#cross-cultural writing

[artemisdesari-blog]

Sometimes being the mum who exists in fandom spaces leads to awkward, even concerning, conversations. Such as the one which happened this morning. The mum of my daughter's best mate asked me if one of their mutual friends had sent her a specific message. This message was a link to a fic on ao3, if this had been a G rated fic this conversation would not have happened. It was not G rated. It was an E rated fic. Our kids aren't even 12 yet. As it happens, both of our kids have their internet access heavily locked down and monitored. They have phones because of how their school manages homework. The mutual friend, however, is not so monitored. Or she wasn't, given what her mum found she's about to be. This kid had found a fandom, joined it, and found it chock full of antis. The fic had been sent to her by one of them as an example of the sort of terrible people out there who need to be harassed and attacked because they wrote a smutty story.

Someone thought it was appropriate to send written porn to an 11 year old to encourage her to attack the author.

This resulted in a very awkward conversation where I had to explain to multiple horrified parents the anti culture that is becoming so prevalent. The fact that there are adults who use that purity message to groom kids. The way they escalate and how it bleeds into real life. One parent told me she'd wondered why her 14 year old was suddenly concerned about the two year age gap between her parents. The more I explained, the more absolutely ludicrous it sounded and the more baffled these poor mums looked. More than once I was told "but the characters aren't real, it's really weird but it isn't hurting anyone". Which is the point. The fictional situation isn't hurting anyone. The person who sent porn to an 11 year old is.

Was the person who sent it the author? Doubtful, that thing was tagged in the extreme. Was the person who sent it an adult? Almost certainly. The parent who's child received the original message has found more concerning stuff and gone to the police, but from the language the person doing the sending was in the US. We aren't. Did my daughter receive it? No, she isn't interested in that fandom and therefore wouldn't have bothered with it. Is this the fault of the author? No, they didn't send the link, they didn't ask to be harassed, they wrote a story and put it on ao3, the website created in response to rampant censorship and designed to allow for all kinds of fiction. Is this the fault of the parents? Partially, they should have been looking at their daughter's internet use and clocked what was happening sooner. Is this the fault of the child? No, she's 11, she didn't know better.

This has been a difficult day. Multiple parents have had their eyes opened to parts of fandom culture they had no idea existed. And the thing of it is, they aren't concerned about the why of anti rhetoric. They don't care about the adults writing about teens or rape or incest or torture or any of the rest, because they looked at the clearly tagged and rated fics and figured that it worked the same as a warning on any streaming service. They only cared because some utterly vile individual decided to expose their child to something this girl might not have looked at for years.

Proshippers did not cause what I have spent afternoon helping several sets of parents navigate. Antis did. Normally I'm fairly quiet about the whole debate because I just want to get on with my life and share my experiences. Today I got dragged into that mess in my every day life and the adults in the equation didn't react the way Antis like to think they would. They didn't condemn the author. They condemned the anti who shared the work with a preteen.

[messrsbyler]

ao3 authors who have no social media are are so mystical. they really be writing and posting some of the most perfectly crafted pieces of media and then disappearing without a trace

[fruityumbrella]

one piece is set in a nautical world with presumably nautical idioms and exclamations to match, right, like swearing by the sea rather than on a god etc. to wit, there's five seas (the four blues + the grand line) so we can assume when you're feeling particularly dramatic, you might refer to all those vast oceans to get your hyperbolic point across.

keeping that in mind, lets live in a stupidly romantic corny ass world for a moment ok? take my hand.

"I swear on all six seas, if you don't shut the fuck up right now—"

"What?" Sanji looks at him like he's stupid. Nothing new, really.

"Ha, even you're going deaf having to listen to your own annoying ass whining all the time, Cook. I was—"

"No, you—"

"Don't interrupt me! Oi!" he yelps as a wooden spoon bounces harmlessly off his shoulder. He's not impressed that Sanji manages to catch it before it hits the counter.

"You said six seas," Sanji states.

Zoro stares back in lieu of an answer.

"Huh, maybe this has something to do with why you're always lost. There's only five seas, dummy."

And ah, now he gets what the idiot cook is on about. He's surprised and a little disappointed, honestly. You'd think the guy would be a little more aware about his own fucking dream, but whatever. He's got that annoying smile, smug and cocky like he's oh so much better than Zoro.

"Would you like me to count them out for you? I know it's a big number, it's probably confusing for a simple creature like you."

Zoro crosses his arms in clear warning, something the cook, as always, blatantly ignores. He's leaning on the counter that's between them now, eyes sparkling with glee. Idiot. Zoro's thoughts do not have a fond tone to them. Thoughts don't have tones at all, thank you very much.

Sanji lifts a hand and proceeds to count off on his fingers with the precision of a drill sergeant.

"I'm sure you at least know our ocean, the East Blue. There's also the West Blue, North Blue, South Blue, and of course the Grand Line," he wiggles all his fingers as he puts his thumb up for the last one like he's emulating fireworks.

Zoro snorts indelicately. "And?"

Sanji frowns with a tilt of his head.

"And?"

Zoro holds up his index finger.

"And," he says, stifling his amusement as Sanji goes cross eyed trying to follow said finger as it arcs towards him, "your All Blue. Dummy."

He punctuates the last word by poking Sanji in the forehead, snickering when he sputters and swats the digit away in a huff. Then Zoro's words finally sink in, and he straightens up almost too fast. It's not endearing at all.

"Wait," he says quietly, "you count it?"

Zoro doesn't like how Sanji's looking at him with an open expression he's not usually allowed. He looks earnest and sincere. Zoro feels suddenly out of his depth.

"Don't you?" he deflects uncomfortably.

"Well yeah, but that's different. You're—" he shrugs half heartedly and looks away. Zoro can't tell if the end of that sentence was going to disparage him or the cook. Odds are likely split down the middle. Sanji keeps looking at him, and he feels pinned. The bright look is gone, replaced by something more reserved but perhaps...searching? Considering, at the least. It's making him increasingly self conscious. He needs to get out of here.

"Okay. I'm gonna steal some alcohol now," he says shortly, striding to the cabinet and swiping a bottle before Sanji blinks out of his stupor.

[baejax-the-great]

Archive-locking the fics that YOU WROTE and are thus 100% yours to decide what to do with 'hurting people' is so silly tbh. Skill issue on their part. Wish those people could be normal about the amazing fics that writers like you put out & be understanding or at the very least respectful of the choices that writers make about how and where they make their fics available. Especially in light of recent ai training theft and nonsense & all that.

I hope this doesn't sour the fic writing & sharing experience for you too much. I love your writing & think you're very talented & skilled!

There seem to be dual attitudes I'm coming up against recently (and obviously these are not held by everyone, I don't even know that they are held by a majority, but they are certainly held by a plurality).

The first is that authors should be grateful that readers deign to read what they put out there. I think this stems from the "content creation" mentality and the idea that everyone who posts things wants as massive as an audience as possible (for monetization purposes which... isn't a thing in fanfic). I think this mindset also leads to readers demanding that people write specific tropes/pairings/whatever, or threatening basically to take their business elsewhere. "Nobody will read unless you do [X]." 1. Not true and 2. Okay, you weren't my audience.

(I also think authors circulating those posts about how badly they want comments/kudos feeds this mentality of readers doing authors a favor by even clicking on the fic. "Wow, if people are so desperate for attention, then mine must be worth an awful lot!")

Fanfic ain't a business, and I write for myself. Readers choosing to read my work isn't a privilege or an honor they are bestowing upon me (nor are comments for that matter), just as me posting my writing where they can see it isn't a privilege or an honor for them. We are both engaging in hobbies and a love of some media, and sometimes we will overlap and connect and sometimes we won't. Readers aren't reading out of altruism for attention-starved authors, and authors aren't writing out of altruism for content-hungry readers.

And there are those who will read these paragraphs above and think to themselves "wow, what an ungrateful author," and that's exactly the attitude I'm talking about. Don't get me wrong, it's delightful and rewarding to receive comments on fics and chat with people about Blorbo and the Situations. But it should be delightful from both sides of the exchange, or why the hell are we doing this? If I'm meant to be grateful for every commenter who jumps into my inbox, then every commenter in my inbox better be grateful for me, and I can tell you right now there is a population who is not. There is a population who sees me as a service provider for their entertainment, and whatever form I take in their brain, it is not shaped like a full person.

This attitude also leads to people thinking that things like lorefm are no big deal. Don't I want to get my work in front of more eyeballs (or ears)? Don't I want to broaden my audience? And once I put my work out there for readers to see, should I be shocked (or express any negative emotions at all) when someone plagiarizes/scrapes it for AI/demands updates rudely/reads it on a monetized youtube channel/binds it and sells it for profit?

The other idea I've been coming up against is almost the opposite of this--that because some readers form attachments to fic, deleting that fic (or even archive-locking it!) is actively harming those readers. Sure, they can't be bothered to hit the download button or get an AO3 account, but that's no reason not to think of these strangers first before doing what I want with my creative output.

Yall, life is ephemeral. There are things we will see and enjoy and never find again for one reason or another, and it's not harm being done to us, it's just the nature of existence. Having an emotional reaction to something does not give you any sort of ownership over that thing. Artists are allowed to change their minds about whether they want that art in the wild, particularly given that it's free. Maybe it's because I utilize the library a lot, but reading a book and then losing access to that book is not a crime against you, it's just a normal thing that happens. If you read something and it means that much to you, there are ways to avoid losing it (download it).

Seeing this particular attitude extend out to "not making your fic available for as many people to read as possible is harming them" is beyond bizarre. If I woke up tomorrow and deleted everything I have ever written, there would still be thousands upon thousands upon thousands of beautiful, emotional, meaningful fics out there for people to read. They would lack for nothing. Would some people be upset? Probably. Would I be hurting them? No, not really.

Sometimes people have negative emotions because of our actions, but that doesn't mean we did anything to them. This is one of those times.

Lastly, this AI and everything else bullshit really has taken a toll on my enthusiasm for posting my work. It's one thing for companies to try to pillage every thought, every word, every stroke of a pen or paintbrush to enrich themselves while actively making the planet an unbearable and inhospitable place to live, it's another when fellow fans are telling you that "Whelp that's just life, what did you expect, give us your content anyway or you're a bad person and if you complain, then I'll be taking my business elsewhere, you sensitive, entitled creative, lol."

[lameotello]

I find it very interesting that antis are usually preoccupied with the shipping part of fandom. You'll see fics and artwork that details torture and gore with "proship dni" on it. I'm not saying that those works don't deserve to exist, obviously they do, but I just find it interesting that antis tend to only have a problem when it comes to taboo relationships in fandom. If you're able to separate reality from fiction when it comes to violence, why not when it comes to romantic or sexual relations?

[monachopism]

being jewish with zero affiliation to israel and rather a generational line of activists for palestine is a hard line to walk and sometimes i wish i could just fall off

[sysig]

Totally unaffected by this gesture of affection, definitely (Patreon)

[vriskarlmarx]

“A veces noto como tus manos son tanto más suaves que las mías. ¿Te habías fijado?”

“... You know I don’t speak Spanish. ‘Manos’ is hands, right?”

Yo tengo callos en los dedos, un cuchillo en la mano derecha y mi corazón en la mano izquierda. Their hands are empty, and their wrists smell like strawberry-scented hand lotion. “Sí, pero no te preocupes, no espero que lo llegues a entender. A veces pienso que debes ser de papel.”

They’re trying to smile, but their eyes are shallow and empty. They always have been — paper has no depth. “Are you doing like, a bit or something?”

Me río, espero que no suene tan cruel. “Me da miedo que un día veas la sangre que tengo en las manos, que te manche solo un poquito y te espantes. Porque así te darás cuenta que yo sí tengo huesos, y venas, y víscera.”

 ���...” They tilt their head. “Are you alright?”

“Yeah, I’m fine.” I smile at them. “Bueno, a veces. Pero tú no, nunca. A mí me duelen las tripas y la memoria, pero prefiero eso al vacío que tienen ustedes, allá. Al papel, a la nada.” Siento el peso del cuchillo; quiere que lo ocupe. I ignore it. “... Just hard to translate, is all.”

“Haha, okay.”

[queenlucythevaliant]

Professor Kirke remained at the small dining table after the last of the dishes had been cleared away, puffing clouds on his pipe. It was strange, thought Lucy: he had a faraway look in his eyes, as though some tiny aspect of his reality had shifted over dinner and he was struggling to accommodate it.

“I wonder what he’s thinking about,” murmured Lucy to the others. Edmund shrugged and Eustace (who had only met the professor that night) said nothing, but Peter chuckled merrily and patted Lucy on the arm.  

“You’ll find out soon enough, that’s certain. He got that look in his eye when you were talking about the Island of Dreams, Lu. No doubt he’ll call you into his study for a lesson later on.”

It was a little more than a week later that Peter’s prediction came true. Professor Kirke seated himself across his desk from Lucy with an enormous tome of poetry spread out before him. “Have you heard The Rime of the Ancient Mariner?” he inquired.

Lucy shook her head. Yet rather than muttering about the state of the schools as she had expected, Professor Kirke simply smiled beneath his whiskers and began to declaim:

“It is an ancient Mariner /And he stoppeth one of three —"

Lucy leaned back in her seat and fixed her attention on the words as best she could. Once, she’d spoken in such a register as queen of Narnia, but now she was only a girl of ten and unaccustomed to the flowery language of Romantic poetry.

“At length did cross an Albatross,

Thorough the fog it came—”

“Oh!” cried Lucy. “Is that why you wanted me to hear this poem?”

“Just so,” the professor replied. “Your account of the Island where Dreams Come True bears a marked resemblance to The Rime, beginning with the presence of the albatross. In this poem, the albatross bears a symbolic connection to Jesus Christ himself.”

“How peculiar!”

“I thought so too. Samuel Taylor Coleridge wrote this poem in 1797, in a time when sea voyages to the polar regions were very much like your own voyage to the end of the world. The albatross had only lately been described in writing, but he wrote it coming out of the desolate fog to guide sailors to safety. And Coleridge was a neo-Platonist! Fog and ice are very much like darkness, the way he uses them here.”

“A neo-Platonist?” Lucy asked, wrinkling her nose.

And now came the Professor’s customary muttering. “Yes. What do they teach in these schools? You may read darkness and fog both in Coleridge as something between ignorance and innocence, with the Sun as a symbol of Reason. Does that make sense?”

“A little,” said Lucy, who privately didn’t think it made much sense at all but was eager for the professor to continue the poem.

“It ate the food it ne'er had eat,

And round and round it flew.

The ice did split with a thunder-fit;

The helmsman steered us through!”

Lucy hadn’t meant to interrupt again so soon, but the words were out of her mouth before she was really aware that she’d spoken them. “So it really is just like in Narnia! It guides the ship out of the ice like my Albatross guided us out of the darkness.”

“Yes.” Professor Kirke was entirely unperturbed by the interruption. “Precisely.”

“How lovely. Isn’t it interesting how you just know when birds are trustworthy?”

The professor chuckled. “You may change your mind in a few stanzas. Shall I go on?”

“Please.”

Lucy returned to her concentration as the mariner recounted how a good wind had sprung up after the Albatross and how it had stayed with the ship and perched on the mast sometimes for evening prayers. Yet the mariner must have looked unhappy, for the groom interrupted to ask him why.

“With my cross-bow/ I shot the albatross.” Professor Kirke paused here in his telling and looked very hard at Lucy.

It took her a long moment to understand. “The albatross isn’t dead, is he?”

“He is.”

“I thought you said he was like Aslan.”

“And didn’t you see Aslan die?”

Lucy opened her mouth, but closed it a moment later. Open again, “But why did the mariner kill him? Doesn’t he give any reason? The witch killed Aslan because she was evil and trying to conquer Narnia. Why would the mariner kill the albatross when it’s done nothing but help him?”

“Perhaps,” the professor replied, “the Gospels are a simpler comparison here. ‘I shot the albatross’ has the same kind of blunt irrefutability as ‘And they crucified him.’ There isn’t any excuse, which I think makes the confession all the more powerful.”

Lucy sighed. It was exhausting trying to keep this all straight. “I suppose that makes a kind of sense. But then we’re trying to think on three different levels of parallel—the poem, the Bible and Narnia—which isn’t very pleasant.”

“And yet, it’s necessary if one wishes to understand deeper meanings. We can pause for tea, if you’d like?”

“No, that’s alright. I think I’m keeping track well enough for now. I say though, is this what you do with Peter all day?”

The question seemed to catch Professor Kirke off guard, for he let out a sudden, loud burst of laughter as soon as Lucy asked it. “Yes, after a manner of speaking. Shall we go on?”

“Ah! well a-day! what evil looks

Had I from old and young!

Instead of the cross, the Albatross

About my neck was hung.”

It was a difficult thing to imagine and Lucy wondered if Aslan’s albatross was unusually large. Aslan was always bigger than she expected him to be, so it would not be strange if he took the form of an unusually large albatross. Yet the more Lucy considered, the more sense the image made.

“It must have been at least three meters,” said Lucy. “The albatross, I mean. Mine was more like four, from wingtip to wingtip. It would be a dreadful weight, but I suppose that’s the point. The mariner can’t carry it, can he?”

“I think you’re right,” said Professor Kirke.

A smile tugged at Lucy’s cheeks. It was lovely to hear the professor give such an unequivocal endorsement of her analysis. Galvanized by the success, she continued, “I thought of a cross when my albatross appeared out of the darkness. There’s something in the proportion of the body to the wings, and in its stillness of it as it glides through the air. My albatross tore away the darkness. But here—it’s like the mariner carries his albatross like he thinks that act can save him from what he’s done.”

There was a glittering in the old professor’s eyes then, and suddenly Lucy realized that she wasn’t struggling with the poem’s language anymore. Maybe it was because she’d been listening to it for the better part of ten minutes, but privately she wondered if Narnia’s magic might be working on her somehow. Perhaps this poem contained some quality of the rich Narnian air.

“I looked to heaven, and tried to pray;

But or ever a prayer had gusht,

A wicked whisper came, and made

My heart as dry as dust.”

Lucy shut her eyes and remembered the fighting-top of the Dawn Treader. The night-mare life-in-death was a black abyss, and all her own nightmares had been there in it. There had been monsters, of course, and the idea that even if she ran down to stand beside Edmund he might become a monster himself. But somewhere in all that dark, there was a Lucy who never spoke to Aslan again. She’d imagined herself in Lord Rhoop’s place, trapped forever in a state of endless fear-without-courage, because she could not call him.

“That was my night-mare too,” she whispered. “Not being able to pray.”

She saw the professor’s lips thin beneath his whiskers and wondered at it. “You’re wiser than you have any right to be,” he murmured. “Ten years old and your greatest nightmare is alienation from God. What a marvel you’ll be when you’re grown.”

Well then. Lucy didn’t have any notion what to say to that. She half expected that if she tried to reply, she might start crying.

“Might I ask—what did you do then? Until the albatross arrived, once you realized that you couldn’t pray. How did you react?”

And that was a question she could answer.

“But I could pray! I did. I whispered, ‘Aslan, if you ever loved us at all, send us help now.’ And that was when the albatross came. I didn’t talk about it after—it was too much my own for me to share it, really—Edmund knows—but well…”

The professor made a sort of choked noise in his throat. “Perhaps it was the only nightmare that the island couldn’t bring true.”

“But there have been times,” continued Lucy, “when my heart was too dry to speak with Aslan. There were whole years when I was queen that he didn’t come at all.”

It was with a much softer voice that Professor Kirke resumed his reading.

“A spring of love gushed from my heart,

And I blessed them unaware:

Sure my kind saint took pity on me,

And I blessed them unaware.

 The self-same moment I could pray;

And from my neck so free

The Albatross fell off, and sank

Like lead into the sea.”

Here, the professor lapsed into silence. Lucy thought that the poem might be over, but when she peered across the desk at the page there were columns of stanzas still left.

“Even after all these years,” he whispered, “some things still remind me of my own days in Narnia.”

He’d told the children his story before, of course: beginning with how he met Aunt Polly and concluding with the origins of the wardrobe. Aslan had not condemned him for bringing the White Witch to Narnia. Instead, he’d had loved Digory enough to shed tears and sent him home with an apple so beautiful that it healed his dying mother.

“Grace,” Lucy whispered into the hush. “Of course. Maybe this is the moment where Aslan leads the mariner out of the darkness.”

Professor Kirke exhaled heavily. The faraway look in his eye lessened a little bit, and at length he read on.

“The spirit slid: and it was he

That made the ship to go.”

Never had Lucy felt Aslan’s presence more keenly in his absence than during those last days as the Dawn Treader had sailed over the still, clear waters at world’s end; like Aslan himself had been drawing them towards himself by some great, invisible rope.

The closer they’d come to his country, the more tangible his spirit had been. When at last she glimpsed those green mountains beyond the waves, Lucy’s very bones understood that Aslan had made the still seas bring them there.

A voice spoke out of the air concerning the mariner, and Lucy remembered the piercing silence of the Last Sea. Of the voice, the mariner said, “He loved the bird that loved the man/ Who shot him with his bow.”

Not for the first time, Lucy wondered about Aslan’s father, the Emperor-beyond-the-Sea. What did he say to Aslan when he left that land of high mountains to return to Narnia and die at the Witch’s hand? What did he think when Aslan went flying across the lily-covered seas on feathered wings to rescue their little ship? If Lucy had crossed that final threshold with Reepicheep, would she have met the Emperor there?

“The voice is his father,” Lucy said, voice brimming with certainty. “The albatross’s father, I mean. The Emperor-beyond-the-Sea.”

“I know,” the professor replied. “And beyond the sea is just where our mariner meets him.”

“Do you think the mariner knew that the albatross loved him?”

The professor stroked his chin again, and a ghost of a smile played across his features. “If the mariner didn’t know it when he shot him, he certainly knows now. But come, we’re nearly at the end of the poem.

“Swiftly, swiftly flew the ship,

Yet she sailed softly too:

Sweetly, sweetly blew the breeze—

On me alone it blew.

Oh! dream of joy! is this indeed

The light-house top I see?”

“There’s one more thing I haven’t told you,” Lucy said. “Something so bright and mysterious that I’ve not even told Edmund. When the albatross came, it—it spoke to me. And I wasn’t afraid anymore.”

Professor Kirke leaned forward, but his words were, “You needn’t tell me what he said if you’d prefer not to.”

Lucy nodded slowly. Somehow, she knew that if she tried to describe “Courage, dear heart,” she would fail. There was nothing, no word or image or music or poetry in this world or any other that could convey what that moment had been. To speak of it at all would be like dancing about architecture.

“I was the only one who heard him,” Lucy whispered. “It was my prayer, and he spoke to me. I wonder how this poet knows what it was like?”

“I think he knows the same way I do, in my own way. Coleridge lived a difficult life. He was a laudanum addict when he wrote this, for one thing. When the Divine voice speaks into our darkness and we feel his breath on our faces, it binds us together with every other person who has ever been rescued by an albatross that loved us. We don’t know what he says to other people, but we know how the breeze feels.”

The professor returned to his reading and concluded the poem while Lucy sat in astonishment and let the strangeness of the last hour wash over her.

“…A sadder and a wiser man/ He rose the morrow morn,” and with those words Professor Kirke shut the book. The heavy pages fell with a thud, and with bright eyes he looked at Lucy. “What do you think of it?”

“I think,” said Lucy slowly, “that it was a beautiful story. The very best kind.”

What she did not say, but what she was thinking, was that it reminded her of the story she’d read in the Magician’s book: the one about the cup, the sword, the tree, and the green hill. The two tales had no common points of reference, but they left her with much the same feeling.

“But why do you think Aslan came to me as an albatross?”

Professor Kirke harrumphed. “I have been asking myself that same question ever since you spoke of it. Why indeed? I wonder whether perhaps in part he appeared that way so that you would come back here and read ‘The Rime of the Ancient Mariner,’ and come to know him better by it. If nothing else, I do not think it was a coincidence.”

Yes, perhaps, but the answer still felt incomplete. “Maybe it’s a stone in the bridge he talked about,” Lucy said. “Maybe he only wanted to show me—to show us—that he’s here too. In this world, in this time, and in all others. Maybe it’s like you said, and there’s an albatross for every person who’s ever been rescued from the darkness.”

[three--rings]

While writing today I was thinking...so I was writing something kinky, something that I find personally quite hot and that fit with the characters and scenario.  But I hesitated because...well I imagined people objecting to it on the grounds that it would be a Bad Idea to do In Real Life. 

And specifically, it reminds me of specific criticism I’ve heard leveled at the 50 Shades books.   And like, first of all I’m not here to defends 50 Shades, for one thing it would be really hard to do since I’ve never read them or seen any of the movies.  But also I’ve always thought some of the criticism they receive is unnecessarily harsh.  (Not all of it.  Just some.)

Because to me, a lot of people seem to really be unable to approach a work of fiction, and IN PARTICULAR a work about sex without pretending it is 100% Real.  And they direct their criticism accordingly: can you imagine doing this in real life, omg you would be arrested omg perverts omg sex crime omg dirtybadwrong.  

And like people never seem to stop and consider that...fiction is fantasy.  A safe exploration of ideas that are either unfeasible or impractical to enact in the real world.  I don’t care if your fantasy is being a pirate on the high seas or getting railed behind a supermarket, they are both impractical and full of moral, ethical and legal problems. 

But people act like, yanno exploring one of these things in fantasy is fine and the other is a sign that you’re a Secret Degenerate.  That you Don’t Understand That This Would Be Wrong. 

But like, I was brought face to face with this today, writing something that I’m very aware is at the least Extremely Morally Dubious in a real world context.  But writing it anyway because it’s hot to me and what the fuck is smutty fanfic for if NOT exploring these things safely.

And I just feel like so much of Media Criticism these days, especially of the tiktok/youtube variety, though I enjoy snarking at shitty things as much as the next person, but so much of it is pearl-clutching about fiction being unrealistic.  That if this Fictional Scenario Was Real it would be bad and unhealthy and dangerous and like, it’s always about the romance tho, isn’t it.  It’s rarely about how actually you’d get gangrene from that wound without antibiotics or whatever. 

And I’m really tired of this idea that Fiction for Women is bad because the audience is Too Stupid to tell the difference between fiction and reality.   And sometimes it’s about YA, and the argument is they’re too young.  Okay, fine.  But like, again, are you focusing on the bad advice about surviving in a wilderness or or you focusing on the unrealistic romances?

So yeah, I don’t know.  I think it’s important to acknowledge that fiction sometimes appeals exactly for the fact that it doesn’t follow the same rules as the real world.  That people can have something in fiction they wouldn’t want in the real world.  That, in fact, fiction is the appropriate place for that to happen. 

I don’t know, this isn’t coherent.  But I’m so tired of this argument that I see about oh people are too stupid to tell the difference between Art and Escapism and it’s all the fault of fanfiction and Dumb Media and like I think actually most people can tell the difference between indulgent media and stuff that’s supposed to be gritty realism but it’s armchair critics who equate everything to the same level of Depiction is Endorsement.  And unfortunately this has been the dominate form of internet media criticism for long enough that it’s all an entire generation has been exposed to. 

And as someone who writes indulgent smut on the regular and also has a degree in literature and psychology, like actually I’m not at all confused about the line between fiction and reality thanks. 

[inkedmyths]

Yknow, I do think some of the criticisms about modern vampire media I've seen going around lately are valid in their analysis, but also they simultaneously annoy me, yknow what I mean?

Because yeah sure taking the classic weaknesses out of a vampire can really lessen the impact of what they are and make them overpowered and imbalanced. Yes they were often a metaphor for the upper class and their lifestyles and exploitation. These are valid and fair points! And should be considered!

But so many of these posts are solely looking at the Bram Stoker interpretation of a vampire, and having that be The Only Thing That's Actually A Vampire, and I find that. Kind of irritating and slightly condescending sometimes.

There are all kinds of stories of vampires or blood-drinking monsters from around the world that vary wildly in appearance, abilities and weaknesses. This isn't really a new thing, nobody was ever able to agree on a Set of All Encompassing Rules, some stuff was more common than other rules but not necessarily universal, you get the idea

Plus, like, vampires (and other monsters too!) have been used for a MYRIAD of metaphors, so just the one isn't like, a catch all.

Thirdly and finally idk man I think it has the same vibe as those art videos that are like "Things artists draw WRONG ALL THE TIME! FIXING ART" or "How to Not Make A Mary Sue"

[tokkionline]

.

[wizardnuke]

on my hands and knees begging classic western authors to use anything other than heavy handed christian symbolism. to be clear i understand the cultural significance i have just written about the symbolism of a characters initials being JC twice in as many weeks. please do something else i'm bored.

[lizlemondyke]

this week's prompt in memoir class was to paint a vivid picture of a character from your life and nearly everyone decided to write "My Mother, The Saint" and it is making me feel so incredibly No Hope For Women on this warm wednedsay. "this was my mother at her happiest: nurturing" "i'm so proud of the way she so selflessly cares for others" "I can't imagine doing everything she did and still having my favorite breakfast on the table every day" aaaagh like idk how to communicate to these people that their gratitude is not enough!!!!! and it certainly isnt' a stand in for meaningful reflection. is she a real person to you at all??? do you know what she likes to read or what she majored in in college or what makes her laugh when she's alone???? do you CARE AT ALL THAT SHE IS A PERSON??? whatever.

[shaddowsong]

His Mother's Son

is up on FFN and AO3.

Summary: Harry rests in Limbo as Dumbledore explains what's happened with the Horcrux in his head. If everything goes as it should, Harry will be able to step back into the battle and defeat Voldemort once and for all for the sake of the Wizarding World. But Harry is drawn to the baby under the bench. Will his choice change when he asks himself a simple question- What would my mother do?

inspired by @ellorypurebloodculture and her title tale, which you can find here.

[live-from-flaturn]

“I wanna be the guy who gets to unsheathe his sword at the end of every episode. You know, when the screen freezes dramatically.”

- my partner who has only vague, osmosis-based knowledge of Asian drama tropes