#like. from an in-universe perspective im not going to question why they wouldnt get together

[colorful-horses]

ponytober day 9: hearts n hooves

[shkspr]

hi. on your post where you may or may not have ended on 'moffat is either your angel or your devil' did you have maybe an elaboration on that somewhere that i could possibly hear about. i'm very much a capaldi era stan and i've never tried to defend the matt smith era even though it had delightful moments sometimes so i wonder where that puts me. i'd love to hear your perspective on moffat as a person with your political perspective. -nicole

hi ok sorry i took so long to respond to this but i dont think you know how LOADED this question is for me but i am so happy to elaborate on that for you. first a few grains of salt to flavor your understanding of the whole situation: a. im unfairly biased against moffat bc im a davies stan and a tennant stan; b. i still very much enjoy and appreciate moffat era who for many reasons; and c. i hate moffat on a personal level far more than i could ever hate his work.

the thing is that its all always gonna be a bit mixed up bc i have to say a bunch of seemingly contradictory things in a row. for instance, a few moffat episodes are some of my absolute favorites of the rtd era, AND the show went way downhill when moffat took over, AND the really good episodes he wrote during the rtd era contained the seeds of his destruction.

like i made that post about the empty child/the doctor dances and it holds true for blink and thats about it bc the girl in the fireplace and silence in the library/forest of the dead are good but not nearly on the same level, and despite the fact that i like them at least nominally, they are also great examples of everything i hate about moffat and how he approached dw as a whole.

basically. doctor who is about people. there are many things about moffats tenure as showrunner that i think are a step up from rtd era who! actual gay people, for one! but i think that can likely be attributed mostly to an evolving Society as opposed to something inherent to him and his work, seeing as rtd is literally gay, and the existence of queer characters in moffats work doesnt mean the existence of good queer characters (ill give him bill but thats it!)

i have a few Primary Grievances with moffat and how he ran dw. all of them are things that got better with capaldi, but didnt go away. they are as follows:

moffat projects his own god complex onto the doctor

rtd era who had a doctor with a god complex. you cant ever be the doctor and not have a god complex. the problem with moffats era specifically is that the god complex was constant and unrepentant and was seen as a fundamental personality trait of the doctor rather than a demon he has to fight. he has the Momence where you feel bad for him, the Momence where he shows his humility or whatever and youre reminded that he doesnt want to be the lonely god, but those are just. moments. in a story where the doctor thinks hes the main character. rtd era doctor was aware that he wasnt the main character. he had to be an authority sometimes and he had to be the loner and he had to be sad about it, but he ultimately understood that he was expendable in a narrative sense.

this is how you get lines like “were the thin fat gay married anglican marines, why would we need names as well?” from the same show that gave you the gut punch moment at the end of midnight when they realize that nobody asked the hostess for her name. and on the one hand, thats a small sticking point, but on the other hand, its just one small example of the simple disregard that moffat has for humanity.

incidentally, this is a huge part of why sherlock sucked so bad: moffats main characters are special bc theyre so much bigger and better than all the normal people, and thats his downfall as a showrunner. he thinks that his audience wants fucking sheldon cooper when what they want is people.

like, ok. think of how many fantastic rtd era eps are based in the scenario “what if the doctor wasnt there? what if he was just out of commission for a bit?” and how those eps are the heart of the show!! bc theyre about people being people!! the thing is that all of the rtd era companions would have died for the doctor but he understood and the story understood that it wasnt about him.

this is like. nine sending rose home to save her life and sacrifice his own vs clara literally metaphysically entwining her existence w the doctor. ten also sending rose with her family to save her life vs river being raised from infancy to be obsessed w the doctor and then falling in love w him. martha leaving bc she values herself enough to make that decision vs amy being treated like a piece of meat.

and this is simultaneously a great callback to when i said that moffats episodes during the rtd era sometimes had the same problems as his show running (bc girl in the fireplace reeks of this), and a great segue into the next grievance.

moffat hates women

he hates women so fucking much. g-d, does steven moffat ever hate women. holy shit, he hates women. especially normal human women who prioritize their normal human lives on an equal or higher level than the doctor. moffat hated rose bc she wasnt special by his standards. the empty child/the doctor dances is the nicest he ever treated her, and she really didnt do much in those eps beyond a fuck ton of flirting.

girl in the fireplace is another shining example of this. youve got rose (who once again has another man to keep her busy, bc moffat doesnt think shes good enough for the doctor) sidelined for no reason only to be saved by the doctor at the last second or whatever. and then youve got reinette, who is pretty and powerful and special!

its just. moffat thinks that the doctor is as shallow and selfish as he is. thats why he thinks the doctor would stay in one place with reinette and not with rose. bc moffat is shallow and sees himself in the doctor and doesnt think he should have to settle for someone boring and normal.

not to mention rose met the doctor as an adult and chose to stay with him whereas reinette is. hm. introduced to the doctor as a child and grows up obsessed with him.

does that sound familiar? it should! bc it is also true of amy and river. and all of them are treated as viable romantic pairings. bc the only women who deserve the doctor are the ones whose entire existence revolves around him. which includes clara as well.

genuinely i think that at least on some level, not even necessarily consciously, that bill was a lesbian in part bc capaldi was too old to appeal to mainstream shippers. like twelve/clara is still a thing but not as universally appealing as eleven/clara but i am just spitballing. but i think they weighed the pros and cons of appealing to the woke crowd over the het shippers and found that gay companion was more profitable. anyway the point is to segue into the next point, which is that moffat hates permanent consequences.

moffat hates permanent consequences

steven moffat does not know how to kill a character. honestly it feels like hes doing it on purpose after a certain point, like he knows he has this habit and hes trying to riff on it to meme his own shit, but it doesnt work. it isnt funny and it isnt harmless, its bad writing.

the end of the doctor dances is so poignant and so meaningful and so fucking good bc its just this once! everybody lives, just this once! and then he does p much the same thing in forest of the dead - this one i could forgive, bc i do think that preserving those peoples consciousnesses did something for the doctor as a character, it wasnt completely meaningless. but everything after that kinda was.

rory died so many times its like. get a hobby lol. amy died at least once iirc but it was all a dream or something. clara died and was erased from the doctors memory. river was in prison and also died. bill? died. all of them sugarcoated or undone or ignored by the narrative to the point of having effectively no impact on the story. the point of a major character death is that its supposed to have a point. and you could argue that a piece of art could be making a point with a pointless death, ie. to put perspective on it and remind you that bad shit just happens, but with moffat the underlying message is always “i can do whatever i want, nothing is permanent or has lasting impact ever.”

basically, with moffat, tragedy exists to be undone. and this was a really brilliant, really wonderful thing in the doctor dances specifically bc it was the doctor clearly having seen his fair share of tragedy that couldnt be helped, now looking on his One Win with pride and delight bc he doesnt get wins like this! and then moffat proceeded to give him the same win over and over and over and over. nobody is ever dead. nobody is ever unable to be saved. and if they are, really truly dead and/or gone, then thats okay bc moffat has decided that [insert mitigating factor here]*

*the mitigating factor is usually some sort of computerized database of souls.

i can hear the moffat stans falling over themselves to remind me that amy and rory definitely died, and they did - after a long and happy life together, they died of old age. i dont consider that a character death any more than any other character choosing to permanently leave the tardis.

and its not just character deaths either, its like, everything. the destruction of gallifrey? never mind lol! character development? scrapped! the same episode four times? lets give it a fifth try and hope nobody notices. bc he doesnt know how to not make the doctor either an omnipotent savior or a self-pitying failure.

it is in nature of doctor who, i believe, for the doctor to win most of the time. like, it wouldnt be a very good show if he didnt win most of the time. but it also wouldnt be a very good show if he won all of the time. my point is that moffats doctor wins too often, and when he doesnt win, it feels empty and hollow rather than genuinely humbling, and you know hes not gonna grow from it pretty much at all.

so like. again, i like all of doctor who i enjoy all of it very much. i just think that steven moffat is a bad show runner and a decent writer at times. and it is frustrating. and im not here to convince or convert anyone im just living my truth. thank you for listening.

[zoekennaargeluk]

When I was 15 years old, I ran away from home because I was pissed off at my parents for a reason I cant remember. I didnt have much money, so I decided to hop onto the skytrain(public transport train in British Columbia) and ride it as far as it would go. I reached the end of the line in less then an hour, and decided I wanted to ride it all the way back again, while trying to formulate some kind of plan of how I wanted to live the rest of my life without my parents or anyone. At the last stop, or the first stop depending on your perspective of it, a girl came on and sat in the row right behind me. I didnt pay much attention to her at first, as I was busy writing my life plan on a napkin. It was a few minutes later that she got up and came sat next to me, curious as to what I was writing. I told her the story, and after a few laughs, we began talking about everything and anything. Her name was Amanda, 17 years old, and absolutely wonderful. She told me she was getting off at the last stop, which was also the first stop, depending on how you look at it. It was also the stop I had gotten on originally, and I told her we would ride to it together. The train ride took less then an hour, and what a wonderful hour indeed.

When the last stop did come, we both knew we probably wouldnt see each other ever again(this was before the days of cellphones, and I was a shy little kid afraid to make moves). As we got to the end of the sidewalk which split in two different directions, she went right and I went left. Before saying goodbye she turned to me and asked me a question that has become a wonderful part of my life; she asked me, “Tell me something you have done, or want to do, that you think I should do? It can be anything, as challenging as you want it to be, or as easy. As long as you give me the rest of my life to complete it, I promise I will do it..” I was confused as to why, but I thought about it, and told her, “Sing a song acapella in a room full of strangers.” She said perfect and asked me if I would like a challenge as well. I told her I did, and she told me, “read, from start to finish, “Ulysses” by James Joyce.” I had never heard of it at the time, but I agreed, and we said our goodbyes.

I have a awful memory, and cant remember most conversations I have with most people. But I remember all of that clearly. You know why? Because of the challenge she gave me. In the 12 years that have past since, I have tried to read that book in over 150 different sittings. Everytime I open my copy of the 780 page monster of a book, I always think of her, and I always think of that day. Ive never been sure if it was her intent or not, but she left her lasting memory on me with that challenge. I soon after learned what she did, was a completey wonderful and amazing thing for me. So I decided to keep it going. Ive met a lot of strangers in my life; some that have become friends, and some, due to living in different time zones and whatnot, didnt. I dont want to just have experiences and then let them go. I want to remember these meetings, and embrace the fact that they happened. So whenever I leave someone who has left an amazing impact of my life, I always make sure to add them to my Ulysses Bucket List. I ask them to give me a challenge, as difficult or as easy as they want it to be, and regardless of the fact that they have done it or not; simply something their heart has had wanted to do.

Some have been easy and fun; I met a man in India 9 years ago who told me to, for a week or a month, cook/buy twice as much food as I intend on eating, and give the other half to a stranger in need. I completed that mission 8 years ago, and thought about that man and the time we had all the way through. I met a girl on a cruise 6 years ago, who told me to jump into a body of water on a slightly cold day, without touching or feeling the temperature of the water first. I did that the very same year. I met a couple at an outdoor music festival a few years ago that told me to wear the most bizarre outfit imaginable and walk through a public place, completely oblivious to the fact that you arent looking normal. I did that task the very next day, at the same festival. Some have been difficult, to say the least: three guys I met in Amsterdam and smoked all night with, told me to go to a mall and give 10 strangers 10 presents. That one took a lot of courage, but I did it a year or so after I met them. It was nerve racking, but at the same time exhilerating leaving my comfort zone. A girl I met on a plane told me to sky dive; Im still in the process of getting that done. A couple I met in Cali on the beach told me to tell the 5 people I hated the most, that I love them and respect them. That one was very difficult because of my stubborness, but ive come close to completing that list many a times(still in the process, 2 more people to go).

And some things, have had an everlasting impact on my daily life. I met a girl at a music festival, who told me that whenever I get mad at someone, walk away, sing my happy song in my head for 5 minutes, go back to the person im mad at with a clam heart and mind, and work things out. Ive made this my way of life. I once met a man at a gym in a hotel I was staying at, that told me “whenever your body and brain tells your that you are exhausted and done…use your heart instead and push out 2 more reps.” Ive made this my motto when working out or working on any kind of extrenuating exercise in which my body demands me to quit. I also use it while working on anything, and while studying. One of the best pieces of advice ive ever received.

There are many others that each brought joy to my life. There are still many tasks I have yet to accomplish, and everytime I think of these tasks, I think of the people that gave them to me. It amazes me how well I remember all these people, while I cant remember so many aspects of even yesterday. These experiences, not only do I take from them a “mission” or a “challenge”, I also take from them a memory of them that never fails to appear inside of my mind. I opened my Ulysses book for probably the 300th time yesterday, and read a few pages, which prompted me to share this story with you today. Im in the final 30 pages of the book, also known as the most dreaded of the read(in the last 40 pages or so, James Joyce doesnt use a single punctuation mark; no periods, no commas, no nothing; a straight 50 page run-on sentence).

I never saw Amanda after that day, nor do I know if she ever did get a chance to sing a song to a room full of strangers. But what I do know, is that she gave me a gift that has never once stopped giving. So wherever you may be, thank you for giving me the Ulysses Bucket List. And I swear i’ll finish it one day. My life advice? Simple: Create your own Ulysses bucket list.

Edit 1:fixed some spelling mistakes. Going to leave 'clam' as is, haha!

Edit 2: Ulyssesbucketlist subreddit is now a thing!

Edit 3: I'm trying to reply to all of your comments and give everyone who asks for their own challenge! Please bare with me, I'll get to you I promise!

Edit 4: Monday 5/19/2014 UPDATE: I'm kind of lacking words at the moment, and am in awe of the power of the universe. Writing this story was just to relive a moment in my life, and to share it with others and maybe help them in some sort of way(or just give an entertaining story to read). Never did I think there was the slightest chance I would actually get to talk to her again. But thats exactly what happened. Last night I found out that the Amanda that ThatGuyWhoAte knew, was in fact the Amanda I met 14 years ago. Thank you Reddit. From the bottom of my heart, I give to you the sincerest Thank You I can possibly give. You gave me a chance to continue a life story that stopped writing 14 years ago. I will never forget this.

// 

A thing on reddit i thought was really cool.

[comicteaparty]

April 18th, 2019 CTP Archive

The archive for the Comic Tea Party chat that occurred on April 18th, 2019, from 5PM - 7PM PDT.  The chat focused on The Carpet Merchant of Konstantiniyya by Reimena Yee; Edited by Atla Hrafney.

Featured Comment:

Chat:

RebelVampire

COMIC TEA PARTY- THURSDAY BOOK CLUB START!

Good evening, everyone~! This week’s Thursday Book Club is officially beginning! Today we are discussing The Carpet Merchant of Konstantiniyya by Reimena Yee; Edited by Atla Hrafney~! (https://reimenayee.com/the-carpet-merchant-of-konstantiniyya/)

Remember that Thursday discussions are completely freeform! However, every 30 minutes I will drop in OPTIONAL discussion questions in case you’d like a bit of a prompt. If you miss out on one of these prompts, you can find them pinned for the chat’s duration. Additionally, remember that while constructive criticism is allowed, our focus is fun and respectfully appreciating the comic. All that said, let’s begin!

QUESTION 1. What is your favorite scene in the comic so far and why?

my favorite scene is definitely the one where zeynel sneaks off in the middle of the night after eating the cat to go pray. i love this scene for how emotionally raw it is. like this is somewhat being stripped and presented at their most desperate and vulnerable, and every part of the scene shows that. while at the same time, it has a good balance of feeling sort of mystical and expressing zeynel's faith through the choice in visuals and how many of the panels are composed together.

another of my favorite scenes is the end of volume 2 where certain ppl kick the bucket. it too was a powerful scene in terms of emotion and vulnerability, and another moment where i truly felt like the character in question was being their truest selves without the layers that ppl build up to protect themselves. not to mention i appreciate the bittersweetness of how it played out and how kindness kind of won in the end.

mathtans

Heeeey there. So, I kinda screwed this one up. Because normally when I reach the navigation page, I hit "FIRST". Aaaand... yeah, that wasn't the Carpet story. There's apparently a whole lot of other stories that come first. I was very confused, and this was a busy week. I figured it out half an hour ago and am reading now.

RebelVampire

oh dear. thats a lot worse than i was assuming too cause i knew the other comic was interspersed between the first and second volume. but now im glad i was vague in that last answer XD

mathtans

I was surprised it had been running since 2013 and then I noticed the artist had said they started it in 2016 in their kickstarter and derp. So I'll just kinda thumbs up stuff as I spot it.

reimena

If it makes it easier; here are the ebook versions of Volume I and II

Vol I: https://reimenayee.itch.io/the-carpet-merchant-voli Vol II: https://reimenayee.itch.io/the-carpet-merchant-volii

mathtans

Oh, hello author. Thanks.

(And now I must go tend to the wee one.)

RebelVampire

let's see then in the meantime. i loved the first scene where we see zeynel plying his trade and selling a carpet. like the scene immediately paints a picture for the visuals and draws you in with them. and the visuals are consistently beautiful throughout the comic.

but by contrast, i also appreciate the scene later on in the second volume where Mora wtfs Zeynel just taking the insults and Zeynel explains how its part of the job etc. etc. It was interesting to see this other take on his job and that not everything about selling carpets is all that fun and even if youre a cool vampire, sometimes you gotta swallow your pride and accept customers being dumbasses.

mathtans

Back-ish. Oh yes, the visuals are amazing. Not just the carpet patterns either. Even the sheep were different.

Lots of neat cultural stuff too.

RebelVampire

what i appreciate i think is the character of the backgrounds. cause a lot of them have what im going to describe as this splash effect. and while it may not always have anything to do with whats in the main panels and is mostly there to not be white space, i feel they always add great atmosphere to each individual page.

yeah i really adored the culture stuff. this is definitely not a heavily featured culture in comics so it was super interesting to get to see it.

though i also appreciate later zeynel's ability to just kind of meld into different cultures. cause it really gives the opportunity to compare, contrast, and appreciate

one thing i also want to say in regards to culture is that i also appreciate that the comic balances having unique culture features while still telling a story that is really universal to anybody. so you dont need to have some deep specific connection to the culture in order to appreciate the story in its fullest

QUESTION 2. One of the comic’s central themes is related to stories and story-telling. Overall, what do you personally think the comic is saying about the importance of stories in our lives? Of the fables that were juxtaposed to the main narrative, which one captured your imagination the most? How did you feel it related to what we were seeing in the story? In what ways did you see stories affect the lives of the characters within the story? Additionally, what did you make of Zeynel’s explanation about each carpet having a story within it? How do you think this applies to the works we see in our own lives? In total, how has the comic changed the way you see stories and how they shape our lives?

mathtans

Okay, little one's settled back in the crib, more fully back now.

Yeah, the story seems universal (from what I've gathered so far, with the two families). So it's more a bonus, the phrases and references and things.

RebelVampire

ill tackle the second question first. my favorite fable juxtaposed to the main narrative was Karagoz and Hacivat. there were a lot of reasons this juxtaposition really worked for me. first off, its premise of being a show that zeynel was watching i think somewhat helped build a feeling of nostalgia. like because the show was in the past, it helps illustrate how far away zeynel is from that. however, i think it further helps set up the idea of culture clashing. and predictively shows that both sides kind of have a negative and specific view of the opposing culture. so when these come up in the story, they help paint a particular perspective regarding them. and kind of force us as the readers to recognize that both sides have their biases as zeynel adjusts to life in different places.

mathtans

I know the feeling of being a better listener than talking about oneself. (Just as I'm reading, not sure if that necessarily relates to the stories idea.)

RebelVampire

in terms of the importance of stories, i feel like the comic was overall trying to say that stories help us connect to the world around us. and i kind of think this is represented with young zeynel. cause he sucks at talking about himself, but tells and listens to stories to connect with others. and this is how he bonds with people, learns about the world, and somehow down the line eventually learns about himself.

reimena

I do have thoughts of the intention behind the Karagoz and Hacivat scene, but I'll wait until everyone's done typing! (unless you want it now)

RebelVampire

you may go ahead since math definitely wouldnt be close to that one. participate as you would like

mathtans

I agree with what Rebel said, both about the bonding and learning through stories, and about the do your thing and don't wait for me, I'm a slow reader in general.

reimena

Haha I'm just lurking (doing other things while keeping this discord open). Only dropping in when necessary. (I appreciate all of the discussion though! <3)

mathtans

There's some really good non-dialogue panelling as Zeynel is opening himself up to the merchant life.

reimena

With the Karagoz and Hacivat story, it was meant to act as first, a parallel to Zeynel and Mora (with Zeynel being Hacivat, and Mora being Karagoz). Second, a subversion of the Other. Since Vol II is a jab at Orientalism, I thought it would be fun to have characters who are normally seen as "Other" to call out the Western world as their "Other".

Muslims both in the past and the present have always been constructed as monstrous or barbaric in Europe. Very rarely in a visual medium's critique of Orientalism do I see the opposite. Especially in the context of the era the comic is set in.

RebelVampire

i definitely appreciate the subversion of the "Other" then if it was intentional

reimena

Which explains the European wooden puppets at the end. The costumes, the white facepaint and blush, and the 3D construction of the design. Those are European. And they look rather jarring and out of place in a book that's mostly visually Ottoman.

mathtans

I was a little worried about how Zeynel's parents would react to his independence. It felt spot-on in the end, in particular the embrace and such, I'm glad he managed it. (Then fainting, hah.)

RebelVampire

this is true, their design really is odd compared to the rest and it did make me wtf for a moment admittedly. but i also definitely thought it made sense in the context

zeynel's parents reaction surprised the heck out of me, but probably in the good way

usually when you have overbearing parents, you expect them to be stubborn and not able to be persuaded. and yet here they were not and i thought that was a nice variety.

mathtans

Yeah, I was wondering about that, but the conditional acceptance worked for me.

Oh, well, the next sequence is a kick to the heart for me.

reimena

That's because they really love Zeynel. It's more overprotectiveness than being stubborn

mathtans

Speaking as someone with infertility issues in the family, ouch. Captured well though.

RebelVampire

QUESTION 3. Though much of the comic is about stories, there is also a lot of focus given to defining ourselves and achieving our dreams. Between Zeynel and Ayşe, which character’s struggle with their future path did you identify with most? What about it made it compelling? What do you think the comic shows and says about the way we define ourselves and pursue our dreams as it relates to others? Further, the narrative somewhat creates an identity crisis for Zeynel when he becomes a djinni/vampire. What part of his transformation did you find most compelling in his reaction towards it? What do you think we can learn from the comic in regards to moments like this where who we are changes? Is there anything else you’d like to mention in regards to identity and the comic?

i think i identified most with zeynel in regards to the future path struggle. cause ive been there with zeynel where you dont know what to do. and then you encounter ppl like Ayşe who just are 100% of what they want to do. and it can be an intimidating experience that makes you feel more lost sometimes, which i do think at first kind of happened. mostly cause zeynel really opened up and laid everything bare after some pressuring and i think its because Ayşe caused those emotions to reverberate more strongly than ever.

mathtans

Yeah, I've never really been clear on where I'm going, but I'm highly organized in the moment. Then there's those times when I know where I'm going (start a family) and reality just kicks you from behind and says you need to adapt those plans.

RebelVampire

yeah. but ultimately what i found about zeynel's struggle was how we were shown how he overcame it. in that he found something interesting that he was good at and decided to give it a try against all he was taught. but that it was something he did with those around him supporting him. and i think in a large way this is part of what the comic shows about defining ourselves. that in essence we are defined somewhat by the people around us, such as how zeynel's parents picked his career or how Ayşe herself was defined by her family's occupation. but at the same time changing how we see ourselves is made a lot easier when those around us who originally helped define us support explorations into other areas.

mathtans

Yeah, Zeynel also got a lot better at talking about himself. (I'm at the part where he heads off, runs into a guy and is suddenly telling him all about himself and carpets.)

RebelVampire

its easier to talk about yourself when youre proud of what you do

i really enjoyed how zeynel's vampire situation kind of goes through a lot of the stages of grief. though not all with zeynel either. cause i think denial hit Ayşe a lot, lot harder. but i think it played out really well because of that since his reaction felt extremely realistic.

and i love how hard they tried to make it work before hitting that acceptance stage

but all together i think the comic shows us that sometimes we do change, its sad, but we have to accept it cause no matter how hard we may try to make something work, the reality is it doesnt always

mathtans

I'm at the transformation part. That's rough. Some stuff you can just write off, but then reality hits you once again... and yeah, I agree Rebel, reality can be at odds with what we want or believe.

Interesting how the tavern guy, while being a jerk, still had an element of sympathy to him, what with his history.

RebelVampire

i felt bad for tavern guy. cause he was definitely a jerk, but at the same time all i can think of is how this poor guy will be found and no one will know who the murderer was. and maybe therell be a vague description of some out of town dude showing up. but then nothing cause this isnt modern day and its not like they have forensics or security survellaince footage.

mathtans

Yeah. Though I guess he did kinda want death, just earlier when he was with the sultan... his reality didn't work out either.

RebelVampire

it certainly did not.

i like to think tavern dude was the showcase of what happens when you choose to define yourself with anger and revenge

mathtans

Perhaps he wanted to beat someone up and figured an out-of-towner was better than someone who might have relatives nearby.

The night imagery when he goes back home is very effective

RebelVampire

that is probably true cause that scene made me marvel about how if you killed for self defense, the best course of action probably is to just run the heck away. cause like, who are you going to tell? and what is the liklihood those you tell are going to believe you that it was self defense? cause if i was like some town guard and some out-of-towner said to me "nah dude it was totally self defense" i might be like "idk man that sounds suspicious"

QUESTION 4. Much of the second volume focuses on the character of Mora and Zeynel’s affect on him. Overall, what is your opinion on Mora? Do you feel Zeynel handled the situation correctly, or would you have done it differently? Why do you think Zeynel had the affect he did on Mora? Do you feel Mora’s regrets at the end redeemed him, or do you feel that he had done too much damage by this point? Do you think Zeynel was sincere in saying that he would try and start forgiving Mora at the end? In essence, what do you think Zeynel and Mora’s story together says about good and bad people? Additionally, what is your take away in regards to the themes of redemption and forgiveness? What in the comic made you feel this way?

i love mora because he is a conflicted, murderous teddy bear who got dealt the worst hand in life.

and i think zeynel handled the situation 100% correctly. because i think that played into a large reason why he has an affect on mora. cause i think its relevant to even the scene where we first see mora. in that mora is flat out just not used to kindness. and that she be shown kindness reminds mora that not everyone are the people who were awful to him in his past.

mathtans

I don't think I'll get that far. Ayse is taking this better than I thought she would.

RebelVampire

honestly i didnt know what to expect for how Ayşe would take it. i was legit as nervous as zeynel about it. cause this is an unbelievable situation where you have to ask a person to 1) believe youre now a supernatural creature and 2) be okay with the fact that you sorta murdered someone, even if out of self defense

but i enjoyed i didnt know what to expect

cause it helped put me in zeynel's shoes

mathtans

Yeah, I kinda thought she'd let him go and try to find a cure or something. But in the story she told, I guess she still needs him as a constant in her life.

It's kind of regressed Zeynel back to the point where he's not sure who he is any more, or what he wants. Before it was his family affecting him, now it's this inner demon.

RebelVampire

since you wont be to that volume i wont dwell on it, but i do want to finish the last set of questions off by saying i do feel mora earned his redemption in a sense. not in the lets all forgiveness sort of way, but in the sense he finally took a satisfying step in the right direction since he acknowledged everything he had done to that point was wrong. but with mora and zeynel, i think the story is saying bad and good people are still people. and that bad people are often bad for reasons and that while we dont have to forgive them, theres a degree to which we should still show them some human decency. and that if said bad person is trying to redeem themselves, its good to encourage it even if to us personally they cant be redeemed.

mathtans

Definitely address your questions, they seem like good ones.

RebelVampire

i think thats a good way to look at the transformation. that hes regressed. cause its definitely an identity crisis

like even without the vampire thing i doubt zeynel would have labeled himself as someone capable of murder

so that in itself is a holy crap moment

mathtans

He never knew what he was capable of until it was thrust onto him.

Something I've noticed narratively is the use of flashback. We started with the little blurb on the boat... then to the carpet selling... then back again 25 years. (There was something similar in the very first story too, the one I started reading accidentally.)

RebelVampire

yeah and tbh i think thats kind of within the comic as well regarding identity. that as much as we can come to define ourselves, we may still be missing portions of that definition if we never test ourselves in certain ways and find out what were actually capable of in certain situation.

mathtans

I always hesitate a bit with that style, like I wonder if it's really necessary, but I thought it worked well in terms of how the 25 years got kind of "fast forwarded" through the relationship to bring us to the present rather than jumping back. That was good.

(No idea if that narrative idea happens again.)

That's a good way of putting it, Rebel. Not only missing portions from testing but if other people are needed to bring those things into focus for us.

RebelVampire

yeah the use of flashback is interesting. though i think i most appreciate the first flashback transition from the boat to zeynel's successful merchant life. cause i think the boat really set up some great expectations. so when you see zeynel all happy selling a carpet youre like "hey werent you just eating a rat on a boat how did that come about."

mathtans

I'm not sure I made the link that fast, I just thought they were related or something.

RebelVampire

well even related i still think it sets up ominous tone for future events. so eh.

mathtans

I'm reminded of a conversation earlier today with colleagues, of when someone gets old and feels like maybe it's just their time and isn't necessarily proactive about health and stuff. But others may need that person to still be around. So they make an effort for that reason.

This two-panel style between Zeynel and Ayse is pretty effective.

RebelVampire

i think thats true to whats happening in the story for sure. cause as confident as Ayşe is, i dont think she wouldve accomplished her goals without zeynel. and tbf we dont really see them have that many friends who arent family and working for them. so they probably a close knit group

one thing i want to say at that end is that this comic really made me want to learn how to make carpets so i too can have beautiful carpets on my floor

mathtans

It's like, there's so much emotion here, it needs space to breathe.

I think there was a tutorial panel somewhere in there.

(For making carpets.)

RebelVampire

there was and id be lying if i said i didnt legitimately studied it for a bit

but then i gave up

and felt Ayşe's pain

mathtans

Made it to #300. Rough stuff. Very emotional.

You'll just have to weave your stories in the meantime, Rebel.

RebelVampire

this chat was missing a pun

COMIC TEA PARTY- THURSDAY BOOK CLUB END!

Sadly, this wraps up this week’s Thursday Book Club chat for now. Thank you so much to everyone for reading and joining us! We want to give a special thank you to Reimena Yee and Atla Hrafney, as well, for making The Carpet Merchant of Konstantiniyya. If you liked the comic, make sure to support Reimena Yee’s efforts however you’re able to~!

Read and Comment: https://reimenayee.com/the-carpet-merchant-of-konstantiniyya/

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‘Think about the bigger picture’: life lessons from Meryl Streep and other successful women

Theyve won Oscars, Pulitzers and Nobel peace prizes: eight women at the top of their game tell us how they got there

Meryl Streep has been nominated for more Academy Awards than any other actor, and has won for Kramer vs Kramer, Sophies Choice and The Iron Lady. In 2015, she sent every member of Congress a letter supporting a proposed amendment to the US constitution to mandate equal rights for women; the amendment was not passed

I didnt always want to be an actor. I thought I wanted to be a translator at the UN and help people understand each other. Some young people come into acting because they see it as glossy and heightened and more sort of divine than their existence; but what interests me is getting deep into someone elses life, to understand what compelled them to move in one direction or the other. That other stuff, Ive never liked. My mother used to say, People would give their right arm to walk down that red carpet. Enjoy it! You just cant change who you are.

Womens rights? Were going to keep talking about it until theres balance – Meryl Streep on equality

The influencers in our industry are overwhelmingly men: the critics, the directors branch of the Academy. If they were overwhelmingly female, there would be a hue and cry about it. Women have 17% of the influence, more or less, in every part of the decision-making process in the industry and, inevitably, thats going to decide what kind of films are made. But the material that comes to me is still interesting. Im 67, so mostly I get things for people that age, and there are wonderful projects that would never have existed even 10 years ago. Twenty years ago, I would have been playing witches and crones.

Going from job to job, never knowing where the next one would be, has allowed me to spend time with my four kids more than if Id worked at a desk job. Thats a really tough gig, and I dont know if I could have had four kids and done that. Decisions I made in my career were not always based on aesthetic criteria: was it near, was it going to be shot in the vacation? You make all sorts of compromises in order to have this other thing that you value. My girls and my son and my husband are all way too much in each others business, I would say, but were close and thats important. I always tried to stay challenged and work hard, but also keep my hand in and stir the pot at home.

I spent far too much time when I was younger thinking about how much I weighed. If I could go back, Id say, Think about the bigger picture. Of course, its a visual medium. We think about our looks. I dont bring a suitcase with my dossier in it to an audition, I bring my body, so you cant moan about the fact that youre judged on your looks: its showbusiness. But the other thing is that youre representing lives, and lives look all different ways and shapes. Thats one thing I do see changing, and its really good. It makes the cultural landscape richer.

Nimco Ali, co-founder of Daughters of Eve. Photograph: Brigitte Lacombe

Nimco Ali was born in Somalia. She is the co-founder, with Leyla Hussein, of Daughters of Eve, a non-profit organisation that supports young women from communities that practise female genital mutilation (FGM)

I had FGM as a seven-year-old, and later saw girls going through it, but I didnt join the conversation. Then I started to see my silence as complicity. Around 2010, I moved to London and came across people working around FGM, but I couldnt see what they were trying to achieve. I wanted to educate people, yes, but this isnt a question of ignorance; its organised crime. I got together with Leyla, and we started to do more with MPs.

I want to place the responsibility in the hands of the state. Ive seen community work being done for years, and it doesnt work. Its not up to communities to police themselves. People were saying, How can mothers allow this? but I was saying, How can you, as a citizen of this country, know a five-year-old is about to be cut and stand by because youre afraid to offend her community? Youre telling that child she doesnt matter.

It was early 2011 when I first said, Im Nimco and Im an FGM survivor. A lot of people were shocked. But I didnt want to be treated with sympathy: I wanted to talk about survivors, not victims, and I wanted to prevent it.

First came redefining FGM with the Home Office as an act of violence; then defining it as child abuse. It was a way of saying to these girls, Youre British and we care about you as much as anyone else. My vagina is British; it doesnt have a different passport.

The first time my picture appeared in a newspaper, I had death threats. I stayed in bed for two days, wondering, Is it worth it? But then I felt guilty. If a girl goes through infibulation and then disappears, we never find out. If something happens to me, at least someone will know.

Having friends I can talk to has been an immense help. A girl came up to me on the tube and said, Are you Nimco, the girl who talks about FGM? And I thought, This is where I get spat on. But she wanted to thank me.

I dont think of myself as a leader, but as part of a chain. If it wasnt for all the amazing women who came before me, I wouldnt be able to do any of it.

Samantha Power, US ambassador to the United Nations. Photograph: Brigitte Lacombe

Samantha Power moved to the US from Ireland when she was nine. Her first book, A Problem From Hell: America And The Age Of Genocide, won a Pulitzer prize. In 2013, she was made US ambassador to the United Nations

I had recently graduated from university in 1992 when I saw images in the New York Times of bone-thin stick figures in camps in the former Yugoslavia images I didnt think one could see in the 90s. I wanted to help, but didnt have any skills. I had been a sports reporter in college, so I decided to try my luck at being a war correspondent. It was a bit of a crazy idea, but a lot of young people were doing the same thing, because they felt horrified and powerless.

Im not great at languages, but Im great at talking, and my stubborn desire to communicate with people got me to the point where I could do interviews in the local language. I wrote about my experience, and looked at why the US did what it did when faced with genocide in the 20th century. One key conclusion was how hard it was to effect change. But it still felt as though no other organisation could make an impact like the US government. It seemed to me it would be more efficient to be inside the government than on the outside, throwing darts.

These werent steps on a conventional path, and my advice to young people would be not to decide on a job title and script a path toward it, but to develop your interests go deep instead of wide.

Ive tried to inject individual stories into everything I do: real faces and real people. Empowering women to get involved in government and diplomacy brings a different set of perspectives, which benefits everyone. This isnt a theory, its a fact: according to the UN, womens participation increases the probability of peace deals lasting 15 years by 35%.

My son was born in 2009 and my daughter in 2012, and I hope, as a result of this job, theyll be more empathetic, more globally curious. My son is a big baseball fan, as am I, and when Im finished, were going to travel the US and see a game in each of the different ballparks. I hope to make up for some of the lost time.

Mhairi Black MP. Photograph: Brigitte Lacombe

Mhairi Black is the SNP MP for Paisley and Renfrewshire South. In 2015, aged 20, she became the youngest British MP since 1667. Her maiden speech in the Commons had 11m views online

I was brought up in Paisley: it was Mum, Dad, my older brother and me. We used to go on caravan holidays to the north of Scotland. My mums mum had 13 children, so I had lots of cousins to play with.

Our family has always been politically aware: my grandparents were involved in trade unions and Mum and Dad were teachers. When I was eight, my parents, brother, aunties and I marched against the Iraq war in Glasgow. Tony Blair was in town for the Labour party conference, but apparently he got word of the march, so, by the time we were marching past the building hed disappeared in a helicopter. I remember finding that really unfair, even at eight.

Inequality of any kind is the thing that drives me. I always look at who is losing out, and why. Everything I am interested in boils down to the fact that theres an injustice happening somewhere.

When the independence referendum was announced, I was a yes voter, and I thought, if there was ever a time to join a political party, its now. After we lost the referendum, a couple of folk in the local SNP party were saying I should put my name forward to be a candidate, and I said, Dont be daft. Im 20. What do I know about life? I was giving myself the sort of criticism that other people give me now. People in the constituency started challenging me, saying, Why is that a bad thing? Surely parliament should represent everybody. And I thought, Thats a good point. OK, Ill go through the vetting process and see if I pass.

I had no idea what to do after university, but I think its good to try things and, if youre good at them, keep going and see how far you get. Mum and Dad taught my brother and me to have confidence in ourselves, but never arrogance theres a fine line. Confidence comes from giving yourself credit when its due. My parents always said that as long as you know your stuff and you know what it is youre going for and why, and if youve practised hard and think youre good enough, then, by all means, stand up and make sure youre counted.

Ill be happy if, in five years time, I can say, The place I am representing has been better represented than it ever was before.

I think part of the problem with politics has been people viewing it as a career. You shouldnt be in it in order to become first minister. It has to be for a purpose, and it has to be in the present.

Tavi Gevinson, editor-in-chief of Rookie magazine. Photograph: Brigitte Lacombe

Tavi Gevinson is a writer, actor and editor-in-chief of the online magazine Rookie, which she launched aged 15

People talk about how the internet can make us less connected, but there are also people who cant find that connection to others elsewhere, whether at school or in marginalised communities. With Rookie, I want to create a place where you can make real friendships.

My mother is an artist, and when I was little we were always making stuff, so there was never any fear around creating different things pictures, outfits. I would get home from school, grab the camera and tripod, go into the back yard and just do it. This was way before people could make a living out of fashion blogs.

When I was 13, and living in Oak Park, Illinois, my Style Rookie blog gave me access to a world I would not otherwise have had access to no way would I have been able to see a fashion show without that.

I was OK with challenging people, and I didnt mind if people didnt like my outfits. Fashion has a bad rap, about being shallow, about pleasing men, so I was happy I was wearing unfashionable, bizarre outfits celebrating fashion, but not some beautiful, sexualised model.

On many of the fashion blogs I read, women talked about feminism freely. It felt like a movement of the past, but I realised I had been a feminist before I ever identified as one.

After a series of false starts, I started talking on my blog about what an honest magazine for teen girls would look like. There are people whose jobs are to figure out how teenagers feel; I thought Id go straight to the source not so they could be targeted by marketing companies, but so that young people could have a network.

Ive done my job if people are inspired or entertained or feel more OK with themselves after seeing something on Rookie. We never tell people how to think or feel; we want to tell our readers they already have all the answers. If you want to do something, just do it! You can start 80 new lives if you want. You have to try, and be open and excited about failure, because it teaches you a lot.

Dame Athene Donald. Photograph: Brigitte Lacombe

Dame Athene Donald is professor of experimental physics at the University of Cambridge and master of Churchill College

When I was at school, girls werent expected to have careers. I assumed that after university, Id get a job and then get married. I say to those who are setting out now, its fine not to know what you want to do.

I got married when I was doing my PhD. My husband had a couple of fellowships, but I was the one who got the permanent position. He stopped working for a long time, although it wasnt necessarily what he wanted to do. We have two children, now grown up. I have always been uncomfortable being held up as the woman who has done it all: I know what costs were involved. You do need to marry the right person. I think there is still a presumption that childcare is the womans problem; its not, its the couples problem.

There were subtle gender-stereotyping pressures against physics when I was young. Nowadays, numerous initiatives encourage more girls into science. Its a question of constantly pushing back against the idea that girls do certain things and boys do other things.

At times, I still feel in the minority. I sat on one very high-level committee chaired by a man who addressed the group as gentlemen, even though two of us were women. I later wrote to him, pointing out the discourtesy; he replied that it was just the terminology he was used to it didnt mean anything. The next time he did it, though, one of the men pulled him up and he never did it again. That was probably more effective than if Id made a fuss there and then.

Our intake of women to men is nothing like 50:50, and I would very much like to improve the ratio. We already do an enormous amount of outreach, and I blog and Im on Twitter, because it enables me to reach more people.

Its hugely important to remind the government how much science matters to the economy. We dont have North Sea oil any more, and the banking industry is falling to pieces. Science and engineering are at the heart of our capacity to innovate and grow.

Ava DuVernay, film director. Photograph: Brigitte Lacombe

Ava DuVernay is a film director, screenwriter and founder of distribution company Array. Her 2014 film Selma, about Martin Luther King, was nominated for a best picture Academy Award

I didnt grow up around artists, and I dont come from a family of artists. When I graduated from college I got into film publicity, but I never thought I could be the film-maker. Then I found myself on many sets, and started to believe I could do it, too.

I like that independence that comes from doing things for yourself, and doing them well. Editing, directing, producing, financing, distributing and publicising my own first films gave me a grasp of the process.

In the early parts of making Selma, I didnt believe it was going to happen, even as I was making it. My father is from Montgomery, Alabama, which is very close to Selma, so I knew the place and had a handle on that time in history. I started telling the story and, before I knew it, it was in movie theatres. It was so fast, I never had a chance to think, Oh my gosh, can I do this? I just thought, Im going to keep going until someone tells me to stop.

As a black woman film-maker there isnt a lot of support there arent many of us around so instead of not doing something, I figure out a way to do it without support. As you start to create your own work, you attract help from like-minded people; you can never attract it if youre sitting still.

The landscape has changed since I started my distribution company in 2010; we have Netflix, Amazon, all these streaming platforms. Its an incredible time to be an artist, especially for those who had been left behind. I find it very exciting to think, Im not going to continue knocking on that old door that doesnt open for me; Im going to create my own door and walk through that.

I always say: work without permission. So many of us work from a permission-based place, waiting for someone to say its OK. So often I hear people asking, How do I get started? You just start. It wont be perfect. Itll be messy and itll be hard, but youre on your way.

Leymah Gbowee, peace activist. Photograph: Brigitte Lacombe

Leymah Gbowee is a Liberian peace activist. In 2002, angered by the civil war, the then 30-year-old social worker and mother of four (she now has seven children) organised a march on the capital, with a sit-in that lasted months, leading President Charles Taylor to agree to peace talks. The womens actions led to the removal of Taylor and the inauguration of Africas first female president, Ellen Johnson Sirleaf, with whom Gbowee shared the Nobel peace prize in 2011

I was 17 when the civil war started. I had just finished high school and was planning to be a doctor, but the war upended everything. I did a three-month social work course, because that seemed the most immediate way to help. In time, I worked with former child soldiers. I was in one village when the government sent in a truck to abduct children and teach them how to use AK47s. I was with the mothers, watching their children being taken.

By 1998 I had met activists from Sierra Leone who claimed that women could change things, but it was only when I began to work with the wives of ex-combatants that I saw what they meant. The ex-soldiers were often very violent and angry, but their wives stood up to them.

There was a lot of work to do to create a movement that would have some impact: it took us two and a half years. The important thing was that we had no political agenda: we had a shared vision for peace. We were there because we cared about our families.

In 2002 we marched on the capital, Monrovia. There were thousands of us. When we started a sex strike, it became a huge story, and an opportunity for us to talk about peace. Then, when it was clear that nothing was coming of the peace talks in Ghana, we went to the hotel where they were being held and said we would disrobe. This horrified people: to see a married or elderly woman deliberately bare herself is thought to bring down a terrible curse.

We were able to use things that were ours our empathy, the ways we are perceived to make the men listen. It is important we understand our strengths, because in war, the rape and abuse of women and children are seen as ways to demoralise the enemy, to show them they are unable to take care of their families.

It is no longer an option for women to say, Im not a politician. We need to up our game. The age-old excuse has been that we cant find the good women. It is time for the good women to step up.

Extracted from The Female Lead, published next month by Penguin at 30. To order a copy for 25.50, go to bookshop.theguardian.com or call 0330 333 6846.

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from ‘Think about the bigger picture’: life lessons from Meryl Streep and other successful women