NOBODY is doing it like Tasha Suri right now!!!! She really said I’m gonna write a fantasy that has a sick magical system and intriguing politics, and then in book two I’m going to take a sharp right into horror!! In the series, magical powers are given by spirits called yaksa, but unknown to the practitioners, every time the magic is used you slowly carve pieces of yourself away until you’re hollowed, and once hollowed the yaksa will wear you as a skin suit. Why isn’t this more popular you guys LOVE horror
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you mentioned it a few days ago but i'm still very curious about ur thoughts on alan's class traitor dynamics within the gay community in the 40s-60s era, the progression of it, and how that might compare to his current stance in the 21st century.
i don't think alan is a class traitor to the gay community per-se as much as he's a class traitor in general, and one of the most fascinating things about him (at least to me, personally) is the fact that nearly every part of him is a facade in some capacity -- from the big obvious things like his secret identity as a superhero to his eighty-something years in the closet to the fact that he's spent his whole life trying to distance himself from his social class.
(the green lantern 60th anniversary panel at the all-time classic new york comic book convention 2000, from alter ego 1999 #148)
like mart nodell himself said, alan was a working man. the few mentions of his childhood that exist (in the sleepers book two and jsa: ragnarok novels) have him growing up as an orphan in abject poverty; his work on the railroad -- which originally had him employed as an apprentice to a mr john hall in all-american comics 1939 #17, rather than any later stories claiming he'd ever owned or started a company -- paints him in the clear contours of the working class, as does his time on the radio where he works his way up from a jack-of-all-trades handyman position to radio announcer and beyond. to drive the point home, it's also important to note that alan spent most of his youth living in a rented one-bedroom flat with a taxi driver (and we know there's no question whatsoever about doiby dickles' working class background):
(examples from all-american comics 1939 #60, green lantern 1941 #26, the big-all american comic book 1944 #1 respectively)
there's also rare moments when alan's accent slips into a phonetically spelled new york accent like doiby's, or what we might call gotham in this particular case. this is one of the reasons i was so overjoyed by the whole "pal, start yakkin'" and the rest of his dialogue in jl vs losh 2022 #4.
this is all to build up to the fact that the few ways alan has expressed his sexuality are also steeped in working class dynamics:
(dc pride 2021 #1)
gay bar culture as we know it, particularly that of the 40s and 50s like alan would've experienced and as is pictured here, is a staple of the working class -- these are fellow working men we see milling around in a shuttered basement, people who might've already been made to feel like criminals and who had none of the comforts afforded by upper class social capital, this is a place for cruising as much as it is for solidarity.
that being said, alan has worked long and hard to rise above his station, so to speak.
(green lantern 80th anniversary special 2020)
he's visibly out of place among people like jimmy henton's mother because he's made himself out of place. over the course of his run in all-american comics 1939 and green lantern 1941, alan wears a grand total of two suits (and we even see him mending one at one point) but he still never dares for anything more casual. on one memorable occasion, he lies to irene miller about his education. whenever the radio gives him the opportunity to go to something relatively prestigious like the theatre or opera, both he & doiby are consistently surprised by it.
throughout his entire career, he's shown a good ol' 'pull yourself up by your bootstraps' mentality as he's relentlessly worked his way up to the point that his work -- once the radio, later gbc -- would become the single most important thing in his life (the amazing world of dc comics #16 has a wonderful little analysis of this regarding his many mental breakdowns related to gbc's bankruptcy but even books like the golden age 1993 and starman 1994 #11 show a threat to the company as alan's sole fear). it's also often implied that jennie's gotten no help in her failing career as an actress, despite her dad running a broadcasting company & presumably having any number of industry contacts, for this exact reason. that is all to say that, by the 60s and up to the present day, alan has categorically made himself a rich ceo and acts like it too.
(all-star comics 1976 #64)
but in the process of distancing himself from his social class, he's also lost any hint of solidarity with young men he'd been exactly alike once upon a time. this is obvious enough in his treatment of jared stevens in both fate 1994 and the book of fate 1997
(fate 1994 #11 -- cultured people? style and taste? could alan be parroting what he'd been told was the measure of a hero back in the day?)
and following that same line of thinking, another layer is gained with the canon confirmation of his sexuality and the fact that he's evidently kept silent throughout every single movement of gay liberation in the 20th century. it's not that alan should've come out earlier but rather little things like him having led jay to believe he's a republican (aquaman 1994 #44) point pretty clearly to what opinions and stances he has expressed, if that makes sense.
even so, with all of alan's attempts to make himself virtually indistinguishable from the upper class crowd, the fact of the matter remains that he'll never be accepted as one of their own
('scenes from the class struggle at jsa mansion', from golden age secret files 2001 #1)
and that stays, i believe, the clearest indictment of alan as a class traitor (and how utterly fascinating that makes him!).
thank you for giving me the chance to get into it!!!
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