font with a text size of or exceeding 16 pt if they include text. Images larger than 8.5 x 11in. will be scaled down to an appropriate size; please take that into account when creating and submitting your images. It is also recommended that images be vertical or square in their orientation.

Written submissions should be submitted as a .docx file. Images and mixed media pieces should be submitted as either .jpg or .png files.

All submitted pieces should be your own work. Individuals caught plagiarizing or using AI within their submissions will be barred from participating in Inky Paws, including in any potential future volumes.

SUBMISSION FAQ:

Q: Where will this zine be hosted? A: The zine will be hosted for free download on Itch.io, where issues 1 and 2 of the zine are already hosted.

Q: What is the cap on submissions? A: At this time, we are not looking to accept more than roughly 25 submissions at most, in order to keep numbers and expectations manageable.

Q: Can I update my application after submitting? A: Yes, so long as the updates are submitted before the submission deadline!

Q: What is your policy on content moderation and content warnings? A: If you feel your piece needs content warnings, please include them in the submission, as we are hoping to include relevant content warnings and maturity ratings alongside all pieces. We are at this time accepting pieces of all tones and ratings.

With that said, It should be noted that any items submitted with soapboxing intent and anti-nonhuman, anti-alterhuman, anti-fictionkin, or similar leans are largely not welcome, as this is a zine geared towards all aforementioned groups and then some.

Q: Can I submit an in-progress draft or sketch? Can I claim a spot in the zine before sending in my submission? A: We are not currently accepting WIP pieces for submission at this time, though feel free to send us your WIP if you have questions related to its future submission. We also cannot reserve or guarantee a spot in the zine pre-submission, regardless of any existing drafts or WIPs.

Q: Can I submit a piece of fanfiction? A: While we've now accepted pieces of fanfiction in the past, we tend to prefer to leave them out for legal reasons. If you submit a piece of obvious fanfiction, please know that it may be significantly more likely to be rejected from the zine and that, if the piece is accepted, the piece may be removed without warning from the zine later on if DMCA or legal issues arise. We strongly advise that individuals who wish to write something inspired by fiction make it non-obvious to the outside reader where the inspiration is being taken from.

Q: Can I submit something I've created in the past? A: You can submit something you've created in the past, but please try to avoid submitting anything that you've published previously and is currently publicly accessible. For example, if the story you want to submit has already been featured in a different anthology, please don't submit it to Inky Paws! We want to encourage people to create new pieces, or to put the spotlight on pieces that haven't previously had the opportunity to be published.

Q: Do I have to write something based on the provided prompts? A: Nope! The prompts are there by popular request to help give people a jumping off point for creating, but are not required to be incorporated into your piece and will not have any effect on if your submission gets accepted or not.

Q: What is the projected timeline for this project? A: Submissions will close by April 30th of 2024. The publish date of the zine depends on submission amount and size of submissions; in an ideal world, we hope to have the zine published by December, before year's end.

Q: Can I rescind my submission? A: As long as you request to rescind your submission before the submission deadline, yes. After the deadline passes and the formatting and work towards publishing begins, we cannot guarantee that we will be able to remove your work from the zine due to time constraints and potential formatting issues. Please take this into account before submitting.

Q: Will there be any physical copies of this zine? A: Due to cost restraints and a lack of printing experience on the part of the zine organizers, we have no physical copies of this zine planned for print. You are, however, welcome to download and print copies of the zine for personal use.

Q: Who are the organizers of this zine? Where can I reach out to ask further questions? A: Who-is-Page and Noel Sol of the Sol System are organizing this zine. Feel free to send us any questions, comments, or concerns to invisibleotherkin(@)gmail(.)com, or you can always message us on Tumblr at Who-is-Page.

[literaryvein-reblogs]

Writing Notes: Literary Character

In a literary work, characters are the persons who are given certain moral, intellectual, and emotional qualities by the author.

Two Major Types of Characters

Static. The static character is one who is "flat" and two-dimensional. Such a character is usually recognized by one or two simple traits. The hallmark of a static character is that he or she will not change in spite of experience or conflict. This type of character remains unchanged by events and experiences. An example of a static character is Mistress Quickly in Henry IV.

Dynamic. The dynamic character is one who is "round" and three-dimensional. His or her personality, motives, and attitudes are complex. Such a character cannot be summed up by one or two traits. The hallmark of a dynamic character is change. This type of character will be changed and influenced by events and experiences. An example of a dynamic character is Pip in Great Expectations.

Criteria for Analyzing Character

The reader can use the criteria below in order to analyze, interpret, and draw conclusions about a character.

Appearance. Appearance generally falls into two categories: external and physical. External appearance consists of extrinsic qualities, such as clothing, jewelry, tattoos, or hairstyle. Through these external factors, you may determine a character’s taste, social status, occupation, or personality. Physical appearance, on the other hand, consists of intrinsic qualities, such as height, weight, facial expression, or tone of voice. These physical factors can suggest different personality traits. For example, a muscular physique might suggest strength; a skinny physique might suggest weakness. Be careful, however, not to judge a character on appearance alone. Appearance and reality are not always the same.

Behavior and Actions. In literature, all behavior and actions help define character. Nothing a character does is arbitrary or incidental. Small nuances of behavior need to be interpreted, as well as major decisive actions. Therefore, when trying to define what a character is like, consider what that character does. Do his or her actions reveal courage, ignorance, cunning, or generosity? For your analysis to be complete, consider involuntary behavior, such as nervous twitching, fast talking, or profuse sweating.

Biography. Often in short stories or novels, biographical information about a character will be revealed: place of birth, era of childhood, type of education, early careers, successes, failures, even the identity and occupation of the character’s parents. Such information can be used to sharpen the picture of a character, or to give added credibility to traits and values that have been identified.

Dialogue. Closely scrutinize what characters say and how they say it, for dialogue is significant. A character’s speech reveals traits and values in 2 principal ways:

Direct Expression. The correlation is patently clear between what the character says and who the character is. Nothing is hidden; nothing is subtly suggested. Direct expression requires little or no interpretation by the reader. What the character says provides immediate insight. For example, in Paradise Lost, the fallen angel Moloch states how he would like to deal with the angels left in heaven, “My sentence is for open war.” Moloch’s hostile nature is revealed directly.

Indirect Expression. The correlation is implied between what the character says and who the character is. The meaning of words may be hidden or suggested. Thus, the reader must determine the unstated meaning of a character’s words. For example, at a ball in Pride and Prejudice, Mr. Darcy is asked if he’ll join in the dancing. He replies, “All savages dance.” At its face value, the statement could be a harmless observation about dancing. Instead, it reveals Mr. Darcy as a haughty man whose sense of superiority makes him disdainful of his company.

Emotions. When interpreting a character, you will be trying to get below the surface of that character to see deeper meanings. To do so, take into account a character’s temperament. Temperament may manifest itself in some general traits, such as whether a character is introverted or extroverted, optimistic or pessimistic, sensitive or indifferent. Or, temperament may reveal itself in specific emotional states, such as anger, melancholy, anxiety, compassion, or happiness.

Thoughts. If an author uses “direct expression” to reveal a character's thoughts and values, you need only to note what these thoughts and values are, explaining why they are significant. However, a character’s thoughts are rarely revealed directly. Therefore, you will need to interpret, infer, and draw conclusions about a character's thoughts. To do so, gather evidence from the above criteria. These criteria can all come together to form a composite sketch of a character, revealing his or her true opinions and beliefs.

What other characters say and think. The statements and thoughts of one character regarding another can be a valid source of information. However, this information can be double-edged. While you may learn about a character based on the statements and thoughts of another, you will have to evaluate the accuracy and reliability of those statements and thoughts. A reliable character will usually be perceptive and a good judge of character; an unreliable character will be flawed in some way that inhibits his or her judgment.

How To Write about Character

When writing about character, you may use the following 3-step process. Keep in mind that this is a general approach.

Establish major character traits. Pin down the character’s traits. Because the main characters in a work will have depth and complexity, you should be able to distinguish at least three prominent traits. These traits may be closely related, but they must be distinctly different.

Support major character traits with examples. The traits you establish in step 1 will be based on general impressions. In step 2, however, you must support these traits with concrete examples. For example, if you assert that “vindictiveness” is a trait, you must substantiate vindictiveness with examples from the literary work.

Explain how and why your examples substantiate a particular trait. Step 3 is the most important (and most difficult) stage of your paper. You must go beyond merely linking examples with traits; you must elaborate your views of a character’s traits with explanation. Your explanation must tell how and why your examples reveal a particular trait, whether the trait is moral, intellectual, or emotional.

Note: Other non-human entities can perform in the role of “characters.” For example, animals, nature (rivers, mountains, oceans, etc.), and man-made creations (cities, machines, houses, etc.) can function as characters.

If these writing notes help with your poem/story, do tag me. Or send me a link. I'd love to read them!

More: On Character Development

[johannestevans]

i think a really funny house md plotline would be if after cuddy and house are broken up and house starts actually dating wilson, cuddy's mother makes a snippy comment about how house loves dating jews so house decides to convert to judaism just to one-up her

no one would hate this more than james wilson. just he and cuddy just fucking dying, every rabbi in new jersey hates this man so fucking much

wilson loved it when he learned to cook. loves so many hobbies of his. his new obsession being yeshiva is BAD

i just think it would be a really good running plot where house is getting into fucking fist fights w ppl when he's meant to be fucking davening. house in the bath reading rabbinical literature and diagnosing hundreds year dead ppl based on biographical notes

esp bc you know arlene would be like. but aren't you jealous. because he didn't bother wanting to convert for you but he's converting for this shmuck

and cuddy is like. i'm so glad he didn't do this for me and literally all of us is suffering bc he's doing it "for" wilson

you know that there'd be at least one reform rabbi who just. gets really into this awful guy. you can always do with a good doctor who'll take freak cases whether they're poor or what, so he's actually into having this guy on board

but he's just so AWFUL

[niceonet]

TRAİLERDB - DEVASA+ (2)

As the film industry continues to evolve, sneak peeks into upcoming releases offer us a tantalizing glimpse of the stories, characters, and visual spectacles on the horizon. Whether you're a fan of thrilling blockbusters, heartwarming dramas, or spine-chilling horror flicks, there’s something for everyone to look forward to. 

New Movie Trailers

As we dive into the world of cinema, new movie trailers are a crucial part of what excites fans and sparks discussions before a film's release. Each year brings a wave of trailers that not only provide a glimpse into what to expect but also set the tone for upcoming films. From thrilling blockbusters to indie gems, the latest movie trailers give us a sneak peek into groundbreaking stories, captivating performances, and stunning visual effects.

The anticipation builds as studios release new movie trailers, often showcasing the top talents in the industry. The art of creating a compelling trailer has become a skill in itself, as filmmakers and marketing teams work diligently to distill the essence of a movie into a short, enticing clip. Whether it’s the heart-pounding action of a superhero flick or the emotional depth of a biographical drama, these clips are designed to hook audiences and keep them talking.

Every film genre has its unique traits that shine through in new movie trailers. For instance, horror films employ eerie soundscapes and unexpected jump scares, while romantic comedies highlight heartfelt moments and witty dialogue. The best trailers leave viewers wanting more, teasing just enough to spark curiosity without giving away key plot points.

Moreover, latest movie trailers are a great way to gauge audience reactions. Fans often flock to social media platforms to share their thoughts and predictions, creating a buzz that can significantly impact a film's opening weekend. Additionally, trailers can also offer retroactive enjoyment, as audiences revisit them after watching the film to appreciate the marketing and artistry involved in their creation.

With numerous film festivals and award shows showcasing new movie trailers, the excitement only amplifies. Events like San Diego Comic-Con and the Sundance Film Festival are just a few examples where audiences are treated to exclusive previews of highly anticipated films. These moments not only build hype but also reflect the creativity and diversity of storytelling in contemporary cinema.

In conclusion, new movie trailers serve as a vital connection between filmmakers and audiences. They encapsulate the essence of what’s to come, setting the stage for cinematic experiences that captivate viewers around the globe.

New Movie Trailers 2024

As we step into 2024, the excitement for upcoming films is at an all-time high. New movie trailers are being released at a brisk pace, teasing audiences with glimpses of thrilling plots, stunning visuals, and star-studded casts. Below are some of the most anticipated new movie trailers 2024 that have already caught the attention of film enthusiasts.

1. Action-Packed Blockbusters: This year promises a wave of adrenaline-pumping action films. One of the standout new movie trailers showcases the return of a beloved franchise, with high-octane sequences that leave viewers at the edge of their seats. Expect epic battles, mind-bending stunts, and heart-stopping suspense.

2. Exciting Adaptations: Fans of literature and comics will not be disappointed, as several new movie trailers reveal adaptations of popular books and graphic novels. The trailers give us a sneak peek into how filmmakers are bringing these stories to life, with stunning visuals and captivating performances that honor the source material.

3. Thought-Provoking Dramas: 2024 also promises to deliver a slate of new movie trailers that focus on compelling narratives and character-driven stories. These films address contemporary issues and human experiences, showcasing talented actors in powerful roles that are sure to leave a lasting impression.

4. Family-Friendly Flicks: There’s something for everyone in the upcoming year, with new movie trailers featuring animated films and family comedies. These trailers highlight the creativity and humor that make them perfect for audiences of all ages, filled with endearing characters and heartwarming stories.

5. Highly Anticipated Sequels: Fans of franchise films will be delighted to see the new movie trailers for sequels that expand on beloved stories. With returning characters and fresh plotlines, these films promise to deliver the nostalgia and excitement that fans crave.

In conclusion, 2024 is shaping up to be a remarkable year for cinema, with a variety of new movie trailers set to ignite the passion of moviegoers around the globe. Stay tuned as more trailers drop and the release dates approach, because this year is sure to be unforgettable!

Latest Movie Trailers

As movie lovers know, the excitement for a new release often begins with the unveiling of its trailer. The latest movie trailers give us a glimpse into upcoming films that promise to captivate audiences and spark conversations. With a wide array of genres, these trailers highlight the creativity and talent of filmmakers, showcasing their unique storytelling approaches.

This year, we have seen some incredible trailers that have set high expectations for moviegoers. From thrilling action sequences to heartfelt dramas, the latest film previews provide tantalizing sneak peeks into the narratives we can expect to enjoy on the big screen. Movies like Dune: Part Two and Killers of the Flower Moon have already generated a buzz through their stunning visuals and compelling storylines presented in their latest trailers.

One of the most exciting aspects of latest movie trailers is seeing our favorite actors and directors return to the forefront of cinematic storytelling. Not only do the trailers highlight their impressive performances, but they also give insight into the dedicated craftsmanship behind the scenes. Whether it's a gripping suspense thriller or a light-hearted comedy, the trailers are carefully crafted to deliver maximum impact and entice audiences.

In addition to the theatrical trailers, some films also offer teaser trailers, creating an air of mystery and anticipation. These short clips foster an engaging conversation among fans, fueling speculation about plot details and character arcs. Social media platforms have become a hub for sharing these insights, leading to a vibrant fan community eager to discuss the nuances observed in the latest clips.

As we venture further into 2024, the influx of new movie trailers continues to build excitement for the upcoming releases. Movies such as Ghostbusters: Afterlife 2 and The Marvels are generating significant hype, with trailers that showcase not just the actors but also the innovative special effects that cinema has to offer. This wave of new trailers keeps audiences engaged and eager for more.

Stay tuned as we anticipate the release of these films. The latest movie trailers are just the beginning of what promises to be an exhilarating journey through the world of cinema.

[fitz-higgins]

LGBT literature of the 1860s–1910s. Part 5

After a long pause, the list is back! Here we have a couple of plays, accounts by two trans women, lesbian poetry, and more.

1. Despised and Rejected, by A.T. Fitzroy (Rose Allatini; 1918). A pacifist novel published during World War One? With gay and lesbian characters? Yes, that was sure to get people in trouble. Its publisher was fined and the judge called it “morally unhealthy and most pernicious”. So, Dennis is a young composer who hates violence and therefore refuses to go to war. He also suffers because he is a “musical man”, that is, gay, and loves Alan, art-loving son of a wealthy businessman. His friend Antoinette, meanwhile, is “strangely attracted” to a woman. Nevertheless, the two attempt to love each other. When the war begins, Alan appears in Dennis’ life again, and they try to avoid being sent to the front together. Alan also persuades Dennis to accept who he is. Edward Carpenter himself defended the novel, saying that “the book is also a plea for toleration of a very much misunderstood section of humanity”. Read online

2. Autobiography of an Androgyne, by Ralph Werther (1918). Ralph Werther, also known as Jennie June, wrote this autobiography for doctors, and it is very revealing. Being a New York fairy (male prostitute) and possibly a trans woman, they tell frankly about the city’s gay underworld of the early 20th century and their personal experience, which is sometimes too frank and dark perhaps, but all the more interesting. Read online 

3. Poems by Mikhail Kuzmin. Kuzmin was not just the author of Russia’s first gay novel, but also a poet. Many of his works were dedicated to or mentioned his lovers. I’d recommend Where Will I Find Words (in English and Russian), Night Was Done (both in English and Russian), from the 1906-1907 collection Love of This Summer (available fully in Russian), mostly based on his love affair with Pavel Maslov in 1906. And also If They Say (in English and Russian), which is a great statement.

4. The Loom of Youth, by Alec Waugh (1917). A semi-biographical novel based on Evelyn Waugh’s older brother’s experience at Sherborne School in Dorset. It is a story of Gordon Caruthers’ school years, from the age of 13 to 19, and it is full of different stories typical for public schools, be it pranks and cheating exams or dorm life and sports. Although the homosexual subject was quite understated, the author implied that it was a tradition and open secret in public schools. The book became popular and soon caused a great scandal. Worth noting that before that Alec was expelled for flirting with a boy.  Read online 

5. Two Speak Together, by Amy Lowell (1919). Lowell was a famous American poet and lesbian. Many of her poems were dedicated to her lover, actress Ada Dwyer Russell, specifically the section Two Speak Together from Pictures of the Floating World. These poems are infused with flower imagery, which wasn’t uncommon for lesbian poetry of the time. Read online

6. De berg van licht/The Mountain of Light, by Louis Couperus (1905-1906). Couperus is called the Dutch Oscar Wilde for a reason: this is one of the first decadent novels in Dutch literature. It is also a historical one, telling about a young androgynous Syrian priest Heliogabalus who then becomes a Roman Emperor. Homoerotism, hedonism, aestheticism: Couperus creates a very vivid world of Ancient Rome. He also covered the topic of androgyny in his novel Noodlot, which was mentioned in Part 3 of this list. Read online in Dutch 

7. Frühlings Erwachen/Spring Awakening/The Awakening of Spring, by Frank Wedekind (1891, first performed in 1906). This play criticized the sexually oppressive culture prevalent in Europe at the time through a collection of monologues and short scenes about several troubled teens. Each one of them struggles with their puberty, which often leads to a tragic end. Like in The Loom of Youth, homosexuality is not the central focus of the play, but one character, Hänschen, is homosexual and explores his sexuality through Shakespear and paintings. The play was later turned into a famous musical. Read online in German or in English

8. Twixt Earth and Stars, by Radclyffe Hall (1906). Though it wasn’t known to many at the time, these poems were dedicated to women, some to Hall’s actual lovers. Read online

9. The Secret Confessions of a Parisian: The Countess, 1850-1871, by Arthur Berloget (published in 1895). This account is similar to the Autobiography of an Androgyne, albeit shorter. The author nowadays is thought to be a trans woman. They describe their love for women’s dresses, the euphoria from wearing dresses, makeup and wigs, the life as a “female impersonator” in Parisian cafe-concerts, and their love affair with a fellow prisoner. The autobiography is not available online, but you can read it in Queer Lives: Men’s Autobiographies from Nineteenth-Century France by William Peniston and Nancy Erber.

10. At Saint Judas’s, by Henry Blake Fuller (1896). This is possibly the first American play about homosexuality. It is very short. An excited groom is waiting for his wedding ceremony in the company of his gloomy best man. They are former lovers, and this short scene is not going to end well… Read online

Previous part is here

[girlactionfigure]

She was a teacher. She just wanted to help.

She was born in Milwaukee on September 16, 1902. She was known as "Mili" to her friends and attended West Division High School, now known as the Milwaukee High School of the Arts.

She would meet her future husband at the University of Wisconsin-Madison, where she earned a Bachelor of Arts in English in 1925, and a Master of Arts in English in 1926. They were married at her brother's farm near the village of Brooklyn, Wisconsin.

"They had a profound connection through literature, her Ph.D. was in literature," Madison arts program administrator Karin Wolf said. "That's what inspired and sustained them, the works of Walt Whitman in particular. I just feel them as very real people. They liked to hike, they liked to canoe, they liked being outdoors."

In 1929, she and her husband moved to Germany, where she worked on her doctorate. She taught modern American literature at Berlin University, becoming one of the first Americans on a faculty that included Albert Einstein.

The position was short lived, however, according to a story in The New York Times. Fifteen months later, the university had fired her for not being “Nazi enough.”

Adolf Hitler had been granted dictatorial powers by a subservient legislature. After the concentration camps opened, the couple had decided to stay in Germany, to assist immigrants fearful for their lives.

"They were confronted with this unacceptable situation, and they did what they felt what they needed to do as moral beings,” said Wolf.

They were saddened at what was happening to their beloved country, to see a dictator use racism to divide the people and use his propaganda machine to reinforce his power and control the people, destroying the country from within.

Alarmed by the rise of Hitler and the Nazi regime, she and her husband joined a small resistance group that helped imperiled Jews, assisted forced laborers, and documented the atrocities of the Nazis in Germany. Her husband would regularly meet with the first secretary of the American embassy to keep Washington informed on the state of the Third Reich’s economy, its trade agreements, rearmament and war plans.

Their group published an underground newsletter, and fed economic information not only to the U.S., but also to Soviet embassies in Berlin. After Germany invaded Russia, the group transmitted military intelligence to Moscow via radio “concerts,” prompting the Gestapo to call them the “Red Orchestra.”

On September 7, 1942, Mildred Fish-Harnack and Arvid Harnack were arrested while on a weekend outing in Germany.

Arvid was sentenced to death on December 19, 1942, and was put to death three days later. Mildred would be executed two months later, beheaded, on the orders of Adolf Hitler.

Mildred Fish-Harnack was the only American woman executed on the orders of Hitler. She was 40 years old.

"She could have come home at any time," Wolf said. "But there was something bigger than her that was compelling her to fight in the way that she could. I just think of that strength of character."

Shereen Blair Brysac, Harnack's biographer, said in a 2011 Wisconsin Public Television documentary that Mildred "had an American passport and she could travel to France and Norway and Denmark," but she instead used her connections to help those trying to flee Germany ahead of the Holocaust.

Mildred Fish-Harnack was initially given six years in prison, but Hitler refused to endorse the sentence and ordered a new trial, which ended with a sentence of death.

"This is a woman who 75 years ago was executed for her role in fighting fascism," said Wolf.

According to Jay Rath of isthmus, Wolf noted that Mildred Harnack never set out to be a hero. “She was just trying to do the right thing. Which I feel we’re called to do in every era, and have that kind of moral compass; that you won’t see your neighbor treated that way. You will risk your own safety and your own comfort, because it’s not right.”

Ellie Gettinger, education director at the Jewish Museum of Milwaukee, agreed, saying, the lesson of Mildred's life is to do what's right, even when it's hard.

This summer, the city of Madison, Wisconsin, unveiled a new sculpture to honor Mildred Fish Harnack, a teacher who just wanted to help - a Wisconsin farm girl who became a World War II resistance fighter in Germany.

The artist of the sculpture, John Durbrow, said the sculpture recognizes Mildred's "strength, courage and resolve to address early on the forces of oppression which eventually inflamed the entire world."

"None of us, hopefully, are ever going to face the kinds of conditions that Mildred faced," Gettinger said. "But if we can just say, we did what was right in that moment, that's keeping up her standard of excellence."

The Jon S. Randal Peace Page

[locusfandomtime]

fake book cover for Zed’s “The Eel” book!

sketches of other books in Cub’s museum and some design notes under cut! :)

I wanted to upload these because I kinda lost motivation and don’t plan on finishing them, but I thought people would be interested in seeing the WIPs anyway! Maybe I’ll come back to them, who knows.

The Eel - inspired by children’s books, obviously! Zed is quite an accomplished children’s book author, known for the “Aerial Sheep Service Chronicles” (ASS for short) and the superhero series “Wormman”. I thought it would be funny to have his book have a ridiculous amount of stickers on it, just seems like a Zedaph thing idk. The whole “where do eels come from” was inspired by a genuine scientific question that has only been recently answered.

DocM77: Redstone, Life & The Goats - this title immediately struck me as one of those biographical books written by like, tech CEOs or sportstars or whatever. Naturally, we have Doc posing shirtless for the camera, and some dramatic text overtop. Ren helped him write it since Doc reasons Ren has experience in literature and drama and whatnot. Ren actually doesn’t, but he has enthusiasm!

Cubfan135: The Man Behind The Chaos - since this is Cub’s shop, naturally it is decorated with a best book award. This book is written in third person but don’t let that fool you, Cub wrote it about himself entirely on his own. Compared to Doc’s, its less of a self-help life-retelling kinda thing and more just a list of all the cool things Cub has made in extreme detail.

Decked Out: Blueprints and Secrets - this is a book but its formatted very like a magazine, with little puzzles inside and maps and pretty pictures and what not. Its a promotional advert for the Decked Out 2 dungeon essentially, but is very cool and Decked Out 2 is cool so it has a bunch of sales.

[familyabolisher]

Sorry to ask something somewhat related to the recent discourse, but do you have any advice to someone trying to teach themselves lit analysis or lit theory? Seems like most online advice ends at "get an English degree lol"

first of all sorry for leaving this for so long, between work and various other Demands in my life i didn’t really have the time/energy to sit down and write up a proper answer for a while. anyway: imo, what’s more important than working your way through a long list of critical theory is honing an ability to respond to a text yourself; being able to take notice of your emotional responses, being able to ask questions about what the text does and what it responds to and whether you think it succeeds or fails. questions like ‘what is the text about?’ are often too vague, and assume that critical practice is a task limited to investigating the ‘correct’ metaphysical properties of a text that we have to uncover, as well as presenting literature as wholly utilitarian (under this framework, a text becomes a vehicle for a ‘theme,’ and nothing more.) in the list below, i’ve tried to be a little more precise about the kinds of questions that can help you become a more confident + critical reader.

[disclaimer: i am not any kind of expert, i have studied english lit at degree level and i do read a lot / make a habit of talking about what i read, but i would not consider myself especially ‘qualified’ and nor should you. i’m explaining a process that works for me, not providing a one-size-fits-all solution to the question of analytical methodology.]

the essence of literary practice is that a text has a terrain where it has to be met with, and where it will be accountable to forces that are often beyond its control or beyond its immediate borders, and a terrain where it asks to be met with, and towards which it will attempt to navigate the reader; the reader’s job is to meet with it on both terrains, synthesise them, and respond to them. so, some of the questions you should be asking about a text include:

what is its context? this can mean a lot of things: when and where was it written, and how might the conditions contemporary to its creation be informing the inner working of the text? is it considered part of a particular literary movement; how does it interact with the core characteristics of that movement? does it invoke other works; if so, how does it respond to them? what biographical information about the author might be relevant to the piece? some books will come with an introduction which, if written well, would cover at least the outstanding details on this list; you can also have a look on wikipedia or other such websites to get a feel for the conditions under which the text was created.

how does it respond to this context? rather than assuming a text to be a passive body onto which its external conditions are exerting their unilateral force, we should always understand a text as being in active dialogue with the context that shaped it. what are the questions typically posed within the movement or genre to which it belongs; how does it answer these questions? does it build on its predecessors in any way? if it’s a responsive text (ie. consistently invoking an earlier text), what does it have to say about the text to which it responds; how does it develop or contravene the template from which it was building? how might it be responding to the questions of its time; which paradigms are challenged? which are endorsed, actively or tacitly? what goes unmentioned? i emphasise critical engagement with context so heavily because it’s often where the meat of the text can be found. 

what are the conditions which made this text possible? this is a little different to questions about context, which have a far broader scope; this is a question which seeks to treat a text not as a thing that came into existence of its own accord, but as a thing that emerged as a result of a process of material production that depends upon particular conditions. is it a mainstream publishing house, or an indie press, or self-published? how does this affect its authority, or the standard to which we hold it? how does this affect its relationship to narratives of cultural hegemony? what can that tell us about what hegemony can and cannot absorb? this is me being a big marxist about it but i think this question is woefully neglected in literary studies lol

why did the author make the choices that they made? one of the most important things to remember when it comes to literary analysis is that every choice made in a text is deliberate; every choice about what happens, what a character says and does, what a character looks like, how particular characters interact, how scenes and objects and settings are described, what prose style is employed, what word is used in a sentence, etc., is a deliberate choice being made by an external agent (ie. the author, sometimes/arguably also the editor, also the translator if a text is in translation), and those choices are accountable both to the deliberations of the author and the external cultural narratives with which they necessarily enter into a dialogue. ‘why does a character behave in a particular way’ is not a question that invites you to treat the story like a riddle for which you can find an ‘answer,’ but a question that engenders the following: what does their behaviour reveal about the character, and how might this be situated within the discourse of the wider text? does this behaviour reveal any biases on the part of the author? what sort of expectations does this behaviour establish, and are those expectations met or neglected or subverted? the same process can be applied to themes, settings, plot beats - anything, really. why is this particular adjective used - does it have other connotations that the author might want to draw attention to in relation to the object being described? why does this chapter end here and not here? nobody in a novel has agency that extends beyond the boundaries of the novel itself; part of the practice of analysis means discerning which choices were made and why, and whether those choices were good or bad. 

what is your response? analysis is a misleading term for this practice; it’s less about dispassionately picking at a text in search of an ‘answer’ and more about evaluation - assessing the text’s successes and failures and cultivating your personal response to it, which means paying attention to your responses as you go along. some people would argue that ‘did you like/dislike this’ is a juvenile question, but i would disagree - knowing whether you liked or disliked something and being able to describe why it evoked that reaction in you is crucial to an evaluative practice. a text can be conceptually excellent, but falter if its prose is clunky or uninspired or unimaginative; being able to notice when a text isn’t engaging you and asking why that is is an important part of this evaluative process. similarly, what do you make of the themes and developments present in the text; does it dissect its themes with precision, or does it make broad gestures towards concepts without ever articulating them fully? is it original? does it have sufficient depth to it? do you agree with it? are you compelled by it? if you were asked the questions that the novel tries to respond to, what would you say; do you think that the novel misses anything out? has it challenged your own perspective? what are its limitations?

literary analysis is a learned skill, but by its nature of being a skill it gets a lot easier over time, and some of these questions will become intuitive. a good way to hone the skill and develop a greater intimacy with a text is through close reading; this refers to the practice of selecting a passage (or even just a sentence) and picking it apart line by line (word by word, even) to describe in intimate detail exactly how the sentence(s) came to be formed in the way that it/they did. i’ll use the first few sentences of daphne du maurier’s rebecca as an example.

Last night I dreamt I went to Manderley again. It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter, for the way was barred to me. There was a padlock and chain upon the gate. I called in my dream to the lodge-keeper, and had no answer, and peering closer through the rusted spokes of the gate I saw that the lodge was uninhabited.

so a close reading of these sentences might identify:

‘last night i dreamt i went to manderley again’ is in iambic hexameter; this rhythmically satisfying invocation makes for a smooth opening sentence, and contrasts with the longer, more complex sentences that follow on. the change in rhythm through such a contrast helps to maintain momentum throughout the paragraph.

the first sentence also introduces a few key pieces of information - that this story is being told from the first person, that we are opening with a dream (and that the narrative places stock in the significance of dreams), and that the speaker is going to manderley ‘again’ - ie. that this is opening after an event in which manderley was significant. that the speaker going to manderley ‘again’ in a dream holds importance implies an exile from manderley in the ‘real’ world; this already gives us hints at the broader shape of the narrative. 

the speaker’s intimacy with manderley and disregard for ‘telling’ the reader what it is (we do not get, like, ‘manderley is a house’ or something - the passage continues as though we know what manderley is already) helps to develop our sense of immersion in the dreamscape. it also sets manderley up as a place of immense significance.

both ‘it seemed to me’ and the later ‘i called’ have a matter-of-factness to them, a certain dry reporting of the events of the dream which, rather than situating the reader within the texture of the dream itself, refortify us as outside of it, listening to it be explained after the fact.

‘for a while i could not enter, for the way was barred to me’ continues the theme of implied exile that the first sentence gestured towards. the iambic trimeter on ‘the way was barred to me’ creates a lilting cadence which, along with the use of the passive voice, detaches the speaker from an emotive response to this being ‘barred’; it is a reported dream that will not consciously acknowledge the speaker’s feelings about being exiled from manderley at this time. (we instead infer these feelings through how the chapter develops.)

‘there was a padlock and chain upon the gate,’ as a short sentence, falls into the same matter-of-fact register as that which i alluded to above, partly through the use of the passive voice, and - as i explained earlier - varies the length of sentences such that the paragraph retains a particular buoyancy. 

the development from the speaker calling to the lodge-keeper to not getting an answer to seeing that the lodge is uninhabited tells a story wherein the speaker at first has authority such that a lodge-keeper would respond to her and let her in; this authority is negated by the lack of response; the lodge-keeper is found to be absent in a development that took place whilst she was herself away, presumably in the state of exile that we have inferred her to be in. ‘uninhabited’ is the kind of word you would expect to be used for an area of land, often with a colonial connotation; this introduces a theme that this chapter (& the book as a whole) goes on to develop, of manderley being a site of colonial decay; as reinforced by the ‘rusted spokes.’

in my experience, close reading is a technique best practiced on poetry, but it’s a very helpful skill to develop in general, and implementing it with prose can elucidate the nuances of a text far more clearly than you might initially realise. in a well-written novel, language is very deliberate and precise!

i think the best thing you can do to develop your skills as a critical reader is to read carefully, and to keep track of your responses to a text as best as possible. keeping a note of what you think a text achieves and how you respond to it each time you read one can be a good way of sorting your thoughts into something coherent and developing your ability to articulate a response. anyway, hopefully this has provided something resembling a guide for how to develop the thought processes that go behind critical practice!

[burningvelvet]

i thought nothing could be worse than the burning of byron’s memoirs but i stand corrected after reading jane austen’s poor wikipedia page

because at least we still have thousands of byron’s letters and journals which are mostly uncensored and which reveal his personality in all of it’s aspects, flaws and all, and everyone in his circle documented every detail of his life because he was a huge celebrity. his letters are considered some of the most brutally transparent ever written. i'm just using him as an example; him and austen shared the same publisher, lived during the same time, both very studied.

but with jane austen? we don’t get that honesty or that truly full picture. her relatives are the main sources of information, and all her surviving letters were carefully selected by them to portray her according to a specific agenda which would favor them, and so the true extent of her personality can never be as fully ascertained.

but at the same time... i don't think that's necessarily a bad thing. she doesn't seem to have wanted attention for herself but to have likely preferred privacy, and her books have gotten more acclaim that she ever could have comprehended -- her books are the way we access her, her life, her thoughts and her voice. i think that about all writers, though i do love biographical criticism and biography.

some writers we know nothing about and some writers we know everything about -- at least they all live on in their writing, yes. but on the one hand, i'm grateful all writers live on in their work (as a fan of history and literature) and on the other hand, my unquenchable curiousity does get annoyed with the lack of available information. i would really love to read an extensive series of austen diaries. there is something sort of voyeuristic about this, i know, but there is also a love of preserving the niche parts of history, the parts that others overlook, the undervalued parts (letters, diaries, receipts, notes, scraps, drafts, juvenilia, etc.)

marcus aurelius wanted his diaries burned but perverse curiousity, likely driven by excessive admiration, led to their preservation, and thus we have his meditations which is now one of the most valued pieces of literature ever. so i think letters and diaries, and any piece of writing, does have immense value, even when it borders on a violation of privacy or has the potential to ruin a reputation.

i think this all simply ties in to the fact that i don't believe in book-burning in any form. embarrassing love letters from 1812 ARE important, depressing diary entries from 1818 ARE important. i could go on and on and on but the point is that i think all words and all history are imporant. in my classes we've discussed how archival technology is at the forefront of all human knowledge: what do we keep, what do we preserve, what do we spend more time on salvaging?

it just kills me that so much has been burned and destroyed, regardless of all the intense ethical discussions which could derive from all this, which could go on for a million years. my point is that it is tragic that so much of austen's work was destroyed, and it is tragic that byron's memoirs were destroyed even though we have so much of his work any way. any loss of writing is a loss to posterity.