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The most important deity you've never heard of: the 3000 years long history of Nanaya

Being a major deity is not necessarily a guarantee of being remembered. Nanaya survived for longer than any other Mesopotamian deity, spread further away from her original home than any of her peers, and even briefly competed with both Buddha and Jesus for relevance. At the same time, even in scholarship she is often treated as unworthy of study. She has no popculture presence save for an atrocious, ill-informed SCP story which can’t get the most basic details right. Her claims to fame include starring in fairly explicit love poetry and appearing where nobody would expect her. Therefore, she is the ideal topic to discuss on this blog. This is actually the longest article I published here, the culmination of over two years of research. By now, the overwhelming majority of Nanaya-related articles on wikipedia are my work, and what you can find under the cut is essentially a synthesis of what I have learned while getting there. I hope you will enjoy reading it as much as I enjoyed working on it. Under the cut, you will learn everything there is to know about Nanaya: her origin, character, connections with other Mesopotamian deities, her role in literature, her cult centers… Since her history does not end with cuneiform, naturally the later text corpora - Aramaic, Bactrian, Sogdian and even Chinese - are discussed too. The article concludes with a short explanation why I see the study of Nanaya as crucial.

Dubious origins and scribal wordplays: from na-na to Nanaya Long ago Samuel Noah Kramer said that “history begins in Sumer”. While the core sentiment was not wrong in many regards, in this case it might actually begin in Akkad, specifically in Gasur, close to modern Kirkuk. The oldest possible attestation of Nanaya are personal names from this city with the element na-na, dated roughly to the reign of Naram-Sin of Akkad, so to around 2250 BCE. It’s not marked in the way names of deities in personal names would usually be, but this would not be an isolated case.

The evidence is ultimately mixed. On one hand, reduplicated names like Nana are not unusual in early Akkadian sources, and -ya can plausibly be explained as a hypocoristic suffix. On the other hand, there is not much evidence for Nanaya being worshiped specifically in the far northeast of Mesopotamia in other periods. Yet another issue is that there is seemingly no root nan- in Akkadian, at least in any attested words.

The main competing proposal is that Nanaya originally arose as a hypostasis of Inanna but eventually split off through metaphorical mitosis, like a few other goddesses did, for example Annunitum. This is not entirely implausible either, but ultimately direct evidence is lacking, and when Nanaya pops up for the first time in history she is clearly a distinct goddess.

There are a few other proposals regarding Nanaya’s origin, but they are considerably weaker. Elamite has the promising term nan, “day” or “morning”, but Nanaya is entirely absent from the Old Elamite sources you’d expect to find her in if Mesopotamians imported her from the east. Therefore, very few authors adhere to this view. The hypothesis that she was an Aramaic goddess in origin does not really work chronologically, since Aramaic is not attested in the third millennium BCE at all. The less said about attempts to connect her to anything “Proto-Indo-European”, the better.

Like many other names of deities, Nanaya’s was already a subject of etymological speculation in antiquity. A late annotated version of the Weidner god list, tablet BM 62741, preserves a scribe’s speculative attempt at deriving it from the basic meaning of the sign NA, “to call”, furnished with a feminine suffix, A. Needless to say, like other such examples of scribal speculation, some of which are closer to playful word play than linguistics, it is unlikely to reflect the actual origin of the name.

Early history: Shulgi-simti, Nanaya’s earliest recorded #1 fan

A typical Ur III administrative tablet listing offerings to various deities (wikimedia commons)

The first absolutely certain attestations of Nanaya, now firmly under her full name, have been identified in texts from the famous archive from Puzrish-Dagan, modern Drehem, dated to around 2100 BCE. Much can be written about this site, but here it will suffice to say that it was a center of the royal administration of the Third Dynasty of Ur ("Ur III") responsible for the distribution of sacrificial animals. Nanaya appears there in a rather unique context - she was one of the deities whose cults were patronized by queen Shulgi-simti, one of the wives of Shulgi, the successor of the dynasty’s founder Ur-Namma. We do not know much about Shulgi-simti as a person - she did not write any official inscriptions announcing her preferred foreign policy or letters to relatives or poetry or anything else that typically can be used to gain a glimpse into the personal lives of Mesopotamian royalty. We’re not really sure where she came from, though Eshnunna is often suggested as her hometown. We actually do not even know what her original name was, as it is assumed she only came to be known as Shulgi-simti after becoming a member of the royal family. Tonia Sharlach suggested that the absence of information about her personal life might indicate that she was a commoner, and that her marriage to Shulgi was not politically motivated The one sphere of Shulgi-simti’s life which we are incredibly familiar with are her religious ventures. She evidently had an eye for minor, foreign or otherwise unusual goddesses, such as Belet-Terraban or Nanaya. She apparently ran what Sharlach in her “biography” of her has characterized as a foundation. It was tasked with sponsoring various religious celebrations. Since Shulgi-simti seemingly had no estate to speak of, most of the relevant documents indicate she procured offerings from a variety of unexpected sources, including courtiers and other members of the royal family. The scale of her operations was tiny: while the more official religious organizations dealt with hundreds or thousands of sacrificial animals, up to fifty or even seventy thousand sheep and goats in the case of royal administration, the highest recorded number at her disposal seems to be eight oxen and fifty nine sheep. A further peculiarity of the “foundation” is that apparently there was a huge turnover rate among the officials tasked with maintaining it. It seems nobody really lasted there for much more than four years. There are two possible explanations: either Shulgi-simti was unusually difficult to work with, or the position was not considered particularly prestigious and was, at the absolute best, viewed as a stepping stone. While the Shulgi-simti texts are the earliest evidence for worship of Nanaya in the Ur III court, they are actually not isolated. When all the evidence from the reigns of Shulgi and his successors is summarized, it turns out that she quickly attained a prominent role, as she is among the twelve deities who received the most offerings. However, her worship was seemingly limited to Uruk (in her own sanctuary), Nippur (in the temple of Enlil, Ekur) and Ur. Granted, these were coincidentally three of the most important cities in the entire empire, so that’s a pretty solid early section of a divine resume. She chiefly appears in two types of ceremonies: these tied to the royal court, or these mostly performed by or for women. Notably, a festival involving lamentations (girrānum) was held in her honor in Uruk. To understand Nanaya’s presence in the two aforementioned contexts, and by extension her persistence in Mesopotamian religion in later periods, we need to first look into her character.

The character of Nanaya: eroticism, kingship, and disputed astral ventures

Corona Borealis (wikimedia commons)

Nanaya’s character is reasonably well defined in primary sources, but surprisingly she was almost entirely ignored in scholarship quite recently. The first study of her which holds up to scrutiny is probably Joan Goodnick Westenholz’s article Nanaya, Lady of Mystery from 1997. The core issue is the alleged interchangeability of goddesses. From the early days of Assyriology basically up to the 1980s, Nanaya was held to be basically fully interchangeable with Inanna. This obviously put her in a tough spot. Still, over the course of the past three decades the overwhelming majority of studies came to recognize Nanaya as a distinct goddess worthy of study in her own right. You will still stumble upon the occasional “Nanaya is basically Inanna”, but now this is a minority position. Tragically it’s not extinct yet, most recently I’ve seen it in a monograph published earlier this year. With these methodological and ideological issues out of the way, let’s actually look into Nanaya’s character, as promised by the title of this section. Her original role was that of a goddess of love. It is already attested for her at the dawn of her history, in the Ur III period. Her primary quality was described with a term rendered as ḫili in Sumerian and kuzbu in Akkadian. It can be variously translated as “charm”, “luxuriance”, “voluptuousness”, “sensuality” or “sexual attractiveness”. This characteristic was highlighted by her epithet bēlet kuzbi (“lady of kuzbu”) and by the name of her cella in the Eanna, Eḫilianna. The connection was so strong that this term appears basically in every single royal inscription praising her. She was also called bēlet râmi, “lady of love”. Nanaya’s role as a love goddess is often paired with describing her as a “joyful” or “charming” deity. It needs to be stressed that Nanaya was by no metric the goddess of some abstract, cosmic love or anything like that. Love incantations and prayers related to love are quite common, and give us a solid glimpse into this matter. Nanaya’s range of activity in them is defined pretty directly: she deals with relationships (and by extension also with matters like one-sided crushes or arguments between spouses), romance and with strictly sexual matters. For an example of a hymn highlighting her qualifications when it comes to the last category, see here. The text is explicit, obviously. We can go deeper, though. There is also an incantation whose incipit at first glance leaves little to imagination:

However, the translator, Giole Zisa, notes there is some debate over whether it’s actually about having sex with Nanaya or merely about invoking her (and other deities) while having sex with someone else. A distinct third possibility is that she’s not even properly invoked but that “oh, Nanaya” is simply an exclamation of excitement meant to fit the atmosphere, like a specialized version of the mainstay of modern erotica dialogue, “oh god”.

While this romantic and sexual aspect of Nanaya’s character is obviously impossible to overlook, this is not all there was to her. She was also associated with kingship, as already documented in the Ur III period. She was invoked during coronations and mourning of deceased kings. In the Old Babylonian period she was linked to investiture by rulers of newly independent Uruk. A topic which has stirred some controversy in scholarship is Nanaya’s supposed astral role. Modern authors who try to present Nanaya as a Venus deity fall back on rather faulty reasoning, namely asserting that if Nanaya was associated with Inanna and Inanna personified Venus, clearly Nanaya did too. Of course, being associated with Inanna does not guarantee the same traits. Shaushka was associated with her so closely her name was written with the logogram representing her counterpart quite often, and lacked astral aspects altogether. No primary sources which discuss Nanaya as a distinct, actively worshiped deity actually link her with Venus. If you stretch it you will find some tidbits like an entry in a dictionary prepared by the 10th century bishop Hasan bar Bahlul, who inexplicably asserted Nanaya was the Arabic name of the planet Venus. As you will see soon, there isn’t even a possibility that this reflected a relic of interpretatio graeca. The early Mandaean sources, many of which were written when at least remnants of ancient Mesopotamian religion were still extant, also do not link Nanaya with Venus. Despite at best ambivalent attitude towards Mesopotamian deities, they show remarkable attention to detail when it comes to listing their cult centers, and on top of that Mesopotamian astronomy had a considerable impact on Mandaeism, so there is no reason not to prioritize them, as far as I am concerned. As far as the ancient Mesopotamian sources themselves go, the only astral object with a direct connection to Nanaya was Corona Borealis (BAL.TÉŠ.A, “Dignity”), as attested in the astronomical compendium MUL.APIN. Note that this is a work which assigns astral counterparts to virtually any deity possible, though, and there is no indication this was a major part of Nanaya’s character. Save for this single instance, she is entirely absent from astronomical texts. A further astral possibility is that Nanaya was associated with the moon. The earliest evidence is highly ambiguous: in the Ur III period festivals held in her honor might have been tied to phases of the moon, while in the Old Babylonian period a sanctuary dedicated to her located in Larsa was known under the ceremonial name Eitida, “house of the month”. A poem in which looking at her is compared to looking at the moon is also known. That’s not all, though. Starting with the Old Babylonian period, she could also be compared with the sun. Possibly such comparisons were meant to present her as an astral deity, without necessarily identifying her with a specific astral body. Michael P. Streck and Nathan Wasserman suggest that it might be optimal to simply refer to her as a “luminous” deity in this context. However, as you will see later it nonetheless does seem she eventually came to be firmly associated both with the sun and the moon. Last but not least, Nanaya occasionally displayed warlike traits. It’s hardly major in her case, and if you tried hard enough you could turn any deity into a war deity depending on your political goals, though. I’d also place the incantation which casts her as one of the deities responsible for keeping the demon Lamashtu at bay here.

Nanaya in art

The oldest known depiction of Nanaya (wikimedia commons)

While Nanaya’s roles are pretty well defined, there surprisingly isn’t much to say about her iconography in Mesopotamian art.The oldest certain surviving depiction of her is rather indistinct: she’s wearing a tall headdress and a flounced robe. It dates to the late Kassite period (so roughly to 1200 BCE), and shows her alongside king Meli-Shipak (or maybe Meli-Shihu, reading remains uncertain) and his daughter Hunnubat-Nanaya. Nanaya is apparently invoked to guarantee that the prebend granted to the princess will be under divine protection. This is not really some unique prerogative of hers, perhaps she was just the most appropriate choice because Hunnubat-Nanaya’s name obviously reflects devotion to her. The relief discussed above is actually the only depiction of Nanaya identified with certainty from before the Hellenistic period, surprisingly. We know that statues representing her existed, and it is hard to imagine that a popular, commonly worshiped deity was not depicted on objects like terracotta decorations and cylinder seals, but even if some of these were discovered, there’s no way to identify them with certainty. This is not unusual though, and ultimately there aren’t many Mesopotamian deities who can be identified in art without any ambiguity.

Nanaya in literature

As I highlighted in the section dealing with Nanaya’s character, she is reasonably well attested in love poetry. However, this is not the only genre in which she played a role. A true testament to Nanaya’s prominence is a bilingual (Sumero-Akkadian) hymn composed in her honor in the first millennium BCE. It is written in the first person, and presents various other goddesses as her alternate identities. It is hardly unique, and similar compositions dedicated to Ishtar (Inanna), Gula, Ninurta and Marduk are also known. Each strophe describes a different deity and location, but ends with Nanaya reasserting her actual identity with the words “still I am Nanaya”. Among the claimed identities included are both major goddesses in their own right (Inanna plus closely associated Annunitum and Ishara, Gula, Bau, Ninlil), goddesses relevant due to their spousal roles first and foremost (Damkina, Shala, Mammitum etc) and some truly unexpected, picks, the notoriously elusive personified rainbow Manzat being the prime example. Most of them had very little in common with Nanaya, so this might be less an attempt at syncretism, and more an elevation of her position through comparisons to those of other goddesses. An additional possible literary curiosity is a poorly preserved myth which Wilfred G. Lambert referred to as “The murder of Anshar”. He argues that Nanaya is one of the two deities responsible for the eponymous act. I don't quite follow the logic, though: the goddess is actually named Ninamakalamma (“Lady mother of the land”), and her sole connection with Nanaya is that they occur in sequence in the unique god list from Sultantepe. Lambert saw this as a possible indication they are identical. There are no other attestations of this name, but ama kalamma does occur as an epithet of various goddesses, most notably Ninshubur. Given her juxtaposition with Nanaya in the Weidner god list - more on that later - wouldn’t it make more sense to assume it’s her? Due to obscurity of the text as far as I am aware nobody has questioned Lambert’s tentative proposal yet, though.

There isn’t much to say about the plot: Anshar, literally “whole heaven”, the father of Anu, presumably gets overthrown and might be subsequently killed. Something that needs to be stressed here to avoid misinterpretation: primordial deities such as Anshar were borderline irrelevant, and weren't really worshiped. They exist to fade away in myths and to be speculated about in elaborate lexical texts. There was no deposed cult of Anshar. Same goes for all the Tiamats and Enmesharras and so on.

Inanna and beyond: Nanaya and friends in Mesopotamian sources

Inanna on a cylinder seal from the second half of the third millennium BCE (wikimedia commons)

Of course, Nanaya’s single most important connection was that to Inanna, no matter if we are to accept the view that she was effectively a hypostasis gone rogue or not. The relationship between them could be represented in many different ways. Quite commonly she was understood as a courtier or protegee of Inanna. A hymn from the reign of Ishbi-Erra calls her the “ornament of Eanna” (Inanna’s main temple in Uruk) and states she was appointed by Inanna to her position. References to Inanna as Nanaya’s mother are also known, though they are rare, and might be metaphorical. To my best knowledge nothing changed since Olga Drewnowska-Rymarz’s monograph, in which she notes she only found three examples of texts preserving this tradition. I would personally abstain from trying to read too deep into it, given this scarcity. Other traditions regarding Nanaya’s parentage are better attested. In multiple cases, she “borrows” Inanna’s conventional genealogy, and as a result is addressed as a daughter of Sin (Nanna), the moon god. However, she was never addressed as Inanna’s sister: it seems that in cases where Sin and Nanaya are connected, she effectively “usurps” Inanna’s own status as his daughter (and as the sister of Shamash, while at it). Alternatively, she could be viewed as a daughter of Anu. Finally, there is a peculiar tradition which was the default in laments: in this case, Nanaya was described as a daughter of Urash. The name in this context does not refer to the wife of Anu, though. The deity meant is instead a small time farmer god from Dilbat. To my best knowledge no sources place Nanaya in the proximity of other members of Urash’s family, though some do specify she was his firstborn daughter. To my best knowledge Urash had at least two other children, Lagamal (“no mercy”, an underworld deity whose gender is a matter of debate) and Ipte-bitam (“he opened the house”, as you can probably guess a divine doorkeeper). Nanaya’s mother by extension would presumably be Urash’s wife Ninegal, the tutelary goddess of royal palaces. There is actually a ritual text listing these three together. In the Weidner god list Nanaya appears after Ninshubur. Sadly, I found no evidence for a direct association between these two. For what it’s worth, they did share a highly specific role, that of a deity responsible for ordering around lamma. This term referred to a class of minor deities who can be understood as analogous to “guardian angels” in contemporary Christianity, except places and even deities had their own lamma too, not just people. Lamma can also be understood at once as a class of distinct minor deities, as the given name of individual members of it, and as a title of major deities. In an inscription of Gudea the main members of the official pantheon are addressed as “lamma of all nations”, by far one of my favorite collective terms of deities in Mesopotamian literature. A second important aspect of the Weidner god list is placing Nanaya right in front of Bizilla. The two also appear side by side in some offering lists and in the astronomical compendium MUL.APIN, where they are curiously listed as members of the court of Enlil. It seems that like Nanaya, she was a goddess of love, which is presumably reflected by her name. It has been variously translated as “pleasing”, “loving” or as a derivative of the verb “to strip”. An argument can be made that Bizilla was to Nanaya what Nanaya was to Inanna. However, she also had a few roles of her own. Most notably, she was regarded as the sukkal of Ninlil. She may or may not also have had some sort of connection to Nungal, the goddess of prisons, though it remains a matter of debate if it’s really her or yet another, accidentally similarly named, goddess.

An indistinct Hurro-Hittite depiction of Ishara from the Yazilikaya sanctuary (wikimedia commons)

In love incantations, Nanaya belonged to an informal group which also included Inanna, Ishara, Kanisurra and Gazbaba. I do not think Inanna’s presence needs to be explained. Ishara had an independent connection with Inanna and was a multi-purpose deity to put it very lightly; in the realm of love she was particularly strongly connected with weddings and wedding nights. Kanisurra and Gazbaba warrant a bit more discussion, because they are arguably Nanaya’s supporting cast first and foremost. Gazbaba is, at the core, seemingly simply the personification of kuzbu. Her name had pretty inconsistent orthography, and variants such as Kazba or Gazbaya can be found in primary sources too. The last of them pretty clearly reflects an attempt at making her name resemble Nanaya’s. Not much can be said about her individual character beyond the fact she was doubtlessly related to love and/or sex. She is described as the “grinning one” in an incantation which might be a sexual allusion too, seeing as such expressions are a mainstay of Akkadian erotic poetry. Kanisurra would probably win the award for the fakest sounding Mesopotamian goddess, if such a competition existed. Her name most likely originated as a designation of the gate of the underworld, ganzer. Her default epithet was “lady of the witches” (bēlet kaššāpāti). And on top of that, like Nanaya and Gazbaba she was associated with sex. She certainly sounds more like a contemporary edgy oc of the Enoby Dimentia Raven Way variety than a bronze age goddess - and yet, she is completely genuine. It is commonly argued Kanisurra and Gazbaba were regarded as Nanaya’s daughters, but there is actually no direct evidence for this. In the only text where their relation to Nanaya is clearly defined they are described as her hairdressers, rather than children. While in some cases the love goddesses appear in love incantations in company of each other almost as if they were some sort of disastrous polycule, occasionally Nanaya is accompanied in them by an anonymous spouse. Together they occur in parallel with Inanna and Dumuzi and Ishara and Almanu, apparently a (accidental?) deification of a term referring to someone without family obligations. There is only one Old Babylonian source which actually assigns a specific identity to Nanaya’s spouse, a hymn dedicated to king Abi-eshuh of Babylon. An otherwise largely unknown god Muati (I patched up his wiki article just for the sake of this blog post) plays this role here. The text presents a curious case of reversal of gender roles: Muati is asked to intercede with Nanaya on behalf of petitioners. Usually this was the role of the wife - the best known case is Aya, the wife of Shamash, who is implored to do just that by Ninsun in the standard edition of the Epic of Gilgamesh. It’s also attested for goddesses such as Laz, Shala, Ninegal or Ninmug… and in the case of Inanna, for Ninshubur.

A Neo-Assyrian statue of Nabu on display in the Iraq Museum (wikimedia commons)

Marten Stol seems to treat Muati and Nabu as virtually the same deity, and on this basis states that Nanaya was already associated with the latter in the Old Babylonian period, but this seems to be a minority position. Other authors pretty consistently assume that Muati was a distinct deity at some point “absorbed” by Nabu. The oldest example of pairing Nanaya with Nabu I am aware of is an inscription dated to the reign of Marduk-apla-iddina I, so roughly to the first half of the twelfth century BCE. The rise of this tradition in the first millennium BCE was less theological and more political. With Babylon once again emerging as a preeminent power, local theologies were supposed to be subordinated to the one followed in the dominant city. Which, at the time, was focused on Nabu, Marduk and Zarpanit. Worth noting that Nabu also had a spouse before, Tashmetum (“reconciliation”). In the long run she was more or less ousted by Nanaya from some locations, though she retained popularity in the north, in Assyria. She is not exactly the most thrilling deity to discuss. I will confess I do not find the developments tied to Nanaya and Nabu to be particularly interesting to cover, but in the long run they might have resulted in Nanaya acquiring probably the single most interesting “supporting cast member” she did not share with Inanna, so we’ll come back to this later. Save for Bizilla, Nanaya generally was not provided with “equivalents” in god lists. I am only aware of one exception, and it’s a very recent discovery. Last year the first ever Akkadian-Amorite bilingual lists were published. This is obviously a breakthrough discovery, as before Amorite was largely known just from personal names despite being a vernacular language over much of the region in the bronze age, but only one line is ultimately of note here. In a section of one of the lists dealing with deities, Nanaya’s Amorite counterpart is said to be Pidray. This goddess is otherwise almost exclusively known from Ugarit. This of course fits very well with the new evidence: recent research generally stresses that Ugarit was quintessentially an Amorite city (the ruling house even claimed descent from mythical Ditanu, who is best known from the grandiose fictional genealogies of Shamshi-Adad I and the First Dynasty of Babylon). Sadly, we do not know how the inhabitants of Ugarit viewed Nanaya. A trilingual version of the Weidner list, with the original version furnished with columns listing Ugaritic and Hurrian counterparts of each deity, was in circulation, but the available copies are too heavily damaged to restore it fully. And to make things worse, much of it seems to boil down to scribal wordplay and there is no guarantee all of the correspondences are motivated theologically. For instance, the minor Mesopotamian goddess Imzuanna is presented as the counterpart of Ugaritic weather god Baal because her name contains a sign used as a shortened logographic writing of the latter. An even funnier case is the awkward attempt at making it clear the Ugaritic sun deity Shapash, who was female, is not a lesbian… by making Aya male. Just astonishing, really.

The worship of Nanaya

A speculative reconstruction of Ur III Uruk with the Eanna temple visible in the center (Artefacts — Scientific Illustration & Archaeological Reconstruction; reproduced here for educational purposes only, as permitted)

Rather fittingly, as a deity associated with Inanna, Nanaya was worshiped chiefly in Uruk. She is also reasonably well attested in the inscriptions of the short-lived local dynasty which regained independence near the end of the period of domination of Larsa over Lower Mesopotamia. A priest named after her, a certain Iddin-Nanaya, for a time served as the administrator of her temple, the Enmeurur, “house which gathers all the me,” me being a difficult to translate term, something like “divine powers”. The acquisition of new me is a common topic in Mesopotamian literature, and in compositions focused on Inanna in particular, so it should not be surprising to anyone that her peculiar double seemingly had similar interests. In addition to Uruk, as well as Nippur and Ur, after the Ur III period Nanaya spread to multiple other cities, including Isin, Mari, Babylon and Kish. However, she is probably by far the best attested in Larsa, where she rose to the rank of one of the main deities, next to Utu, Inanna, Ishkur and Nergal. She had her own temple, the Eshahulla, “house of a happy heart”. In local tradition Inanna got to keep her role as an “universal” major goddess and her military prerogatives, but Nanaya overtook the role of a goddess of love almost fully. Inanna’s astral aspect was also locally downplayed, since Venus was instead represented in the local pantheon by closely associated, but firmly distinct, Ninsianna. This deity warrants some more discussion in the future just due to having a solid claim to being one of the first genderfluid literary figures in history, but due to space constraints this cannot be covered in detail here. A later inscription from the same city differentiates between Nanaya and Inanna by giving them different epithets: Nanaya is the “queen of Uruk and Eanna” (effectively usurping Nanaya’s role) while Inanna is the “queen of Nippur” (that’s actually a well documented hypostasis of her, not to be confused with the unrelated “lady of Nippur”). Uruk was temporarily abandoned in the late Old Babylonian period, but that did not end Nanaya’s career. Like Inanna, she came to be temporarily relocated to Kish. It has been suggested that a reference to her residence in “Kiššina” in a Hurro-Hittite literary text, the Tale of Appu, reflects her temporary stay there. The next centuries of Nanaya are difficult to reconstruct due to scarce evidence, but it is clear she continued to be worshiped in Uruk. By the Neo-Babylonian period she was recognized as a member of an informal pentad of the main deities of the city, next to Inanna, Urkayitu, Usur-amassu and Beltu-sa-Resh. Two of them warrant no further discussion: Urkayitu was most likely a personification of the city, and Beltu-sa-Resh despite her position is still a mystery to researchers. Usur-amassu, on the contrary, is herself a fascinating topic. First attestations of this deity, who was seemingly associated with law and justice (a pretty standard concern), come back to the Old Babylonian period. At this point, Usur-amassu was clearly male, which is reflected by the name. He appears in the god list An = Anum as a son of the weather deity couple par excellence, Adad (Ishkur) and Shala. However, by the early first millennium BCE Usur-amassu instead came to be regarded as female - without losing the connection to her parents. She did however gain a connection to Inanna, Nanaya and Kanisurra, which she lacked earlier. How come remains unknown. Most curiously her name was not modified to reflect her new gender, though she could be provided with a determinative indicating it. This recalls the case of Lagamal in the kingdom of Mari some 800 years earlier.

The end of the beginning: Nanaya under Achaemenids and Seleucids

Trilingual (Persian, Elamite and Akkadian) inscription of the first Achamenid ruler of Mesopotamia, Cyrus (wikimedia commons)

After the fall of the Neo-Babylonian Empire Mesopotamia ended up under Achaemenid control, which in turn was replaced by the Seleucids. Nanaya flourished through both of these periods. In particular, she attained considerable popularity among Arameans. While they almost definitely first encountered her in Uruk, she quickly came to be venerated by them in many distant locations, like Palmyra, Hatra and Dura Europos in Syria. She even appears in a single Achaemenid Aramaic papyrus discovered in Elephantine in Egypt. It indicates that she was worshiped there by a community which originated in Rash, an area east to the Tigris. As a curiosity it’s worth mentioning the same source is one of the only attestations of Pidray from outside Ugarit. I do not think this has anything to do with the recently discovered connection between her and Nanaya… but you may never know. Under the Seleucids, Nanaya went through a particularly puzzling process of partial syncretism. Through interpretatio graeca she was identified with… Artemis. How did this work? The key to understanding this is the fact Seleucids actually had a somewhat limited interest in local deities. All that was necessary was to find relatively major members of the local pantheon who could roughly correspond to the tutelary deities of their dynasty: Zeus, Apollo and Artemis. Zeus found an obvious counterpart in Marduk (even though Marduk was hardly a weather god). Since Nabu was Marduk’s son, he got to be Apollo. And since Nanaya was the most major goddess connected to Nabu, she got to be Artemis. It really doesn’t go deeper than that. For what it’s worth, despite the clear difference in character this newfound association did impact Nanaya in at least one way: she started to be depicted with attributes borrowed from Artemis, namely a bow and a crescent. Or perhaps these attributes were already associated with her, but came to the forefront because of the new role. The Artemis-like image of Nanaya as an archer is attested on coins, especially in Susa, yet another city where she attained considerable popularity.

Leaving Mesopotamia: Nanaya and the death of cuneiform

A Parthian statue of Nanaya with a crescent diadem (Louvre; reproduced here for educational purposes only. Identification follows Andrea Sinclair's proposal)

The Seleucid dynasty was eventually replaced by the Parthians. This period is often considered a symbolic end of ancient Mesopotamian religion in the strict sense. Traditional religious institutions were already slowly collapsing in Achaemenid and Seleucid times as the new dynasties had limited interest in royal patronage. Additionally, cuneiform fell out of use, and by the end of the first half of the first millennium CE the art of reading and writing it was entirely lost. This process did not happen equally quickly everywhere, obviously, and some deities fared better than others in the transitional period before the rise of Christianity and Islam as the dominant religions across the region. Nanaya was definitely one of them, at least for a time. In Parthian art Nanaya might have developed a distinct iconography: it has been argued she was portrayed as a nude figure wearing only some jewelry (including what appears to be a navel piercing and a diadem with a crescent. The best known example is probably this standing figure, one of my all time favorite works of Mesopotamian art:

Parthian Nanaya (wikimedia commons; identification courtesy of the Louvre website and J. G. Westenholz)

For years Wikipedia had this statue mislabeled as “Astarte” which makes little sense considering it comes from a necropolis near Babylon. There was also a viral horny tweet which labeled it as “Asherah” a few months ago (I won’t link it but I will point out in addition to getting the name wrong op also severely underestimated the size). This is obviously even worse nonsense both on spatial and temporal grounds. Even if the biblical Asherah was ever an actual deity like Ugaritic Athirat and Mesopotamian Ashratum, it is highly dubious she would still be worshiped by the time this statue was made. It’s not even certain she ever was a deity, though. Cognate of a theonym is not automatically a theonym itself, and the Ugaritic texts and the Bible, even if they share some topoi, are separated by centuries and a considerable distance. This is not an Asherah post though, so if this is a topic which interests you I recommend downloading Steve A. Wiggins’ excellent monograph A Reassessment of Asherah: With Further Considerations of the Goddess.

The last evidence for the worship of Nanaya in Mesopotamia is a Mandaean spell from Nippur, dated to the fifth or sixth century CE. However, at this point Nanaya must have been a very faint memory around these parts, since the figure designated by this name is evidently male in this formula. That was not the end of her career, though. The system of beliefs she originated and thrived in was on its way out, but there were new frontiers to explore. A small disgression is in order here: be INCREDIBLY wary of claims about the survival of Mesopotamian tradition in Mesopotamia itself past the early middle ages. Most if not all of these come from the writing of Simo Parpola, who is a 19th century style hyperdiffusionist driven by personal religious beliefs based on gnostic christianity, which he believes was based on Neo-Assyrian state religion, which he misinterprets as monotheism, or rather proto-christianity specifically (I wish I was making this up). I personally do not think a person like that should be tolerated in serious academia, but for some incomprehensible reason that isn’t the case.

New frontiers: Nanaya in Bactria

The key to Nanaya’s extraordinarily long survival wasn’t the dedication to her in Mesopotamia, surprisingly. It was instead her introduction to Bactria, a historical area in Central Asia roughly corresponding to parts of modern Afghanistan, Tajikistan and Uzbekistan. The early history of this area is still poorly known, though it is known that it was one of the “cradles of civilization” not unlike Mesopotamia, the Indus Valley or Mesoamerica. The so-called “Oxus civilization” or “Bactria-Margiana Archaeological Complex” flourished around 2500-1950 BCE (so roughly contemporarily with the Akkadian and Ur III empires in Mesopotamia). It left behind no written records, but their art and architecture are highly distinctive and reflect great social complexity. I sadly can’t spent much time discussing them here though, as they are completely irrelevant to the history of Nanaya (there is a theory that she was already introduced to the east when BMAC was extant but it is incredibly implausible), so I will limit myself to showing you my favorite related work of art, the “Bactrian princess”:

Photo courtesy of Louvre Abu Dhabi, reproduced here for educational purposes only.

By late antiquity, which is the period we are concerned with here, BMAC was long gone, and most of the inhabitants of Bactria spoke Bactrian, an extinct Iranian language. How exactly they were related to their BMAC forerunners is uncertain. Their religious beliefs can be compared to Zoroastrianism, or rather with its less formalized forerunners followed by most speakers of Iranian languages before the rise of Zoroaster. However, there were many local peculiarities. For example, the main deity was the personified river Oxus, not Ahura Mazda. Whether this was a relic of BMAC religion is impossible to tell.We do not know exactly when the eastward transfer of Nanaya to Bactria happened. The first clear evidence for her presence in central Asia comes from the late first century BCE, from the coins of local rulers, Sapadbizes and Agesiles. It is possible that her depictions on coinage of Mesopotamian and Persian rulers facilitated her spread. Of course, it’s also important to remember that the Aramaic script and language spread far to the east in the Achaemenid period already, and that many of the now extinct Central Asian scripts were derived from it (Bactrian was written with the Greek script, though). Doubtlessly many now lost Aramaic texts were transferred to the east. There’s an emerging view that for unclear reasons, under the Achaemenids Mesopotamian culture as a whole had unparalleled impact on Bactria. The key piece of evidence are Bactrian temples, which often resemble Mesopotamian ones. Therefore, perhaps we should be wondering not why Nanaya spread from Mesopotamia to Central Asia, but rather why there were no other deities who did, for the most part. That is sadly a question I cannot answer. Something about Nanaya simply made her uniquely appealing to many groups at once. While much about the early history of Nanaya in Central Asia is a mystery, it is evident that with time she ceased to be viewed as a foreign deity. For the inhabitants of Bactria she wasn’t any less “authentically Iranian” than the personified Oxus or their versions of the conventional yazatas like Sraosha. Frequently arguments are made that Nanaya’s widespread adoption and popularity could only be the result of identification between her and another deity.Anahita in particular is commonly held to be a candidate. However, as stressed by recent studies there’s actually no evidence for this. What is true is that Anahita is notably missing from the eastern Iranian sources, despite being prominent in the west from the reign of the Achaemenid emperor Artaxerxes II onward. However, it is clear that not all yazatas were equally popular in each area - pantheons will inevitably be localized in each culture. Furthermore, Anahita’s character has very little in common with Nanaya save for gender. Whether we are discussing her early not quite Zoroastrian form the Achaemenid public was familiar with or the contemporary yazata still relevant in modern Zoroastrianism, the connection to water is the most important feature of her. Nanaya didn’t have such a role in any culture. Recently some authors suggested a much more obvious explanation for Anahita’s absence from the eastern Iranian pantheon(s). As I said, eastern Iranian communities venerated the river Oxus as a deity (or as a yazata, if you will). He was the water god par excellence, and in Bactria also the king of the gods. It is therefore quite possible that Anahita, despite royal backing from the west, simply couldn’t compete with him. Their roles overlapped more than the roles of Anahita and Nanaya. I am repeating myself but the notion of interchangeability of goddesses really needs to be distrusted almost automatically, no matter how entrenched it wouldn’t be. While we’re at it, the notion of alleged interchangeability between Anahita and Ishtar is also highly dubious, but that’s a topic for another time.

Nana (Nanaya) on a coin of Kanishka (wikimedia commons)

Nanaya experienced a period of almost unparalleled prosperity with the rise of the Kushan dynasty in Bactria. The Kushans were one of the groups which following Chinese sources are referred to as Yuezhi. They probably did not speak any Iranian language originally, and their origin is a matter of debate. However, they came to rule over a kingdom which consisted largely of areas inhabited by speakers of various Iranian languages, chiefly Bactrian. Their pantheon, documented in royal inscriptions and on coinage, was an eerie combination of mainstays of Iranian beliefs like Sraosha and Mithra and some unique figures, like Oesho, who was seemingly the reflection of Hindu Shiva. Obviously, Nanaya was there too, typically under the shortened name Nana. The most famous Kushan ruler, emperor Kanishka, in his inscription from Rabatak states that kingship was bestowed upon him by “Nana and all the gods”. However, we do not know if the rank assigned to her indicates she was the head of the dynastic pantheon, the local pantheon in the surrounding area, or if she was just the favorite deity of Kanishka. Same goes for the rank of numerous other deities mentioned in the rest of the inscription. Her apparent popularity during Kanishka’s reign and beyond indicates her role should not be downplayed, though. The coins of Kanishka and other Bactrian art indicate that a new image of Nanaya developed in Central Asia. The Artemis-like portrayals typical for Hellenistic times continue to appear, but she also started to be depicted on the back of a lion. There is only one possible example of such an image from the west, a fragmentary relief from Susa, and it’s roughly contemporary with the depictions from Bactria. While it is not impossible Nanaya originally adopted the lion association from one of her Mesopotamian peers, it is not certain how exactly this specific type of depictions originally developed, and there is a case to be made that it owed more to the Hellenistic diffusion of iconography of deities such as Cybele and Dionysus, who were often depicted riding on the back of large felines. The lunar symbols are well attested in the Kushan art of Nanaya too. Most commonly, she’s depicted wearing a diadem with a crescent. However, in a single case the symbol is placed behind her back. This is an iconographic type which was mostly associated with Selene at first, but in the east it was adopted for Mah, the Iranian personification of the moon. I’d hazard a guess that’s where Nanaya borrowed it from - more on that later. The worship of Nanaya survived the fall of the Kushan dynasty, and might have continued in Bactria as late as in the eighth century. However, the evidence is relatively scarce, especially compared with yet another area where she was introduced in the meanwhile.

Nanaya in Sogdia: new home and new friends

A Sogdian depiction of Nanaya from Bunjikat (wikimedia commons)

Presumably from Bactria, Nanaya was eventually introduced to Sogdia, its northern neighbor. I think it’s safe to say this area effectively became her new home for the rest of her history. Like Bactrians, the Sogdians also spoke an eastern Iranian language, Sogdian. It has a direct modern descendant, Yaghnobi, spoken by a small minority in Tajikistan. The religions Sogdians adhered to is often described as a form of Zoroastrianism, especially in older sources, but it would appear that Ahura Mazda was not exactly the most popular deity. Their pantheon was seemingly actually headed by Nanaya. Or, at the very least, the version of it typical for Samarkand and Panijkant, since there’s a solid case to be made for local variety in the individual city-states which made up Sogdia. It seems that much like Mesopotamians and Greeks centuries before them, Sogdians associated specific deities with specific cities, and not every settlement necessarily venerated each deity equally (or at all). Nanaya's remarkable popularity is reflected by the fact the name Nanaivandak, "servant of Nanaya", is one of the most common Sogdian names in general. It is agreed that among the Sogdians Panjikant was regarded as Nanaya’s cult center. She was referred to as “lady” of this city. At one point, her temple located there was responsible for minting the local currency. By the eighth century, coins minted there were adorned with dedications to her - something unparalleled in Sogdian culture, as the rest of coinage was firmly secular. This might have been an attempt at reasserting Sogdian religious identity in the wake of the arrival of Islam in Central Asia. Sogdians adopted the Kushan iconography of Nanaya, though only the lion-mounted version. The connection between her and this animal was incredibly strong in Sogdian art, with no other deity being portrayed on a similar mount. There were also innovations - Nanaya came to be frequently portrayed with four arms. This reflects the spread of Buddhism through central Asia, which brought new artistic conventions from India. While the crescent symbol can still be found on her headwear, she was also portrayed holding representations of the moon and the sun in two of her hands. Sometimes the solar disc and lunar orb are decorated with faces, which has been argued to be evidence that Nanaya effectively took over the domains of Mah and Mithra, who would be the expected divine identities of these two astral bodies. She might have been understood as controlling the passage of night and day. It has also been pointed out that this new iconographic type is the natural end point of the evolution of her astral role. Curiously, while no such a function is attested for Nanaya in Bactria, in Sogdia she could be sometimes regarded as a warlike deity. This is presumably reflected in a painting showing her and an unidentified charioteer fighting demons.

The "Sogdian Deities" painting from Dunhuang, a possible depiction of Nanaya and her presumed spouse Tish (wikimedia commons)

Probably the most fascinating development regarding Nanaya in Sogdia was the development of an apparent connection between her and Tish. This deity was the Sogdian counterpart of one of the best known Zoroastrian yazatas, Tishtrya, the personification of Sirius. As described in the Tištar Yašt, the latter is a rainmaking figure and a warlike protector who keeps various nefarious forces, such as Apaosha, Duzyariya and the malign “worm stars” (comets), at bay. Presumably his Sogdian counterpart had a similar role. While this is not absolutely certain, it is generally agreed that Nanaya and Tish were regarded as a couple in central Asia (there’s a minority position she was instead linked with Oesho, though). Most likely the fact that in Achaemenid Persia Tishtrya was linked with Nabu (and by extension with scribal arts) has something to do with this. There is a twist to this, though. While both Nabu and the Avestan Tishtrya are consistently male, in Bactria and Sogdia the corresponding deity’s gender actually shows a degree of ambiguity. On a unique coin of Kanishka, Tish is already portrayed as a feminine figure distinctly similar to Greek Artemis - an iconographic type which normally would be recycled for Nanaya. There’s also a possibility that a feminine, or at least crossdressing, version of Tish is portrayed alongside Nanaya on a painting from Dunhuang conventionally referred to as “Sogdian Daēnās” or “Sogdian Deities”, but this remains uncertain. If this identification is correct, it indicates outright interchange of attributes between them and Nanaya was possible.

The final frontier: Nanaya and the Sogdian diaspora in China Sogdians also brought Nanaya with them to China, where many of them settled in the Six Dynasties and Tang periods. An obviously Sinicized version of her, accompanied by two attendants of unknown identity, is portrayed on a Sogdian funerary couch presently displayed in the Miho Museum.

Nanaya (top) on a relief from the Miho funerary couch (Miho Museum; reproduced here for educational purposes only)

For the most part the evidence is limited to theophoric names, though. Due to unfamiliarity with Sogdian religious traditions and phonetic differences between the languages there was no consistent Chinese transcription of Nanaya’s name. I have no clue if Chinese contemporaries of the Sogdians were always aware of these elements in personal names referred to a deity. There is a fringe theory that Nanaya was referred to as Nantaihou (那那女主, “queen Nana”) in Chinese. However, the evidence is apparently not compelling, and as I understand the theory depends in no small part on the assertion that a hitherto unattested alternate reading of one of the signs was in use on the western frontiers of China in the early first millennium CE. The alleged Nantaihou is therefore most likely a misreading of a reference to a deceased unnamed empress dowager venerated through conventional ancestor worship, as opposed to Nanaya. Among members of the Sogdian diaspora, in terms of popularity Nanaya was going head to head with Jesus and Buddha. The presence of the latter two reflected the adoption of, respectively, Manichaeism and Buddhism. Manicheans seemingly were not fond of Nanaya, though, and fragments of a polemic against her cult have been identified. It seems ceremonies focused on lamentations were the main issue for the Manichaeans. Sadly there doesn’t seem to be any worthwhile study of possible Mesopotamian influence on that - the only one I found is old and confuses Nanaya with Inanna. We do not have much of an idea how Buddhists viewed Nanaya, though it is worth noting a number of other Sogdian deities were incorporated into the local form of Mahayana (unexpectedly, one of them was Zurvan). It has also been argued that a Buddhist figure, Vreshman (Vaisravana) was incorporated into Nanaya’s entourage. Nanaya might additionally be depicted in a painting showing Buddha’s triumph over Mara from Dunhuang. Presumably her inclusion would reflect the well attested motif of local deities converting to Buddhism. It was a part of the Buddhist repertoire from the early days of this religion and can be found in virtually every area where this religion ever spread. Nanaya is once again in elevated company here, since other figures near her have been tentatively interpreted as Shiva, Vishnu, Kartikeya and… Zoroaster.

Buddha conquering Mara (maravijaya) on a painting from Dunhuang (wikimedia commons)

zoom in on a possible depiction of Nanaya next to a demon suspiciously similar to Tove Jansson’s Fillyjonk

To my best knowledge, the last absolutely certain attestation of Nanaya as an actively worshiped deity also comes from the western frontier of China. A painting from Dandan Oilik belonging to the artistic tradition of the kingdom of Khotan shows three deities from the Sogdian pantheon: the enigmatic Āδβāγ (“highest god”; interpreted as either Indra, Ahura Mazda or a combination of them both) on the left, Weshparkar (a later version of Kushan Oesho) on the right and Nanaya in the center. It dates to the ninth or tenth century.

Nanaya (center) on the Dandan Oilik painting (wikimedia commons)

We will probably never know what Nanaya’s last days were like, though it is hard to imagine she retained much relevance with the gradual disappearance of Sogdian culture both in Sogdia and in China in the wake of, respectively, the rise of Islam in Central Asia and the An Lushan rebellion respectively. Her history ultimately most likely ended with a whimper rather than a bang. Conclusions and reflections Obviously, not everything about Nanaya could be covered in this article - there is enough material to warrant not one, but two wiki articles (and I don't even think they are extensive enough yet). I hope I did nonetheless manage to convey what matters: she was the single most enduring Mesopotamian deity who continued to be actually worshiped. She somehow outlived Enlil, Marduk, Nergal and even Inanna, and spread further than any of them ever did. It does not seem like her persistence was caused by some uniquely transcendent quality, and more to a mix of factors we will never really fully understand and pure luck. She is a far cry from the imaginary everlasting universal goddesses such longevity was attributed to by many highly questionable authors in the past, from Frazer to Gimbutas. Quite the opposite, once you look into the texts focused on her she comes across as sort of pathetic. After all, most of them are effectively ancient purple prose. And yet, this is precisely why I think Nanaya matters. To see how an author approaches her is basically a litmus test of trustworthiness - I wish I was kidding but this “Nanaya method” works every time. To even be able to study her history, let alone understand it properly, one has to cast away most of the dreadful trends which often hindered scholarship of ancient deities, and goddesses in particular, in the past. The interchangeability of goddesses; the Victorian mores and resulting notion that eroticism must be tied to fertility; the weird paradigms about languages neatly corresponding to religions; and many others. And if nothing else, this warrants keeping the memory of her 3000 years long history alive through scholarship (and, perhaps, some media appearances). Bibliography

Julia M. Asher-Greve & Joan Goodnick Westenholz, Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources (2013)

Paul-Alain Beaulieu, The Pantheon of Uruk During the Neo-Babylonian Period (2003)

idem, Nabû and Apollo: The Two Faces of Seleucid Religious Policy in: Orient und Okzident in Hellenistischer Zeit (2014)

Matteo Compareti, Nana and Tish in Sogdiana (2017)

idem, The So-Called "Pelliot Chinois 4518.24". Illustrated Document from Dunhuang and Sino-Sogdian Iconographical Contacts (2021)

Olga Drewnowska-Rymarz, Mesopotamian Goddess Nanāja (2008)

Benjamin R. Foster, Before the Muses: an Anthology of Akkadian Literature (2005)

Andrew R. George & Manfred Krebernik, Two Remarkable Vocabularies: Amorite-Akkadian Bilinguals! (2022)

Valerie Hansen, Kageyama Etsuko & Yutaka Yoshida, The Impact of the Silk Road Trade on a Local Community: The Turfan Oasis, 500-800 in: Les sogdiens en Chine (2005)

Wilfred G. Lambert, Babylonian Creation Myths (2013)

Enrico Marcato, An Aramaic Incantation Bowl and the Fall of Hatra (2020)

Christa Müller-Kessler & Karlheinz Kessler, Spätbabylonische Gottheiten in spätantiken mandäischen Texten (1999)

Lilla Russel-Smith, Uygur Patronage in Dunhuang. Regional Art Centres on the Northern Silk Road in the Tenth and Eleventh Centuries (2005)

idem, The 'Sogdian Deities' Twenty Years on: A Reconsideration of a Small Painting from Dunhuang in: Buddhism in Central Asia II. Practices and Rituals, Visual and Material Transfer (2022)

Tonia M. Sharlach, An Ox of One's Own. Royal Wives and Religion at the Court of the Third Dynasty of Ur (2017)

Michael Shenkar, Intangible Spirits and Graven Images: The Iconography of Deities in the Pre-Islamic Iranian World (2014)

idem, The Religion and the Pantheon of the Sogdians (5th-8th Centuries CE) in Light of their Sociopolitical Structures (2017)

idem, The So-Called "Fravašis" and the "Heaven and Hell" Paintings, and the Cult of Nana in Panjikent (2022)

Marten Stol, Nanaja in: Reallexikon der Assyriologie, vol. 9 (1998)

Michael P. Streck & Nathan Wasserman, More Light on Nanāya (2013)

Aaron Tugendhaft, Gods on Clay: Ancient Near Eastern Scholarly Practices and the History of Religions in: Canonical Texts and Scholarly Practices. A Global Comparative Approach (2016)

Joan Goodnick Westenholz, Nanaya, Lady of Mystery in: Sumerian Gods and Their Representations (1997)

idem, Trading the Symbols of the Goddess Nanaya in: Religions and Trade. Religious Formation, Transformation and Cross-Cultural Exchange between East and West (2014)

Xinjiang Rong, The Colophon of the Manuscript of the Golden Light Sutra Excavated in Turfan and the Transmission of Zoroastrianism to Gaochang in: The Silk Road and Cultural Exchanges between East and West (2022)

Gioele Zisa, The Loss of Male Sexual Desire in Ancient Mesopotamia. ›Nīš Libbi‹ Therapies (2021)

#mesopotamian mythology #sumerian mythology #mythology #bactrian mythology #sogdian mythology #sogdia #nanaya

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henry-fox-biggest-stan · 3 months

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Some more obscure and / or underrated lesbian literature : An incomplete list made by a lesbian in hopes of making other sapphics happy

(I haven’t read all of them)

Sorted by years (this rapidly became a history lesson of lesbian literature sorry I’m a nerd)

Ancient times

(A good article about lesbians in ancient greece / rome)

Queen Zhuang Jiang 庄姜 (???- BC 690) / We know about Sappho and Enheduanna, but what about her? She wrote poems some of which were, uh, pretty gay. I learnt about her here. It is said than her poems are in The Book of Songs (which is a collection of ancient Chinese poetry). I couldn’t find a lot about her but I found enough to believe than (hopefully) she was a real person and the internet isn't lying to me.

Dialogues of the courtesans - Lucian of Samosata (somewhere in the second century BC) / Basically Dialogues of the courtesans is a collection of dialogues between well, courtesans (prostitutes). Either between themselves or between clients. One of the dialogues is called “The Lesbians”. Link to read (somehow finding a pdf of Dialogues of the courtesans is pretty hard but reading it chapter by chapter online it’s not??)

The Babyloniaka - Iamblichus (somewhere in the second century AC) / Lost novel, so all you need to know is here

Of course we can’t forget this Pompeii poem

1200s

Bieiris de Romans (somewhere in the first half of the 1200s) / Bieiris was a French poet, and we only have one of her poems with us because the others have been lost. We don’t know much (anything) about her, except that she was a woman, French, and who wrote about a woman called Maria. Some say that this mysterious Maria referred to the Virgin Mary, others than Maria was her gf, and others than she was writing in the perspective of a man (because obviously a woman writing about other women in a not so platonic way is unthinkable). Anyway, feel free to get your own conclusions, here’s the poem (translated)

1500s

The Sword and the Pen: Women, Politics, and Poetry in Sixteenth-Century Siena - Konrad Eisenbichler / So while this is a modern book, it is the only one I’ve been able to find than includes Laudomia Forteguerri’s poems (1515-1555). Some historians considered her to be the earliest Italian lesbian writer. “Although only six of her sonnets have survived, all are testaments to the love she bore for other women, and five are specifically dedicated to Margaret of Austria.”

The Maitland Quarto / Manuscript (1586) / So, this is a collection of 95 scot poems, and poem 49 is pretty sapphic. It’s technically anonymous, but it has been attributed to Marie Maitland (who transcripted the manuscript and is thought to have added her own poems there). The last lines mean “'There is more constancy in our sex / Than ever among men has been”, I haven’t been able to translate the rest of it. The poem.

1600s

The Flower's Shadow Behind the Curtain - Ko Lien Hua Ying (somewhere in the 1600s) / It is said this book was written towards the end of the Ming dynasty (1368 to 1644). It’s a erotic book, and chapter 22 includes an erotic story between two 16 year old girls. I found it in Sex in China: Studies in Sexology in Chinese Culture by Fang Fu Ruan (believe it or not, I don’t just randomly know all this books, I did research)

Aphra Behn (1640-1689) / English writer, one of the first female writers to live through her writing. She was also a spy. She wrote a lot about women. “Homoeroticism is standard in Behn's verse, either in descriptions such as these of male to male relationships or in depictions of her own attractions to women. Behn was married and widowed early, and as a mature woman her primary publicly acknowledged relationship was with a gay male, John Hoyle, himself the subject of much scandal.” (here). She wrote a lesbian love poem (in the link before, it also makes an analysis of it). The poem: To The Fair Clarinda

Poems, Protest, and a Dream: Selected Writings - Juana Inés De la Cruz (1648-1695) / So the thing about Juana is than every single spanish-speaking lesbian knows her (and loves her), but hardly anyone who doesn’t speak spanish has ever heard of her, which is a shame, because she’s an absolute icon. She was a Mexican nun who was also incredibly gay. You know how Sappho is called the tenth muse? Juana is also called the (mexican) tenth muse. She’s also called the phoenix of America, which is incredibly badass. She learnt how to read at 3 years old, at 8, she asked her mother to send her to college dressed as a man (her mother refused). She learnt and studied by her own, because she wanted to learn. She studied by cutting her hair (if she got something wrong or forgot something, she cut a strand of her hair as a punishment) because she said that “a head adorned with hair is worthless if it’s a head naked of ideas”. When she was sixteen (important to note than she already spoke Latin fluently at 12, having mastered it in just a few lessons) the archbishop Payo Enríquez de Rivera heard of her, and decided to ask her to be the company lady of his wife (his wife and her eventually would have a relationship) and decided to test her intelligence. He got 40 (!!!) university profesor of all subjects, and they all asked her questions related to maths, literature, philosophy, etc. She answered all of them right. At around 21, she decided to become a nun (not out of faith, but because it was either becoming a nun and being able to continue her education, or marrying a man and stop studying. To her, the choice was clear). Also it is said she owned around 4000 books in her personal library. So yeah, an educated, extremely intelligent gal, who wrote lesbian love poems to her gf, and who was definitely not afraid to stand up for herself.

1700s

The Game of Flats - Nicholas Rowe? (1715) / Poem, “game of flats” was an 18th century slang for lesbian sex. Link to read <- that website includes lots of 18th century queer history and poems like this one

The Sappho-an - Anonymous (1735 or 1749) / When I first heard of this I couldn’t believe it. It sounds like an AO3 fanfic, or some modern erotic book (one of those than have a real person in the cover), or maybe a forgotten 1970s lesbian book. It’s none of that. It’s an anonymous poem written in the 1700s. The plot? The goddesses of Olympus are sexually unsatisfied because the gods keep on going after mortals (except Ares, he’s just too busy with war) instead of paying attention to them. The gods keep going after woman and male mortals, so Hera just says yknow what if they can sleep with men then we can sleep with each other. Sappho also appears. Link to read.

Fanny Hill, Memoirs of a Woman of Pleasure - John Cleland (1742) / Ok fine, this one is not sapphic but the main character (female) does have sex with a woman at one point. This is basically an erotic novel. Very dirty (specially for the time period) and very banned in lots of places. The main character is Fanny, a prostitute. It includes lots of straight sex, some gay (mlm) sex, and two pages where Fanny describes in detail having sex with Phoebe, bisexual prostitute. Not sapphic, but thought it was worth mentioning.

1810s

Christabel - Samuel Taylor Coleridge (1816) / So, have you heard of Carmilla (1872)? If you’re reading this post, you probably have, if you haven’t, it’s a classic (vampire) book than is said to have inspired Bram Stoker to write Dracula. It’s also incredibly gay. Well, some say it was Christabel than was the inspiration for Carmilla. Of course we don’t know this for sure, but the similarities definitely are there. Review from a reader: “what if we were the protagonist and villain of a never-completed sensual gothic poem (and we were both girls) / alternately: when you meet a wickedhot girl only she's SPOOKY but that's SEXY and turns out your dad and her dad were also gay back in the day before having a sexy gay falling-out and she's like 'babe let's get naked and hold each other close' and you're like '—wait fuck I mean uhhhh I PRETEND I DO NOT SEE IT!'” I haven’t read this one, however for what it seems Christabel is not explicitly a vampire. Since the poem is unfinished we don’t know the end, and we just think she’s a vampire because so many things used in here were also reused for vampires characterization (like not being able to enter a house unless invited)

1830s

Mademoiselle de Maupin - Théophile Gautier (1835) / “A woman uses her incredible beauty to captivate both d'Albert, a young poet, and disguised as a man, his mistress, Rosette. In this shocking tale of sexual deception, Gautier draws readers into the bedrooms and boudoirs of a French château in a compelling exploration of desire and sexual intrigue, and gives voice to a longing which is larger in scope, namely, the wish for completeness in oneself.”

1870s

Mademoiselle Giraud, My Wife - Adolphe Belot (1870) / “The sensational Mademoiselle Giraud, My Wife tells of the suffering of a naive young man whose new bride will not agree to consummate the marriage. Eventually he learns from an acquaintance, to his amazement, that their wives are lovers.” In reviews it says than this is a homophobic novel (who’s surprised) but “Christopher Rivers argues in his introduction that the protagonist's homophobic attitude toward lesbianism is ironically linked to his intimate homosocial bonds with men”

1880s

Jill - Amy Dillwyn (1884) / “Jill is the story of an unconventional heroine—a gentlewoman who disguises herself as a maid and runs away to London in search of adventure after her mother dies and her father is pursued by a Victorian gold-digger. Once in London she uses her position as lady's maid to become close to her mistress. Her life above and below stairs is portrayed with irreverent wit in this fast-paced story, but at the centre of the novel is Jill's unfolding love for the woman she works for. On the surface a feminist manifesto, Jill is a poignant story of same-sex desire and unrequited love. A new introduction tells the autobiographical story on which the novel is based —the author's own passionate attachment to a woman she called her wife, but who she couldn't have.”

Mephistophela - Catulle Mendès (1889) / “Telling the story of Baronne Sophor d'Hermelinge, a woman as thoroughly martyrized by her creator as any other heroine in the history of fiction, in spite of the enormous competition for that title established by countless writers, male and female, it is one of the archetypal novels of the Decadent Movement, and one of the most striking, precisely because is it such a discomfiting piece of writing, the deliberately controversial nature of which has been further enhanced as its surrounding social context has changed over time. Highly influential, especially on the works of such writers as Jean Lorrain and Renée Vivien, Mephistophela, in placing lesbian amour in the foreground of the story, deals forthrightly and intensively with a literary theme that had previously only been treated with delicacy and indecision, mostly in poetry. It is essentially a horror story about demonic possession, about contrived and cruel damnation, devoid even of a Faustian pact, which merely employs obsessive lesbian desire as an instrument of damnation.” Goodreads review: “As a story it is quite straightforward. Girl has same-sex desires and the novel follows her various affairs up to about the age of thirty. […] More controversially, Stableford (and the books blurb) suggests that it is a novel of demonic possession. Now Brian has probably forgotten more than I will ever learn about the period but a few of the episodes show distinct Charcotian traits (an early childhood 'illness', two doctors in conversation etc) and a (really great) fantasy/visionary episode in the book seems to show, to me, the influence of Michelets book on witchcraft. If anything, the book seems even more subversive that Stableford suggests, as Sophie seems largely 'out and proud' and the author often says that she is 'is as she is' suggesting to me that it is 'natural' rather than demonic. I wonder whether the publisher asked Mendes to add some suggestion of the demonic to 'tone down' the idea that people were actually like 'that'.”

1890s

Avant la nuit / Before the dark - Marcel Proust (1893) / Short story (seriously, less than 10 pages). I read it the other day before bed and it’s pretty good. Talks about Françoise, a woman, revealing her homosexuality to her friend Leslie.

A Sunless Heart - Edith Johnstone (1894) / “Its first third focuses on Gasparine O'Neill, who shares an intense connection with her sickly twin brother, Gaspar. Living in poverty, the two struggle to live decently until Gaspar dies. Here gritty naturalism gives way to fantasy, as Gasparine is rescued from despair by the brilliant Lotus Grace, a much-admired teacher at the local Ladies' College. Sexually exploited from the age of twelve by her sister's fiancé, Lotus cannot love anyone, not even her illegitimate child. Gasparine devotes herself to Lotus, but Lotus finds her final brief happiness with a woman student, Mona Lefcadio, a passionate Trinidadian heiress. Exploring issues of race, sexuality, and class in compelling prose, A Sunless Heart is a startling re-discovery from the late- Victorian era. The appendices to this Broadview edition provide contemporary documents that illuminate the tension between romantic friendship and lesbian consciousness in the novel and address other debates in which the novel the nature of Creole identity, the education of women, and the dangers of childhood sexual exploitation.”

The Songs of Bilitis - Pierre Louÿs (1894) / Poetry. However, believe it or not, these were not written by a woman but by a man. Why add it then, well, the story is quite original. The author (Pierre Louÿs) published this verses as written in Ancient Greece by a “disciple of sappho” named Bilitis. He created this whole character, she was a woman, she was a poet, she was a sappho disciple, her work has been lost until now, and she was a huge lesbian. Of course, this is not true, but still, it’s an interesting read. “Between their open celebration of lesbian love and the eventual revelation of their true authorship—the verses actually were written by French novelist and poet Pierre Louÿs—they became a succès de scandale. Although debunked as a work of antiquity, The Songs of Bilitis remains a classic of erotic literature.”

1900s

A Woman's Affair - Liane de Pougy (1901) / "Despite her beauty and her riches, Annhine de Lys, one of the most notorious courtesans of 1890s Paris, is bored and restless. Into her life bursts Flossie, a young American woman, and everything changes. The love she offers Annhine is dangerous, perverse and hard to resist. Ignoring the warnings of her best friend, Annhine encourages the affair."

I Await the Devil's Coming - Mary MacLane (1902) / “Mary MacLane's I Await the Devil's Coming is a shocking, brave and intelectually challenging diary of a 19-year-old girl living in Butte, Montana in 1902. Written in potent, raw prose that propelled the author to celebrity upon publication, the book has become almost completely forgotten. In the early 20th century, MacLane's name was synonymous with sexuality; she is widely hailed as being one of the earliest American feminist authors, and critics at the time praised her work for its daringly open and confesional style. In its first month of publication, the book sold 100,000 copies--a remarkable number for a debut author, and one that illustrates MacLane's broad appeal.” She’s pretty sapphic and claims her (female) lit teacher is her true love. Also an excerpt from a Goodreads review: “She awaits the Devil to come and marry her and bring happiness if only for three days, meanwhile rehearsing suicide. She prays to the Devil to deliver her from “unripe bananas; from bathless people; from a waist-line that slopes up in the front" but offers sensuous instructions on how to eat an olive, and enjoys porterhouse steaks and fudge she makes with brown sugar. It's quite a ride. Many recent reviewers pigeonhole her as an ahead-of-her-time Goth or emo, simply transcribing an eternal and universal teen angst.”

Q.E.D. - Gertrude Stein (1903) - Autobiographical short story about a love triangle between three women; Adele (Stein), Mabel, manipulative and wealthy, and Helen, who seduces Adele.

A Woman Appeared To Me - Renée Vivien (1904) / I have no idea how to explain this book other than it's all I ever wanted and it has an absolutely breathtaking prose. Think of The Picture of Dorian Gray, Oscar Wilde’s writing style and descriptions, the character's philosophy, and the queer toxic relationships in the book. Now make it lesbian and even more explicitly queer. Also I'm pretty sure the main characters want to fuck Sappho. On the second chapter the main characters + some side characters (all women + one guy) are having a discussion (a symposium of sorts) about how much they love sappho and how believing she married a man is stupid and how they don’t hate men, just really dislike them, and the guy says: "Mademoiselle, you are trying to hide from the irresistible seduction of the male. You will certainly finish your love-life in the arms of a man." And our main character being an icon finished the chapter answering him this: "That would be a crime against nature, sir. I have too much respect for our friend to believe her capable of an abnormal passion!". It’s so good. I have seen mixed opinions on this one, but I’m just gonna say: the girls than get it, get it. Everything by Renée Vivien is so good, but this is her only full novel I think (she also wrote poems and short stories). If you have to read only one book out of all the books in this post, let it be this one.

Zezé - Ángeles Vicente (1909) / Not translated (I think) but it’s the first lesbian novel written in Spanish which is pretty cool (even cooler than it was written by a woman who, in 1909 (or around it) divorced her husband and lived through her writing). The plot is basically, the narrator (the author) is on a ship and shares the cabin where she’s staying with another woman, Zezé, a cuplé singer, who tells her about her life (her childhood in a religious school, where she discovered her sexuality with had a relationship with another (female) student, her life in Madrid as an adult and living life as a woman, etc)

1910s

Despised & Rejected - Rose Allatini (1918) / A gay man and a lesbian are friends during WWI, which they are against (an anti-war novel). I think the book is in the perspective of the gay man, but his friend is also a main character.

The Scorpion - Anna Elisabet Weirauch (1919) / A review by a reader: “This book felt more like historical fiction than a novel actually written in 1919-1932, considering the explicitly lesbian relationships and coming of age and coming out style narrative. The story follows the life of Metta, a lesbian who grew up with a controlling family in Berlin. The narrative follows her from her first crush on her manipulative governess, to her first love the older and intelectual Olga, and her foray into the gay scene in Munich and beyond. The story isn't without suffering and it isn't just a love story despite how much you might want it to be. Definite trigger warnings for suicide (not Metta), poor mental health, homophobia and general cringe comments due to the time of writing. But the point of the book is for Metta to find a way to be, a way to live her life comfortably and happily, essentially to find herself.”

1920s

The Bacheloress - Victor Marqueritte (1922) / “Monique is an emancipated French woman who leaves home to escape a marriage of convenience to a man whom her parents have forced on her. She then succumbs to all sorts of carnal temptations including a lesbian love affair with a singer. The scandal provoked by Victor Margueritte's La Garçonne, here translated as The Bacheloress, led to its author having his legion d'honneur revoked, which only propelled this novel about a brazenly independent "new woman" to best-seller status. What was shocking then was not so much the reckless behavior of its heroine, who is depicted as the victim of psychological torment, but the portrait of the corrupt post-WWI society in which she lives. Authentic as Monique is, the types of love she encounters, set against the hostile and contemptuous portrayal of her peers, only amplifies her struggle.”

Yellow Rose - Nobuko Yoshiva (1923) / This is the only book than has been translated by this author, she was a lesbian who wrote Class-S romance (a Japanese book genre of the time, which focused on lesbian / homoerotic relationships between women [so-called romantic friendships], than usually take place in an all-girls boarding school). This specific story talks about a teacher-student relationship. She has other books, one called Yaneura no nishojo (two virgins in the attic) (1919) which isn’t translated, but sounds good, the story “is thought to be semi-autobiographical, and describes a female-female love experience with her dormmate. In the last scene, the two girls decide to live together as a couple. This work, in attacking male-oriented society, and showing two women as a couple after they have finished secondary education presents a strong feminist attitude, and also reveals Yoshiya's own lesbian sexual orientation”.

Freundinnen: ein Roman unter Frauen / Girlfriends: a Novel among Women - Maximiliane Ackers (1923) / Only in German, not translated. Review from an English reader: “This novel—which went through several editions in the 20s before being banned by the Nazis—is uncompromisingly, heartbreakingly queer. The novel tells the story of the love between two actresses in Wiemar Germany, Ruth and Erika. Both women struggle to support themselves on the stage, to live independently, and to come to terms with their love for each other and how they might live and express themselves and their desire.”

Surplus - Sylvia Stevenson (1924) / Review from a reader: “This book should be included in lists of seminal lesbian fiction. Published in 1924, Surplus is the story of Sally Wraith's young adult adventures after the end of WWI, during which period she served as an ambulance driver. The novel is not explicit and dos not detail a physical relationship between Sally and her romantic friend Averil but Sally refers to Averil as her "dream girl" with whom she wants to spend the rest of her life. This novel was published before Radclyffe Hall's Well of Loneliness , which is often hailed for its early negative portrayal of homophobia. But I find it compelling that Sally's love for Averil is not treated as deviant. It's just tragic for any babydyke to fall in love with a straight girl!”

The Captive - Eduard Bourdet (1926) / Theatre, “Irène is a lesbian tortured by her love for Madame d'Aiguines, but pretending engagement to Jacques (man). Though Irène attempts to leave Madame d'Aiguines and marry Jacques, she returns to the relationship, saying that it is "a prison to which I must return captive, despite myself". Madame d'Aiguines is not seen in the play, but leaves behind nosegays of violets for Irène, as a symbol of her love.” Read here

Women Lovers, or The Third Woman - Natalie Clifford Barney (1926) / “This long-lost novel recounts a passionate triangle of love and loss among three of the most daring women of belle époque Paris. In this barely disguised roman à clef, the legendary American heiress, writer, and arts patron Natalie Clifford Barney, the dashing Italian baroness Mimi Franchetti, and the beautiful French courtesan Liane de Pougy share erotic liaisons that break all taboos and end in devastation as one unexpectedly becomes the "third woman."

HERmione - H.D (1927) / “This autobiographical novel, an interior self-portrait of the poet H. D. (1886-1961) is what can best be described as a find, “a posthumous treasure”. In writing HERmione, H.D. returned to a year in her life that was peculiarly blighted. She was in her early twenties—a disappointment to her father, an odd duckling to her mother, an importunate, overgrown, unincarnated entity that had no place... Waves to fight against, to fight against alone... “I am Hermione Gart, a failure” —she cried in her dementia, “I am Her, Her, Her.” She had failed at Bryn Mawr, she felt hemmed in by her family, she did not yet know what she was going to do with her life. The return from Europe of the wild-haired George Lowndes (Ezra Pound) expanded her horizons but threatened her sense of self. An intense new friendship with Fayne Rabb (Frances Josepha Gregg), an odd girl who was, if not lesbian, then certainly of bisexual bent, brought an atmosphere that made her hold on everyday reality more tenuous. This stormy course led to mental breakdown, then to a turning point and a new beginning as her own true self, as Her"

Lucia Sánchez Saornil (1895 - 1970) / Spanish poet, putting her here because she’s part of generation ‘27. Read her Wikipedia page because she’s literally iconic (I can’t put the link here for some reason). I love her so much. She was an anarchist and very revolutionary. She wrote under a pen name to be able to explicitly write about women and lived with her partner (América Barroso) until she died. I haven’t been able to find an English translation of her writing, but I do have found a French one, so better than nothing

Dusty Answer - Rosamond Lehmann (1927) / Coming of age story of Judith Earle, sensitive, lonely, who grew up as an only child, but with 4 neighbors (all cousins) to make her company (and eventually harbor romantic feelings for). Then she moves to college, where she meets Jennifer and enters a relationship with her. Although the relationship is not explicitly romantic.

Ladies Almanack - Djuna Barnes (1928) / “Written as a medieval calendar, Ladies Almanack is a clever parody of the crazy sapphic circle of Natalie Barney and her Académie des Femmes. Sharp, biting, witty and transgressive, it is also a modern and pioneer in his vision of lesbianism and the issues surrounding relationships between women. The emotional endogamy, transvestism, motherhood, marriage or differences between sex and gender are already presented in the book with a charge of irony and acidity that is rare in the treatment of the topic. And it is also a breath of fresh air, an essential reference to know the world of lesbian women in all its breadth and diversity.”

1930s

The Angel and the Perverts - Lucie Delarue-Mardrus (around 1930) / "Set in the lesbian and gay circles of Paris in the 1920s, The Angel and the Perverts tells the story of a hermaphrodite born to upper class parents in Normandy and ignorant of his/her physical difference. As an adult, s/he lives a double life as Marion/Mario, passing undetected as a lesbian in the literary salons of the times, and as a gay man in the cocaine dens made famous by Colette." Technically not lesbian, but it’s “set in the lesbian cercles of Paris”

Broderie Anglaise - Violet Trefusis (1935) / Technically not a lesbian novel, but by a sapphic author. Do you know about Virginia Woolf and Vita Sackville-West? Of course you do, everyone does. However, do you know than Violet Trefusis used to be Vita’s lover? They dated as teens and again as adults. There’s this whole gay toxic romantic circle between Violet, Vita, and Virginia. Violet wrote this book where she’s basically adding Vita, Virginia, and herself into the characters and dissing them. The plot centers on an encounter between Alexa, a celebrated English writer (Virginia), and her rival, Anne (Violet), and their discussion about their mutual lover, Lord Shorne (Vita).

Summer Will Show - Sylvia Townsend Warner (1936) / Sophia Willoughby's husband has a mistress who he cheats on her with. So she grabs him and packs him up to Paris with his mistress. She'll raise their children and he can have his mistress all day long if he wants, what she wants is to not see him. Sadly, her children die, and she goes to Paris, where she'll find her husband's mistress, and the two of them start an affair with eachother.

Diana: A Strange Autobiography - Diana Frederics (1939) / “«This is the unusual and compelling story of Diana, a tantalizingly beautiful woman who sought love in the strange by-paths of Lesbos. Fearless and outspoken, it dares to reveal that hidden world where perfumed caresses and half-whispered endearments constitute the forbidden fruits in a Garden of Eden where men are never accepted». This is how A Strange Autobiography was described when it was published in paperback in 1952. The original 1939 hardcover edition carried with it a Publisher's This is the autobiography of a woman who tried to be normal. In the book, Diana is presented as the unexceptional daughter of an unexceptional plutocratic family. During adolescence, she finds herself drawn with mysterious intensity to a girl friend. The narrative follows Diana's progress through college; a trial marriage that proves she is incapable of heterosexuality; intelectual and sexual education in Europe; and a series of lesbian relationships culminating in a final tormented triangular struggle with two other women for the individual salvation to be found in a happy couple.”

1940s

Hidden Path - Elena Fortún (somewhere around the 1940s) / Maria Luisa grows up on 1910s/1920s Spain. She is a peculiar girl, one who despises wearing dresses and wants to dress as a sailor, who could spend all day reading, who loves painting, and who swears she will never marry. Oh, and she's also a lesbian. Based on the author's life Maria Luisa is kind of the author's alter ego, and it follows her from childhood to adulthood while dealing with a world not created with people like her in mind. (Not published until 2016)

El Pensionado de Santa Casilda / The Boarding School of Saint Casilda - Elena Fortún (somewhere around the 1940s) / This book is not translated, but if you know spanish I recommend to pick it up. A group of 14/15 year old girls who go to the same spanish all-girls boarding school, and they are all in love with each other. It follows them into adulthood and how they navigate their lives being women and lesbians in the past (Not published until 2022). Messy lesbians at its finest. Like, seriously. Lesbians still in love with their ex and not over their first love, dating their friends and their ex friend, and the ex of their friend, and having sugar mommies, etc etc

1960s

Winter Love - Han Suyin (1962) / “As a college student in London during the bitterly cold winter of 1944, Red falls in love with her married classmate Mara. Their affair unleashes a physical passion, a jealousy, and a sense of self-doubt that sweep all her previous experiences aside and will leave her changed forever. Set against the rubble of the bombed city, in a time of gray austerity and deprivation, Winter Love recalls a life at its most vivid.”

The Chinese Garden - Rosemary Manning (1962) / “A "very intelligent, sensitive, and compelling" novel of adolescent rebellion and sexual awakening at a girls' boarding school (Anthony Burgess). Set in a repressive British girls' boarding school in the late 1920s—where not only sexuality but femininity is squashed—the novel is the coming-of-age story of sixteen-year-old Rachel, a sensitive, bright, and innocent student. Rachel finds refuge from the Spartan conditions, strict regime, fierce discipline, and formidable headmistress at Bampfield in a secret garden. She also finds friendship there, with a rebellious girl named Margaret. As Margaret has her mind expanded by a scandalous tome entitled The Well of Loneliness, she engages in a bold, forbidden act—the ultimate transgression at Bampfield—and Rachel is drawn into the turmoil. Confronted with the persecution of her friend and troubled by a growing awareness of her own sensuality, Rachel faces an imposible choice that drives her to desperate measures.”

The Microcosm - Maureen Duffy (1966) / “At the House of Shades, Matt, a bar-room philosopher, tries to make sense of the disparate lives which cross here -- of Judy who saves herself and her finery for a Saturday night lover, of Steve the gym teacher who dreads a chance encounter with a pupil in this twilight environment, and of Matt herself, who needs these vicarious exchanges despite the security of her relationship with Rae and her sense that this lesbian sanctuary is a prison too, enforcing the guilt and estrangement of the city streets beyond. Elsewhere there are women such as Marie, trapped within an unwanted marriage and unable to admit her sexuality, and Cathy, for whom the discovery that she is not 'the only one in the world' is an affirmation of her existence. With its innovative structure and style, perfectly mirroring the voices and experiences of women forced by society to live on the margins, The Microcosm remains as powerful today as when originally published in 1966.”

1970s

Beginning with O - Olga Broumas (1977) / A poetry collection by a lesbian, greek writer.

The Same Sea as Every Summer - Esther Tusquets (1978) / A stream-of-consciousness type book, by an author who has been compared to Virginia Woolf. “Poetic and erotic, El mismo mar de todos los veranos ( The Same Sea As Every Summer ) was originally published in Spain in 1978, three years after the death of Franco and in the same year that government censorship was abolished. But even in a new era that fostered more liberal attitudes toward divorce, homosexuality, and women's rights, this novel by Esther Tusquets was controversial. Its feminine view of sexuality (in particular, its depiction of a lesbian relationship) was unprecedented in Spanish fiction. The disillusioned narrator of The Same Sea As Every Summer is a middle-aged woman whose unhappy life prompts a journey into she past to rediscover a more authentic self. However, events force her to realize that love or trust will inevitably be repaid by betrayal. This pattern assumes various forms in a story that moves forward as well as backward, playing out in Barcelona among the haute bourgeoisie. Richly textured with allusion, The Same Sea As Every Summer is also a commentary on post-Civil War Spanish society by an author who grew up during the repressive Franco regime.”

Así es: Mi vida 3 - Victorina Durán (somewhere in the late 1970s) / So, not translated but has great historical value. Basically, this is the third book out of Victorina’s memories that she wrote in the 70s. Victorina (1899 - 1993) was so cool. She was an icon. She was a sceneographer, a painter, a costume designer, writer (aside from her memories, she has some theatre plays), etc. She actually wanted to be an actress. She was part of the Círculo Sáfico de Madrid (the sapphic club of Madrid, a club made out of her and her friends, who were sapphic) among others. She never hid her sexuality. She was friends with almost all the importante well known people in 1920s / 1930s Spain. This book is the third one out of her memories, and it’s focused explicitly on her relationships (all with women). She said she wanted to focus on them and give them a book of their own, so this is of great historical value, giving insights into the queer spaces, lesbian scene, wlw relationships and being gay at that time. I need to read it so bad if someone has a pdf please tell me I’ll send them my fanfic wips

1980s

On Strike against God - Joanna Russ (1980) / “A lost feminist masterwork by feminist and speculative fiction icon, Joanna Russ, about a young lesbian's coming-to-consciousness during the social upheaval of the 1970s. When Esther, a recently divorced professor, has her first lesbian love affair, the fallout brings her everyday miseries into focus and precipitates a personal crisis. She flees her small, upstate New York college town, grapples with gender confusion and the ghosts of therapists past, and fumbles her way through comedic sexual self-discovery, oscillating all the while between visionary confidence and debilitating self-doubt. Confronted with the homophobia of straight feminists and the misogyny of gay men, Esther is left to forge a language for her feminism and her burgeoning lesbian desire. On Strike Against God is quintessentially experimental but accesible, alternately wry and earnest, poignantly didactic, playful, and emotionally charged.” From a review: “For anyone like me who's unfamiliar with the quote which inspired the title: A judge was sentencing a picketer from the early twentieth century shirtwaist-makers strike (the first large scale strike by women), and he told her, "You are striking against God and Nature, whose law is that man shall earn his bread by the sweat of his brow. You are on strike against God!"

Faultline - Sheila Ortiz Taylor (1982) / “An outrageous, zesty, funny Lesbian novel; the adventures of a Lesbian mother with six children, three hundred rabbits, and very relaxed attitude."

The Swashbuckler - Lee Lynch (1985) / "Frenchy Tonneau leaves her closeted home in the Bronx for the bars of New York City, the freedom of Provincetown, and the liberation of Greenwich Village in the 1960s and 1970s. Her hangouts, her women, her small yet universal world tell the stories of the times - and the stories of lesbians today. A timeless journey and a riveting read, The Swashbuckler is heart-wrenching, heartwarming, and unforgettable." Butch main character, lesbian life in the 60s/70s, lesbian-feminism, butchfemme, etc.

Fried Green Tomatoes at the Whistle Stop Café - Fannie Flagg (1987) / listen, LISTEN, I know this book is not obscure, absolutely not given it even has a movie adaptation, but people do not give this book the love it deserves. I'm constantly thinking about Idgie and Ruth, they are one of my favorite fictional couples ever, and also my favorite lesbian fictional couple. They are such interesting characters with such an interesting dynamic and I just love them so so much. A femmebutch couple in 1920s Alabama, who go through many hardships but still find eachother, still end together, and even have a restaurant, live together, and raise a kid. And not only them, but the book is made out of 4 main characters (or 3 depends on if you see Ninny as a main character or not), Idgie, Ruth, and Ninny and Evelyn. Evelyn, an 80s depressed housewife in her 40s finds solace and a true friend in Ninny, a 90 year old woman staying at a nursing home (not ‘cause she needs it, but to keep a friend company). Ninny tells her the story of Idgie (her, kind of, sister) and Ruth, her best friend and lover. Evelyn finds feminism and hope through the memories, getting inspired by Idgie and Ruth's story and becoming happier in her life. It has several points of views and it jumps between years (first 1980s, then 1920s, then 1940s, then 1980s again, etc) and it also talks a lot about racism in 1920s Alabama, and i'll just stop because I love this book so much and i could go on forever. Oh, and also they murder a man and feed him to a police officer.

Lovers' choice - Becky Birtha (1987) / A collection of eleven short stories about lesbian women.

1990s

Out Of Time - Paula Martinac (1990) / Susan finds an old photograph album with pictures from the 1920s, all pictures being of a group of women (four in total). She's told it's not for sale, but she steals it anyway. After some digging, she finds out than two of the girls from the photos were lovers! And not only is Susan trying to navigate the details of her life and of her relationship with her own girlfriend, but she obsesses over the women in the picture, and eventually, the spirits of the girls start to haunt her.

The Gilda Stories - Jewele Gomez (1991) / Gilda escaped from slavery in the 1850s, until she's taken by a vampire who (consensually) turns her into a vampire too. Gilda moves through the decades finding community and connections and helping people, and slowly builds a place for herself in time. (Fine, not actually obscure since I’ve seen it all around the internet, but it just sounds so good)

Annabel and I - Chris Anne Wolfe (1996) / Plot summed up by a reader: “Half-orphaned Jenny-Wren spends her summers at her uncle Jake's fishing lodge on Lake Chautauqua. One summer day when she's twelve years old while boating with her uncle, she finds a girl on the end of a dock reaching futilely for her escaped model boat. Jenny swims over and rescues the boat, meeting the orphaned Annabel, spending her summers at her grandmother's summer estate. This begins a friendship that endures and grows for years as the two girls spent each summer together, only to be separated at the end of summer. As the two grow older, they realize a magic is at work that keeps bringing them together, despite the near century between them. As the summers come and go, the two young women discover their love for each other, and the realization that their love is imposible. Can their love persist beyond those fleeting summers and flourish, in the face of time?”. Review from a reader: “The foreword says this book is for all wlw, and that, "Because there are as many different ways to love a woman as there are women who love women; it's the loving, not the label, that really matters." That really captured the core of what this book does, it treasures the love we create with our bare hands for and with another woman.” A time travel romance (Jenny is from the 1980s, Annabel from 1890s)

Ain't Gonna Be the Same Fool Twice - April Sinclair (1996) / Bisexual mc. “Jean "Stevie" Stevenson, the indomitable heroine of "Coffee Will Make You Black," is back—somewhat older and wiser, with some experience and a college degree -- diving headfirst into the hot tub, free love, yoga, and vegetarian lifestyle of 1970s San Francisco. In this liberating new world of raised consciousness, mind-expanding, and disco-dancing, a soul sister with passion and daring has room to experiment with life and love to find out who she "really" is.”

Beyond the Pale - Elana Dykewomon (1997) / “The story of two Jewish women living through times of darkness and inhumanity in the early 20th century, capturing their undaunted love and courage in luminous and moving prose. The richly textured novel details Gutke Gurvich's odyssey from her apprenticeship as a midwife in a Russian shtetl to her work in the suffrage movement in New York. Interwoven with her tale is that Chava Meyer, who was attended by Gurvich at her birth and grew up to survive the pogrom that took the lives of her parents. Throughout the book, historical background plays a large part: Jewish faith and traditions, the practice of midwifery, the horrific conditions in prerevolutionary Russia and New York sweatshops, and the determined work of labor unionists and suffragists." While it is a romance, it's also more than that, it's about the life of Jewish women in the 20th century.

Crystal Diary - Frankie Hucklenbroich (1997) / “Frankie Hucklenbroich's razor-edged, compelling, often wryly humorous story hustles us from the blood-and-beer-drenched corners of her St. Louis meat-packing district '50s youth, through the sex-soaked Hollywood alleys of her '60s baby butch years, into the druggy metropolis of '70s San Francisco. Moving relentlessly from one woman to another until faces and bodies blur, scamming her existence, learning what the street has to how to make a buck, how to make it with a woman, how to court the dangers of crystal meth, how to survive.”

Hers 3 - Terry Wolverton (1999) / Short stories

2000s

Valencia - Michelle Tea (2000) / "Valencia is the fast-paced account of one girl's search for love and high times in the drama-filled dyke world of San Francisco's Mission District. Through a string of narrative moments, Tea records a year lived in a world of girls: there's knife-wielding Marta, who introduces Michelle to a new world of radical sex; Willa, Michelle's tormented poet-girlfriend; Iris, the beautiful boy-dyke who ran away from the South in a dust cloud of drama; and Iris's ex, Magdalena Squalor, to whom Michelle turns when Iris breaks her heart."

Naked in the Promised Land: A Memoir - Lillian Faderman (2003) / “Born in 1940, Lillian Faderman is the only child of an uneducated and unmarried Jewish woman who left Latvia to seek a better life in America. Lillian grew up in poverty, but fantasised about becoming an actress. When her dreams led to the dangerous, seductive world of the sex trade and sham-marriages in Hollywood of the fifties, she realised she was attracted to women, and that show-biz is as cruel as they say. Desperately seeking to make her life meaningful, she studied at Berkeley; paying her way by working as a pin-up model and burlesque dancer, hiding her lesbian affairs from the outside world. At last she became a brilliant student and the woman who becomes a loving partner, a devoted mother, an acclaimed writer and ground-breaking pioneer of gay and lesbian scholarship. Told with wrenching immediacy and great power, Naked in the Promised Land is the story of an exceptional woman and her remarkable, unorthodox life.”

Her Naked Skin - Rebecca Lenkiewicz (2008) / Theatre. “Militancy in the Suffragette Movement is at its height. Thousands of women of all classes serve time in Holloway Prison in their fight to gain the vote. Amongst them is Lady Celia Cain who feels trapped by both the policies of the day and the shackles of a frustrating marriage. Inside, she meets a young seamstress, Eve Douglas, and her life spirals into an erotic but dangerous chaos. London 1913. A crucial moment when, with emancipation almost in sight, women refuse to let the establishment stand in their way.”

The Rain Before it Falls - Jonathan Coe (2008) / “A story of three generations of women whose destinies reach from the English countryside in World War Il to London, Toronto, and southern France at the turn of the new century. Evacuated to Shropshire during the Blitz, eight-year-old Rosamond forged a bond with her cousin Beatrix that augured the most treasured and devastating moments of her life. She recorded these memories sixty years later, just before her death, on cassettes she bequeathed to a woman she hadn't seen in decades. When her beloved niece, Gill, plays the tapes in hopes of locating this unwitting heir, she instead hears a family saga swathed in promise and the story of how Beatrix, starved of her mother's affection, conceived a fraught bloodline that culminated in heart-stopping tragedy—its chief victim being her own granddaughter. And as Rosamond explores the ties that bound these generations together and shaped her experience all along, Gill grows increasingly haunted by how profoundly her own recollections--not to mention the love she feels for her grown daughters, listening alongside her-- are linked to generations of women she never knew. A stirring, masterful portrait of motherhood and family secrets, "The Rain Before It Falls" is also a meditation on the tapestries we weave out of the past, whether transcendent or horrific.”

2010s

When We Were Outlaws - Jeanne Cordova (2011) / "A sweeping memoir, a raw and intimate chronicle of a young activist torn between conflicting personal longings and political goals. When We Were Outlaws offers a rare view of the life of a radical lesbian during the early cultural struggle for gay rights, Women's Liberation, and the New Left of the 1970s. Brash and ambitious, activist Jeanne Cordova is living with one woman and falling in love with another, but her passionate beliefs tell her that her first duty is "to the revolution".—to change the world and end discrimination against gays and lesbians."

Call Me Esteban - Leila Kalamuié (2015) / “With unapologetic vividness, Lejla Kalamujic depicts pre- and post-war Sarajevo by charting a daughter coping with losing her mother, but discovering herself. From imagined conversations with Franz Kafka to cozy apartments, psychiatric wards, and cemeteries, Call Me Esteban is a piercing meditation on a woman grasping at memories in the name of claiming her identity.”

Jigsaw Youth - Tiffany Scandal (2015) / “Lose your best friend because you finally Came Out. Spend days driving aimlessly because there's nothing to do. Serve your rapist breakfast because you need your job. Fall asleep to gunshots and sirens because that's the only sense of home you've ever known. Hold hands with ghosts. Your life is in pieces, but you can't be broken. Wipe off the blood. Tired of being told who to be, what to wear, how to act and who to fuck. Break the rules and learn fast how to never get caught. All you need is nothing, but you're happy with your car, guitar and camera. Throwing around polaroids of tits like they're money, you swap stories about adventures and realize that we're all running away from something.”

Creatures of Will & Temper - Molly Tanzer (2017) / Recommended as a sapphic picture of dorian gray retelling, it tells the story of Dorina (hedonistic, art lover, and woman-kisser), her older sister Evadne (fencer and responsable), Lady Henrietta (suit-wearing, cigar-smoking lesbian who is a horrible influence), and Basil, Dorina and Evadne's uncle, and who's character has not changed much. They also summon demons.

The Adventures of China Iron - Gabriela Cabezón Cámara (2017) / “1872. The pampas of Argentina. China is a young woman eking out an existence in a remote gaucho encampment. After her no-good husband is conscripted into the army, China bolts for freedom, setting off on a wagon journey through the pampas in the company of her new-found friend Liz, a settler from Scotland. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentina's richly diverse flora and fauna, cultures and languages, as well as to the ruthless violence involved in nation-building. This subversive retelling of Argentina's foundational gaucho epic Martín Fierro is a celebration of the colour and movement of the living world, the open road, love and sex, and the dream of lasting freedom. With humour and sophistication, Gabriela Cabezón Cámara has created a joyful, hallucinatory novel that is also an incisive critique of national myths.”

2020s

Thirst - Marina Yuszczuk (2020) / “Across two different time periods, two women confront fear, loneliness, mortality, and a haunting yearning that will not let them rest. It is the twilight of Europe's bloody bacchanals, of murder and feasting without end. In the nineteenth century, a vampire arrives from Europe to the coast of Buenos Aires and, for the second time in her life, watches as villages transform into a cosmopolitan city, one that will soon be ravaged by yellow fever. She must adapt, intermingle with humans, and be discreet. In present-day Buenos Aires, a woman finds herself at an impasse as she grapples with her mother's terminal illness and her own relationship with motherhood. When she first encounters the vampire in a cemetery, something ignites within the two women-and they cross a threshold from which there's no turning back. With echoes of Mary Shelley's Frankenstein and written in the vein of feminist Gothic writers like Shirley Jackson, Daphne du Maurier, and Carmen Maria Machado, Thirst plays with the boundaries of genre while exploring the limits of female agency, the consuming power of desire, and the fragile vitality of even the most immortal of creatures.” Lesbian vampires!

The Lives We Left Behind - Olivia Bratherton-Wilson (2021) / I read this one so long ago and I don’t remember everything with detail, just than I really liked it. “1943. Seventeen-year-old Dorotea Miller is given the responsibility of managing the family farm when her father and brother are conscripted, leaving her with only her distant mother and the unfamiliar Land Girls for company. Angeline Carter and her four younger brothers are evacuated to the Welsh countryside to escape the bombings; the Miller farm is nothing like they've seen before and certainly more than Angeline bargained for when she meets the surly, unwelcoming farmer's daughter. Despite their rocky start, misunderstandings and tragedies, Dorothea and Angeline realise that their friendship may run deeper than either of them had prepared for.” There is also a sequel! That one I haven’t read tho.

Agatha of Little Neon - Claire Luchette (2021) / "Agatha has lived every day of the last nine years with her sisters (the other nuns) : they work together, laugh together, pray together. Their world is contained within the little house they share. The four of them are devoted to Mother Roberta and to their quiet, purposeful life. But when the parish goes broke, the sisters are forced to move. They land in Woonsocket, a formermill town now dotted with wind turbines. […] Agatha is forced to venture out into the world alone, to teach math at a local all-girls high school, where for the first time in years she will have to reckon with what she sees and feels all on her own. Who will she be if she isn't with her sisters? These women, the church, have been her home--or has she just been hiding? […] It is a novel about female friendship and devotion, the roles made available to us, and how we become ourselves." Lesbian nuns

Burning Butch - R/B Mertz (2022) / A butch lesbian memoir of their life growing up catholic and surviving in the world, while dealing with faith and what it shape it takes to them.

London on My Mind - Clara Alves (2022) / So, the English translation just came out! Funny thing is, I started this in 2022 even tho I don’t know Portuguese (translating paragraph by paragraph with google translate) and it was pretty good. I haven’t finished it (translating a whole book with google translate is definitely work) but I’m so ready to read it now that it’s translated. Dayana (seventeen, black, plus size, and Brazilian) is forced to move to London with her father (who abandoned her mother and her) and his new family after her mother died. She’s having a pretty horrible time, until, on a walk, finds a redhead girl… escaping Buckingham Palace?? So of course, she helps her escape. Who exactly is this girl? Why was she escaping?? The answer, her name is Diana and she’s sort of (super) the princess of Wales. Huh.

Helen House - Kayla Kumari Upadhyaya (2022) / “Right before meeting her girlfriend Amber's parents for the first time, the unnamed narrator of Helen House learns that she and her partner share a similar both of their sisters are dead. As the narrator wonders what else Amber has been hiding, she struggles with her own secret--using sex as a coping mechanism--as well as confusion and guilt over whether she really cares about Amber, or if she's only using her for sex. When they arrive at the parents' rural upstate home, a quaint but awkward first meeting unravels into a nightmare in which the narrator finds herself stranded in a family's decades-long mourning ritual. At turns terrifying and erotic, Helen House is a queer ghost story about trauma and grief.”

Promises in Pompeii - Violet Morley (2022) / Set in Ancient Rome, it tells the story of two girls, Octavia and Helvia, childhood friends, and their journey through life as women and through their feelings. In the author ig, she said it includes: adventure/survival, against the odds, brothels, butch/femme, coming of age, disguised as a man, first love, friends to lovers, opposites attract, etc. I’m currently reading it, and I really like it so far.

Nettleblack - Nat Reeve (2022) / “Subversive and playful, Nettleblack is a neo-Victorian queer farce that follows a runaway heir/ess and an organisation of crime-fighting misfits as they struggle with the misdeeds besieging a rural English town. The year is 1893. Having run away from her family home to escape an arranged marriage, Welsh heiress Henrietta “Henry” Nettleblack finds herself ambushed, robbed, and then saved by the mysterious Dallyangle Division - part detective agency, part neighbourhood watch. Desperate to hide from her older sisters, Henry disguises herself and enlists. But the Division soon finds itself under siege from a spate of crimes and must fight for its very survival. Assailed by strange feelings for her new colleague - the tomboyish, moody Septimus - Henry quickly sees that she's lost in a small rural town with surprisingly big problems. And to make things worse, sinister forces threaten to expose her as the missing Nettleblack sister. As the net starts to close around Henry, the new people in her life seem to offer her a way out, and a way forward. Is the world she's lost in also a place she can find herself? Told through journal entries and letters, Nettleblack is a picaresque ride through the perils and joys of finding your place in the world, challenging myths about queerness - particularly transness - as a modern phenomenon, while exploring the practicalities of articulating queer perspectives when you're struggling for words.”

Sunburn - Chloe Michelle (2023) / In Ireland, the early 1990s, Lucy feels out of place in her small town. She falls in love with her best friend and she has to find a way to find herself, make a meaning out of her feelings, and hide the truth from her conservative small town and religious peers.

Lucky Red - Claudia Cravens (2023) / "A vibrant and cinematic debut set in the American West about a scrappy orphan who finds friendship, romance, and her true calling as a revenge-seeking gunslinger." Lesbian cowboys

Neon Roses - Rachel Dawson (2023) / “Eluned Hughes is stuck. It's 1984 in a valley in south Wales: the miners' strike is ravaging her community; her sister's swanned off with a Thatcherite policeman; and her boyfriend Lloyd keeps bringing up marriage. And if they play '99 Red Balloons' on the radio one more time, she might just lose her mind. Then the fundraising group Lesbians and Gays Support the Miners comes down from London, and she meets June, a snaggle-toothed blonde in a too-big leather jacket. Suddenly, Eluned isn't stuck any more - she's in freefall. June's an artist and an activist, living in a squat in Camden. With June, Eluned can imagine a completely different - and exciting - life for herself. But as her family struggles with the strike, and her relationship with her sister deteriorates, should she really leave it all behind? From the Valleys to the nightclubs of Cardiff, London and Manchester, NEON ROSES is a heartwarming, funny and a little bit filthy queer coming-of-age story with a cracking '80s soundtrack.”

Tale of Three Ships - Darcia G. Laucerica (2023) / “In a world under the thumb of an empire, pirates sail away searching for a breath of freedom. But even the ocean is tainted by the powerful nation that has spread lies about women being bad luck at sea. Glenlivet has never cared about the fear-mongering. Her ship welcomes those who are rejected and need a home. For all the sailor' s superstitions and "codes" of piracy the captain mocks every day, not leaving the docks when it's dark is a personal boundary she swears by ever since acquiring The Outsider about eight years ago. She just might have to break her own rules to protect her crew, escape the claws of a king who wants her dead, and murder the man who raised her.” I’ve heard so many good things about this. Lesbian main character, with mlm and trans side characters. Author in social media said it includes: Chosen pirate family, sirens, indigenous and latine inspired characters, anti-colonialism, and people fighting injustice and abuse.

How to Breathe Ash - Alex Nonymous (2023) / “Eleanor Perrault doesn't know if there's a right way to handle being suddenly orphaned at sixteen, but it's definitely not the way that she's been coping with it. It's been two months since her parents died and despite her autism normally causing her to be even more emotionally volatile than most of her peers, she still hasn't even managed to cry over them yet. On top of trying to learn how to grieve properly, Eleanor's juggling starting a new semester in a new town with an aunt who seems eternally disappointed in her and a cousin who's randomly decided to start hating her. And a crush on the incredibly pretty president of her new school's QSA. How to Breathe Ash is a contemporary YA Cinderella retelling following Eleanor through elaborate dances, anonymous chat rooms, and learning the right way to not be alright.” Autistic mc! While I haven’t read anything from this author (yet) they have lots of wlw/nblw/nblnb books with autistic main characters.

War and Solace: A Tale from Norvegr - Edale Lane (2023) / “A battle-hardened shieldmaiden. A pacifist healer. Can the two find love amid the chaos of war? From Edale Lane, the award-winning, best-selling author of Sigrid & Elyn, comes a new Tale from Norgevr! Tyrdis is a stalwart warrior raised to value honor, courage, and military prowess. When a traumatic injury renders the powerful protector helpless, she depends on the lovely, tender-hearted Adelle to restore her from the brink of death. Is it merely gratitude or true love that draws Tyrdis to the healer? Defying cultural norms, Adelle despises violence and those who propagate it, but when her shieldmaiden patient saves the life of her beloved little girl, she must reexamine her values. Could Tyrdis be more than a stiff, efficient killer with an amazing body? In a kingdom steeped in conflict with their neighbors and internal strife, shocking secrets are revealed, and both women strive to ensure justice prevails. Can they overcome their differences to safeguard their friends, end the war, and fall in love, or will fate prove to be a cruel sovereign?” Historical fiction set during 643. The author also has another two sapphic books set in the same time period.

Maddalena and the Dark - Julia Fine (2023) / “A novel set in 18th-century Venice at a prestigious music school, about two girls drawn together by a dangerous wager Venice, 1717. Fifteen-year-old Luisa has only wanted one thing: to be the best at violin. As a student at the Ospedale della Pietà, she hopes to join the highest ranks of its illustrious girls' orchestra and become a protégé of the great Antonio Vivaldi. Luisa is good at violin, but she is not the best. She has peers, but she does not have friends. Until Maddalena. After a scandal threatens her noble family's reputation, Maddalena is sent to the Pietà to preserve her marriage prospects. When she meets Luisa, Maddalena feels the stirrings of a friendship unlike anything she has known. But Maddalena has a secret: she has hatched a dangerous plot to rescue her future her own way. When she invites Luisa into her plans, promising to make her dreams come true, Luisa doesn't hesitate. But every wager has its price, and as the girls are drawn into the decadent world outside the Pietà's walls, they must decide what it is they truly want—and what they will do to pay for it. Lush and heady, swirling with music and magic, Maddalena and the Dark is a Venetian fairytale about the friendship between two girls and the boundless desire that will set them free, if it doesn't consume them first.”

Greasepaint - Hannah Levene (2024) / “Set against a backdrop of 1950s New York, this experimental novel follows an ensemble cast of all-singing, all-dancing butch dykes and Yiddish anarchists through eternal Friday nights, around the table, and at the bar. In one of many bars, Frankie Gold sings while Sammy Silver plays piano after a day job at the anarchist newspaper. The Butch Piano Players Union meets in the corner next to the jukebox. Laur smokes on the back steps, sweaty thigh to thigh with Vic. Frankie's childhood sweetheart, Lily, turns up at yet another bar to see a second Sammy play every Friday night. And before all that, there's always dinner at Marg's. Fabulated out of oral histories, anthologies, as well as the fiction of the butch-femme bar scene and Yiddish anarchist tradition, Greasepaint is a rollicking whirlwind of music and politics- the currents of community embodied and held inside the bar.”

Perfume & Pain - Anna Dorn (2024) / “A controversial Los Angeles author attempts to revive her career and finally find true love in this hilarious nod to 1950s lesbian pulp fiction. Having recently moved both herself and her formidable perfume bottle collection into a tiny bungalow in Los Angeles, mid-list author Astrid Dahl finds herself back in the Zoom writer's group she cofounded, Sapphic Scribes, after an incident that leaves her and her career lightly canceled. But she temporarily forgets all that by throwing herself into a few sexy distractions—like Ivy, a grad student who smells like metallic orchids and is researching 1950s lesbian pulp, or her new neighbor, Penelope, who smells like patchouli. When Astrid receives an unexpected call from her agent with the news that actress and influencer Kat Gold wants to adapt her previous novel for TV, Astrid finally has a chance to resurrect her waning career. But the pressure causes Astrid's worst vice to rear its head—the Patricia Highsmith, a blend of Adderall, alcohol, and cigarettes-and results in blackouts and a disturbing series of events. Unapologetically feminine yet ribald, steamy yet hilarious, Anna Dorn has crafted an exquisite homage to the lesbian pulp of yore, reclaiming it for our internet—and celebrity-obsessed world”

How It Works Out - Myriam Lacroix (2024) / “Surreal, darkly comic and achingly tender, Myriam Lacroix's debut sees a queer love story play out in many alternate realities. What if you had the chance to rewrite the course of your relationship, again and again, in the hopes that it would work out? After Myriam and Allison fall in love at a show in run-down punk house, their relationship starts to unfold through a series of hypotheticals. What if they became mothers by finding a baby in an alley? What if the only cure for Myriam's depression was Allison's flesh? What if they were B-list celebrities, famous for writing a book about building healthy lesbian relationships? How much darker-or sexier-would their dynamic be if one were a power-hungry CEO, and the other her lowly employee? From the fantasies of early romance to the slow encroaching of violence that unravels the fantasy, each reality builds to complete a brilliant, painfully funny portrait of love's many promises and perils. Equal parts sexy and profane, unsentimental, and gut-wrenching, How It Works Out is a formally inventive, arresting, uncanny exploration of queerness, love, and our drive for connection, in any and all possible worlds.”

All the Painted Stars - Emma Denny (@a-kind-of-merry-war) (2024) / “Oxfordshire 1362. When Lily Barden discovers her best friend Johanna's hand in marriage is being awarded as the main prize at a tournament, she is determined to stop it. Disguised as a knight, she infiltrates the contest, preparing to fight for Jo's hand. But her conduct ruffles feathers, and when a dangerous incident escalates out of Lily's control, Jo must help her escape. Finding safety with a local brewster, Lily and Jo soon settle into their new freedom, and amongst blackberry bushes and lakeside walks an unexpected relationship blossoms. But when Jo's past caches up with her and Lily's reckless behaviour threatens their newfound happiness, both women realise that choices must always come at a cost. The question they need to ask is if the cost is worth the price of love…” The cover of the edition coming out in November is SO pretty and lately I’ve been looking for medieval sapphic books like crazy.

Gentlest of Wild Things - Sarah Underwood (2024 - out august 15th) / So this book is by the same author as Lies We Sing to the Sea, and I’m in no rush to read that book (a so-called odyssey retelling even tho the author has admitted to never actually reading the odyssey??) but this one looks compelling. “On the island of Zakynthos, nothing is more powerful than Desire-love itself, bottled and sold to the highest bidder by Leandros, a power-hungry descendent of the god Eros. Eirene and her beloved twin sister, Phoebe, have always managed to escape Desire's thrall. Until Leandros' wife dies mysteriously and he sets his sights on Phoebe. Determined to keep her sister safe, Eirene strikes a bargain with Leandros: if she can complete the four elaborate tasks he sets her, he will find another bride. But it soon becomes clear that the tasks are part of something bigger; something related to Desire and Lamia, the strange, neglected daughter Leandros keeps locked away. Lamia knows her father hides her for her own protection, though as she and Eirene grow closer, she finds herself longing for the outside world. But the price of freedom is high, and with something deadly-something hungry- stalking the night, that price must be paid in blood…” The author said that “Gentlest of Wild Things is a sapphic vampiric twist on the story of Eros and Psyche”

The End Crowns All - Bea Fitzgerald (2024 - out on July 18th) / “Princess. Priestess. The most beautiful girl in Troy. Casandra is used to being adored - and when her patron god, Apollo, offers her the power of prophecy, she sees an opportunity to rise even higher. But when she fails to uphold her end of the agreement, she discovers just how very far she has to fall. No one believes her visions. And they all seem to be of one girl - and the war she's going to bring to Troy's shores. Helen fled Sparta in pursuit of love, but it's soon clear Troy is a court like any other, with all its politics and backstabbing. And one princess seems particularly intent on driving her from the city before disaster can strike... But when war finally comes, it's more than the army at their walls they must contend with. Casandra and Helen might hold the key to reweaving fate itself - especially with the prophetic strands drawing them ever closer together. But how do you change your future when the gods themselves are dictating your demise?” Sapphic retelling of the iliad where Helen and Kassandra end up together

If asked, I’ll also do one with gay books

(No 1950s lesbians because I don’t like pulp fiction :( )

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moltengoldveins · 15 days

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@clingyduoapologist made a really cool “what if DSMP were a stage play” post and basically the instant I saw it I was struck by the muse but I don’t want to just chain reblog the dang thing or make one huge reblog with all my thoughts so instead here are all my thoughts on this concept

i don’t think it’s a musical. I think the tone of the story doesn’t fit. But if it were, it would have a Lot of scenes of unsung dialogue, and that dialoge? Would be rhythmic poetry. It’s Shakespeare Appreciation Time baby.

i do however think there would be a live score and an orchestra. A lot of the music would need to be recorded but there’s at least be a few musicians.

different characters speak in different poetic styles at different times to communicate character and plot development.

to elaborate on that: Characters switch from loose ABBA or ABAB rhyme schemes and vaguely rhythmic meter when chatting back and forth to strict perfect iambic pentameter for tense scenes or political speeches.

Techno speaks exclusively in unrhyming dactylic hexameter, an extremely common poetic form for Greek and Latin poetry. It’s what the Iliad was written in. This has the interesting effect of making Techno sound, at first glance, unpoetic. His speech doesn’t rhyme, and doesn’t follow a common English rhythm scheme, so it wouldn’t immediately register as structured. However, dactylic hexameter is actually significantly harder to write in English than expected because of our syllable stress patterns. Speaking like that would be, objectively, a sign of extreme intelligence, but could easily be overlooked as coarse uncultured behavior.

Techno’s chorus - composed of audience members, background extras, and people (in safety harnesses) sitting in the theater rafters - speak largely in Greek and Classical Chinese, quoting sections of the Art of War and Homer’s work. The major exceptions to this are ‘Blood for the Blood god,’ ‘no,’ and ‘do it.’ They all wear a hat or some form of headband that has a glowing LED eye, hidden, but activated when they speak. The audience plants are all in dark clothes, and when the lights go down they don medical masks/sunglasses. Anything to obscure their faces.

The Chorus, a group of robed masked people who broke the fourth wall and often entered the audience, was a vital part of early Greek theatre. I am an intolerable nerd, and the thought of sitting in a dark theatre only to hear an low distorted voice beside you start to comment on the play as a whole choir of voices echo around you, then turning to see your seat neighbor is a masked person with a glowing red eye in your forehead? Literally incredible.

Dream is the only character dressed in even remotely modern clothes.

Dream is first seen as someone (again, in modern clothes) sneaking around backstage in a black hoodie: most of the audience probably assumes he’s a stagehand and not meant to be seen. Then, at some point, he moves from behind a set piece and enters the scene as an actual character, revealing his mask.

interestingly, this is really similar to what I believe is a bit of myth about why ninjas are dressed in all black in modern media. They wouldn’t have been irl, they would’ve dressed like civilians. But stagehands in Japanese theatre would dress in all-black, and were often completely visible onstage moving sets - it was common courtesy to ignore them. Then one day some playwright had the brilliant idea of having one of the stagehands enter the story as an assassin, and suddenly every actor in all-black was a threat. For the life of me I can’t remember where I read that but it’s a cool thought :D

Dream canonically can interact with set pieces, lighting, and curtains.

Dream actively directs lighting in scenes he is not in, sitting above the stage kicking his feet.

Dream is often used to hand off props to characters instead of having them pull them from a pocket and pretend they were pulled from their ‘inventory.’ This begins to get confusing when Dream is acknowledged later on as the he person giving, say, TNT to Wilbur, or wither skulls to Techno.

characters address the audience as ‘Chat,’ (English’s first fourth-person pronoun my beloved) almost constantly, especially for comedic purposes- most of their monologues are addressed directly to the audience as well. For Wilbur, it’s a sign of instability when he stops addressing ‘Chat’ and start addressing the sides or back of the stage.

philza enters from the lower audience, right by the stage, probably after pooping up from the orchestra pit and taking a reserved seat halfway through so no one sees the wings.

Tommy has by far the least structured or rhyming dialogue - if it weren’t for how carefully crafted it was it would sound like normal prose.

Tommy speaks to the audience by FAR the most. Wilbur only addresses them when soliloquizing. Techno barely addresses them at all: they address him. Ranboo speaks to the audience only when alone, and it’s usually phrased like he’s writing in his memory journal. Tommy speaks to the audience at first like a loud younger brother. As he gets older, it sounds more and more like a plea for help, a prayer for intervention that will never come. Exile is one long string of desperate begging aimed our way.

Tommy stops speaking to the audience so much after Doomsday. He starts again when Dream is imprisoned. He stops for good when he dies in there, beaten, alone.

Sam and the Warden are meant to be played by different actors, ideally siblings or fraternal twins. They wear identical stage makeup and costumes, but the difference is there. None of the characters acknowledge this.

the Stage would need to be absolutely massive and curve almost halfway around the central audience, largely because it should be able to be split at times into two separate stages to show different things happening at the same time. This could possibly also work if there were two stages, but getting people to easily turn from one stage to the other without loosing sight of what was happening would be rough.

Doomsday taking advantage of the scaffolding in the rafters and using them as the ‘grid’ for the tnt droppers.

actual trained dogs for Doomsday my beloved. Would cost a fortune but could you imagine.

the entire revolution arc ripped off Hamilton, we all know that, I think we can afford to have a stagehand step forward in that frozen moment in time when Tommy and Dream have that duel, grab the arrow, and carry it slowly across the stage right into Tommy’s eye. For morale.

throughout the execution scene Techno keeps slipping out of poetic meter, especially when he sees/is worried about Phil. After the totem (which would be freaking amazing as some sort of stage effect with like lights and red and green streamers or smthn dude-) he stops speaking in poetry. The scene with Quackity is entirely spoken dialogue. Chat is silent. It’s only when he gets back and sees evidence that his house has been tampered with that Chat starts up again (kill, blood, death, hunt, hunt, hunt-) and he starts speaking in rhythm again.

Every canon death, Dream marks a tally on something in the background. Maybe it’s in his arm? Like a personal scorecard. Or maybe it’s on the person themselves, a little set of three hearts he marks through with a dry-erase marker or something.

phil and techno have a lot more eastern design elements and musical influences than the rest of the cast, except for Techno’s war theme which is just choir, bagpipes, and some sort of rhythmic ticking or thumping. Phil’s also got a choir sting but it’s a lot harsher, the ladies are higher and them men lower, and the chords are really dissonant (think murder of crows)

Tommy’s theme has a lot of drums, but its core is actually a piano melody. The inverse of Tommy’s theme is Tubbo’s, but Tubbo’s is usually played on a ukulele. Wilbur is guitar, obv, and Niki’s is on viola.

Quackity is a little saxophone lick. He and Schlatt both have a strong big band/jazz influence.

None of the instruments that play dream’s theme play anywhere else in the music. I’m thinking harp, music box, and some kind of low wind instrument.

#I have more thoughts but apparently there’s a character limit on lists or smthn it wouldn’t post if it were longer :/#molten rambles #technoblade #mcyt #philza #dsmp #theatre #musical theatre #Shakespeare mention #tommyinnit #dream #wilbur soot #dream smp

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yilinwriter · 7 months

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Kindred Spirits 知音: "The One Who Truly Understands Your Songs"

Update: Thank you for all the shares on this post! I want to mention that my debut book of Chinese poetry translations and essays on translation, The Lantern and the Night Moths, is out from Invisible Publishing and available through all bookstores. The longing for kindred spirits is one of the main themes running through the book. https://yilinwang.com/the-lantern-and-the-night-moths/

For #AroWeek, I want to talk about the Chinese term 知音 (pronounced zhīyīn in Mandarin), which has influenced my thinking about queerplatonic relationships. zhī 知: to know, knowing yīn 音: music, sound literally, a zhīyīn is someone who "truly understands your songs"

the term zhīyīn comes from a story about finding a kindred spirit through music.

There are many versions of the story. Here's one version:

One day, the musician Yu Boya was playing a qin (see image) in the wilderness, when he met Zhong Ziqi.

When Boya played one song, Ziqi immediately understood it and described it as reflecting the mood of soaring mountains (高山). When Boya played another song, Ziqi also comprehended immediately and described it as creating the mood of flowing waters (流水). Ziqi could understand all of Boya's songs. When Ziqi passed away, Boya felt so distressed that he destroyed his qin and never played it again. Boya thought of Ziqi as a "zhīyīn," and that term continues to be widely used to this day.

In a modern context, the term of "zhīyīn" is often translated into English as a soulmate, a kindred spirit, or a very close friend, but at its core, it's a term that refers to a type of intensely emotional, spiritual, and platonic connection with someone.

The original songs played by Boya have been long lost to the passage of time, but musicians and composers have tried to imagine what the songs might have sounded like.

There's even a recording of "Flowing Waters" (流水) included on the Voyager Golden Record, symbolically helping humankind search for a zhīyīn as it drifts around in outer space.

youtube

For me, as an aspec (demiromantic, biromantic, and asexual) Sino diaspora femme, the idea of zhīyīn offers me a way to think about the concept of queerplatonic relationships, given that it's very similar to the idea of a soulmate but without the necessary romantic connotations of the word in English. The concept of zhīyīn is explored again and again in various Sinophone literature and popular media, from wuxia and xianxia c-dramas to poetry that alludes explicitly or indirectly to zhīyīn.

Folks who follow my work as a translator might know that I have been translating poems by Qiu Jin (1875-1907), one of China's most renowned feminist poets. She frequently wrote about her longing for a zhīyīn. Some of my translations: https://chinachannel.lareviewofbooks.org/2021/02/12/qiu-jin/

The concept of zhiyin also features prominently in my upcoming book of poetry translations, The Lantern and the Night Moths. I originally wrote this thread for Twitter but wanted to bring it here for #AroWeek. Alloromantic folks, please take a moment to learn more about #AroWeek and support arospec creators. If you are arospec and found me via this tweet, please feel free to say hi!

#translation #music #zhiyin #cdrama #aromantic #aspec #aro week #chinese folklore #高山流水 #guqin #Youtube

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joys-of-everyday · 1 year

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SJ and the Pitfalls of Toxic Masculinity

Liking women wasn’t shameful in the least, but treating a woman as your savior, shrinking into her embrace in search of self-confidence—Shen Qingqiu needed no one to tell him how incredibly shameful that was. So he would rather die than tell anyone, particularly not Yue Qingyuan.

- Yue Qingyuan and Shen Qingqiu Extra

Hot take: og!SQQ had toxic ideas about masculinity, and it ruined him.

SVSSS is all about the ✨Toxic Masculinity✨ but this seems to be more associated with SY than SJ??? So yeah, lets talk about SJ (my poor meow meow).

There’s actually some subtlety here, because talking about SJ and masculinity naturally involves an interplay between historical and modern views on masculinity in China, which is something that has developed over time and has influences from other cultures (e.g. the west and our views on masculinity). (Interesting thing if you haven't already come across it) I am… not qualified to read the subtleties here.

To note, SJ is coded as masculine… sort of. He’s the head of the scholarly peak, a master of the Four Arts, which is one facet of ideal masculinity in traditional Chinese values. (Fluttering a fan around was very gentleman-like. Although also, expressing your emotions through poetry and copious amounts of tears was very masculine back in the day. 'Traditional masculinity' has and always will be an elusive ideal.) But I get the feeling nowadays ‘scholarly’ has more feminine connotations than ‘martial’, albeit a slightly weaker one than in the west. Also, on the topic of toxic masculinity, certain groups of people Who Shall Not Be Named would like you to believe that Real Chinese Men are stoic warriors and ‘gayness is a western thing’ (my rage is unreal but we will not talk about that).

Anyway, broad strokes, broad strokes.

Arrogance and Insecurity

A big part of toxic masculinity is a need for social recognition, to be the ‘alpha male’ (not an ABO pun and on a side note I literally cannot take anyone talking about alpha males seriously now, for many reasons, but this is the funniest).

SJ is obsessed with his cultivation, but more pertinently, he is obsessed with his reputation. He demonstrates this in a few ways. Firstly, he works his ass off, which is not bad in itself, but he does this to the extent it is detrimental to his health (that grindset lol). Secondly, he projects a certain image with his actions and mannerisms: reading in order to seem intelligent, looking down at people to seem superior etc. Thirdly, he responds to any perceived slights of his ability with violence. (Fighting with LQG is an example, but also drawing a sword on SQH when he pointed out that he was reading an upside-down book.)

Now interestingly, the unanimous vibe that Cang Qiong seem to get from SQQ is that he is ‘arrogant’. When in truth, all of this is compensating for his insecurity.

Shen Qingqiu was overly suspicious, always feeling as if everyone was talking behind his back about how he was still incapable of forming a core, didn’t accept his position, wanted to sabotage him in secret, and so on and so forth.

- Yue Qingyuan and Shen Qingqiu Extra

Sadly, SJ is justified in being afraid of other people’s opinion. His comfort and security rely entirely on his status, which in turn rely on other people’s opinion of his competence. Of course he wants to get to the top – he’s been under other people’s power before, and suffered terribly as a result. Why should he not desperately defend what he has worked so hard for? Yet ultimately it works against him, because when he’s in serious trouble, he hasn’t been able to build the human connections he needs to get help.

The problem is with the system. The idea that having strength allows you to do whatever you want hurts not only the people regarded as inferior, but also creates a collective sense of anxiety for those who find themselves ‘at the top’. Anyone can be kicked down and treated like scum. Everyone is afraid.

Dominance and Bullying

The phrase ‘toxic masculinity is fragile’ quite often, but to elaborate, these kinds of rigid ideas of masculinity are by nature constantly under threat. Because any crack in the perfect shell is regarded as failure, it requires constant, aggressive maintenance, which takes the form of bullying the weak in order to elevate oneself.

SJ’s treatment of LBH is complicated, but here I want to draw attention to a different character – Ming Fan.

SQQ (SY) would have you know that MF is not a bad kid, other than the fact he’s a huge bully to LBH. And in part that comes from jealousy of NYY’s crush on him, but what allows it to happen is the way SJ runs the peak. It's interesting to note that so much of SJ's bullying of LBH happens through MF, whether it be giving him the faulty cultivation manual, giving him chores or physically assaulting him. In doing this, SJ creates a system that firmly establishes himself at the top, likely in order to give himself some semblance of security.

But ironically, this is the very system that SJ has suffered under his entire life, recreated to it's extreme on the peak that he controls. When he was completely under the power of others (QJL, LBH) he suffered. When other people were under his power, he inflicted suffering. He encouraged other people to do the same. Again, the whole thing is a scam! He is putting all of his energy into things that aren't helping him, things that ultimately bring him down.

Real Men Don’t Cry – the Dangers of Emotional Repression

SJ has many, very justifiable reasons in life to be upset and angry. The things he went through are both terrible and extremely unfair. Being angry at everything is not a healthy outlet for these feelings, but he hasn’t exactly been taught an alternative either. On the streets, tears would have gotten him absolutely nothing. Anger at least gave him energy to fight back.

And this destroys him. He is angry at the fact he had no one in his life who loved him, his talents were wasted because of QJL/WYZ, nobody takes his abilities seriously… and with no healthy way of expressing this, he goes onto bully LBH. LBH then returns to destroy him, literally. More subtly, he is unable to express his fear and anxiety in healthy ways, so acts standoff-ish and aggressive to his those around him. As his relationship with them deteriorates, his fear and anxiety increases. Feedback loops.

SJ puts on a mask of anger and stoicism to the point that everyone around him (including himself) is convinced that he is unrepentant and evil. Suppresses and suppresses until it breaks him, until he has nothing – not his comfort, nor status, nor the one that he truly cared for:

He had single-handedly facilitated Luo Binghe’s today, and now who had single-handedly created this outcome for him? Yue Qingyuan was never supposed to have an end like this. In order to come to a decades-late appointment, to fulfill a completely useless promise. A broken sword and a dead man. It shouldn’t be like this.

A Note on Ambivalent Sexism

It’s funny because I think there’s a fandom vibe that SJ was the secret feminist of SVSSS. Don’t get me wrong, I love this in fanfics. Badass feminist SJ all the way. But my honest opinion is that I don’t think that was the case.

More explicitly, I don’t think SJ took women seriously. NYY, for example. Certainly, SJ valued NYY. But the expression of this care involved doting on her, hiding his treatment of LBH from her, and not particularly pushing her to grow. And PIDW!NYY wasn’t implied to be the most mature of the lot. Okay, while we don’t know a lot about PIDW!NYY (narrator unreliable), it’s probably safe to say some distance from SJ helped her a lot.

Another point – the Qiu massacre. SJ killed the men, but not the women. And while this says more about his distaste for men, it also indicates (possibly - I will float this idea but I won't die on this hill) that he straight up doesn’t see any woman as an enemy, or capable of being a threat. Which is possibly a natural conclusion he’s drawn from his experiences (QHT was not very perceptive, or very threatening) but also inaccurate as a worldview.

And his attitude towards the women he sees as saviours? Has the same vibe as ‘it’s so embarrassing to be protected by a girl’.

Okay, so being doted on and not being killed are positives compared to being abused or murdered, but this kind of attitude is the opposite side of the same coin to ‘women are incompetent and inferior’. And when it comes to raising kids, not allowing them to grow can be extremely harmful as well. See e.g. Ambivalent sexism.

Although I do want to mention that I do not think SJ was like… actively misogynistic. I think he genuinely liked women more than men. The point is you can be sexist without realising it.

Conclusions

To conclude, SJ had ideas of success and self-worth associated with toxic masculinity which were instrumental in his downfall.

Masculinity doesn’t have to be toxic. While the Cang Qiong family aren’t exactly the healthiest bunch, YQY’s calm and patient leadership, LQG’s steadfast loyalty, LBH’s ability to cry like a maiden and still be the strongest… these are all traditionally masculine traits that can be very positive. These are also people who can have feminine traits and explore their gender identity without being prissy or weak.

It's the great tragedy of SJ that he had many positive characteristics. He was talented, intelligent, articulate, perceptive, loyal, and caring… under the right circumstances, he could have grown into a great person.

And maybe he still had that chance, right until the end.

#svsss #shen jiu #original shen qingqiu #svsss meta #having said i would disappear i have things to dislodge from my drafts

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digitaldoeslmk · 30 days

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do you have any nezha hcs? either from lmk or form investiture of the gods, he’s my fav and i’m curious what you think abt him

i love him sm just in general!!! and i got a few HCs that go for Nezha in my JTTW au and for the by the book au!

he does Indian classical dances as well as peking opera roles like wu xiaosheng or changkao wusheng

he has very frizzy and rebellious hair, wearing it in anything but buns is a nightmare for him

he's positively insufferable when it comes to pranks, he never stops or even lets up. absolute menace.

him and his brothers are often meeting up to do whatever in big cities, just having a fun time and vibing. they'll absolutely never let each other live down the stuff they did when they were younger, but they also never stop loving each other in their own weirdass way

they didn't know what "cain instinct" was for the longest time, but once they did that had a big laugh about it in a "hahaha we do that!" way

picky eater. dear LORD he's a picky eater and will throw a FIT over it

as an older god, past FSYY and JTTW, he's more serious and focused on his duties, but he still loves a good practical joke

him, Ao Bing and Yang Jian are banned from a few heavenly pavillions and halls due to... past misdemeanors (Partying Too Hard)

him and Wukong are thick as thieves. if you tell one something, the other will hear about it in a matter of seconds really

he has no issues whatsoever with killing, but he really struggles with or even being around for butchering animals. if he does, he has nightmares of his suicide for a few days

he rarely works up a sweat in general, but when he does, it smells like lotus perfume

he can also grow actual lotus flowers as hair decorations for fancy occasions

he can shapeshift between his child, youth, and older man appearances as needed, though more often it depends on his mood for the day

for the by the book au in specific:

he masks his wheels as rollerskates and wheelies, but sometimes as a motorbike

fashion style is punk but make it hanfu, with some techwear influence. it screams "DTF (Down To Fight)"

loves Chinese rap and rock, and modern poetry

celebrates Buddhist holidays and meditates, and he often joins Hai'er and Wukong to gatherings and lectures

he takes a liking to MK and Mei both, and often tips the scales in their favor when he can

follows Mei online and watches her livestreams, and he often gets in discussions with her about motorcycle mods and specs

has an online persona so people don't flood his inbox with prayers (it happened before with Wukong, he'd rather avoid that happening to him)

his body was made with pink and white lotus flowers, but he always prefered the blue-purple ones. he only told that to Ao Bing and Wukong, and they both often give him blue lotus-themed gifts on special occasions

#lmk au #by the book au #lmk #lego monkie kid #nezha #lmk nezha #third lotus prince #cw suicide mention

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silviakundera · 9 months

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Dramas I watched in 2023

[Chinese Dramas]

My Journey to You - Wuxia. Spy games, badass ladies, subtextually homoerotic cousins. Gentle & sweet ML who melts the cold & calculated heart of FL assassin. Gorgeous setting and cinematography. Left me with a burning desire to see Zhang Ling He play more gentle babygirl MLs and Esther Yu to play more anti-heroes. Absolutely perfect to me.., if we just pretend the director didn't add a pointless cliffhanger in the last 5 min. Which is how I choose to live my life.

Story of Kunning Palace - 'rebirth' costume drama that I waited to air for like 2 years or something and then it... actually didn't disappoint? And was almost everything I wanted? 😳😲 This is THE couple for that post about the pair that need to be stuck in a neverending monogamous relationship with each other as a quarantine measure to protect everyone else.

A Journey to Love - wuxia perfection. The stand-out drama that I wasn't expecting. Murder mommy & murder daddy became an otp for the ages and all of the supporting characters were interesting and dynamic. I cared about so many more characters than I expected and never fast fowarded. Just immensely satisfying.

The Ingenious One - wuxia with a weak, scheming scholar protagonist on a revenge quest (yes, we've all heard that before!) who puts together a group to execute his cons, Leverage style. I love me a martial artist x weak scholar couple 👌. Some exciting twists & turns in this one. Both A Journey to Love and The Ingenious One are best enjoyed coming in with little to no information. Hell, skip the trailers and simply dive in!

Hidden Love - Modern drama. Top tier romance-novel-on-screen writing and acting. It felt honest and real. The coming of age arc for the FL was well done. Great brother & sister relationship that feels authentic. The ML's backstory was so heart breaking because it was never overplayed for melodramatics. Just a quiet pain, a distance and a burden he carried with him.

Road Home - Modern. "Do you remember who I am?" / "Yes. If I were to turn to ashes, I would still remember you." I am very weak for the "reunited exes", "second time around" trope when the actors are capable and the breakup wasn't a narratively convenient 'misunderstanding'. As a career woman who works very long hours, I also tend to appreciate modern drama relationships where the couple manages to stay functional & supportive while not having a lot of free time for each other. That's my version of wish fulfillment 😂. I felt like this narrative made me fully understand why they couldn't make a long distance relationship work as young adults but now they're ready and have experienced enough of the world to know that they are happier with their lives joined together than apart.

Love You Seven Times - xanxia. I wrote a whole review post (love letter) on this one, since it seems rather underrated. I feel like this one may actually end up one of my fav examples of the genre. I just sincerely bought into the couple and their mutual devotion.

The Last Immortal - xanxia. Terrible trailer but turns out to be a decent show. I'm a fan of the genre, so I'm enjoying it. (I think you do need to be, to enjoy it - it doesn't transcend or really subvert..just a solid representation of xanxia) I like both lead actors and they do a good job with the material. It's working better for me than Ancient Love Poetry and Ashes of Love. After being eager for Song of the Moon in 2022 but then being let down (I dropped that one quick), I'm very happy 2023 brought me 2 xanxia I liked.

Three Body - modern sci-fi. Book 1 of my fav sci-fi trilogy of recent years. As a novel fan first, I was pleased to see it on screen with talented actors. Eager for book 2.

Love Me, Love My Voice - modern drama with an unusual couple (2 introverts) and dubbing fandom hyper fixation. A laid back relaxation drama, to de-stress with. Minimal plot, no conflict. Just sweet slow burn relationship building, singing & audio performances. Supportive friendships.

Here We Meet Again - modern drama that suffered from sloppy editing. I mean almost incoherent editing in a couple places, like when they are counting down the days until getting married and then.. It's not mentioned again? 🙃 But I very much enjoyed the couple's chemistry. I can't say it was objectively good but it sure was compulsively watchable for some reason.

Royal Rumors - Costume drama that was so aggressively mediocre that I don't have any real explanation for not dropping it. Except I find the lead actress unspeakably alluring. Blame my hormones.

Dropped

Back to the Brink - xanxia. Great concepts but the execution didn't work for me. I'm not a fan of slapstick and wacky humor within serious subject matter. (It's the reason kdramas can be very hit or miss with me.) The amount of humor layered into AJourney to Love is basically my limit for tragicomedies. (Note: I did go read the book and it was very entertaining - the tone was much more to my taste.)

My Lethal Man - modern. Embarassing english name, but they had me in the first half, not gonna lie. Then after her identity was exposed, I wasn't feeling it idk. Sometimes it's just not that complicated.

Destined/Chang Feng Du - costume drama. idk really why I dropped. I watched about a 3rd of it and then was distracted by other shiny objects. I plan to come back to this one in 2024 and finish.

Romance of the Twin Flower - costume drama; unholy abomination of a great novel. I hope somehow, someday, the culprits pay for their crime. Need I say more?

[Korean Dramas]

Perfect Revenge Marriage - a modern rebirth tale. For the 90% of it, I was high on the love of a drama that is just what you didn't know you wanted. The camp, the dedication, the scenery chewing, the glorious evil step mother. It was magical. And then the last 2 episodes I found underwhelming. I can't really explain it, the climax just didn't hit for me. But that's very much a personal taste issue and I'd definitely recommend to all drama lovers who enjoy the genre. Seriously, the performance of evil step mommy was a master class.

King the Land - modern workplace romance. I've heard complaints that there wasn't much of plot. But tbh that was fine with me, because some dramas are simply character pieces. This was all about the personal growth of the FL and ML. I ended up invested and rooting for the ML to become a decent guy who isn't a gross classist like his dad.

Destined with You - modern reincarnation drama. I blame my lingering kdrama good feelings about King the Land for convincing me to keep powering thru this one. Such a strong start but then half-way in I began to realize it simply wasn't going to go into the direction I wanted it to. I still have no idea what they intended to communicate with that love potion subplot.

Vincenzo - modern crime drama. I was late to the party on this one. But after I got around to watching the delightful Kinnporsche, this was rec'd to me as another drama that embraced the bigger than life unreality of Fantasy Mafia™ and provides a rollicking good time. Absolutely ridiculous and compulsively watchable. 10/10.

[American]

House of the Dragon - Awful people doing awful things to each other, as a 1st act before everything goes straight to hell. Plus freaky dragon-riding fantasy incest. What's there not to like?

Fall of the House of Usher (YES i DO watch every horror drama by Mike Flanagan thx) - Was it as good as the first 3..? No. Did I still breathlessly binge it in 2 days? Yes. Awful things happening to awful people, poetically. 👌 👌

#cdrama #drama review

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fwoopersongs · 6 months

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[Book Rec + Reaction/Thoughts] The Lantern and the Night Moths 灯与夜蛾 by Yilin Wang

An anthology of translated poems by five modern or contemporary poets and accompanying essays by the translator, @yilinwriter.

You can find the pronunciation guide and list of corrections here!

The cover art, a beautiful expression of the tone of this collection, is by Taiwanese artist Ciaoyin (check out her gorgeous insta!). I'm looking forward to the arrival of the physical book as my tab absolutely does not do it justice xD

Anyway! The official release date is 02 April 2024 though there have been some very thoughtful reviews by early readers already. Here, here, here and here.

(It was an ARC that I received too… though in the time it took to put this together, the ebooks have already gone out to readers >.< typical snail yj!)

Instead, I’ll tell you who I think would be interested in this book or might benefit from reading it, then share things that are cool about it from the perspective of a bilingual hobbyist translator + lover of ancient poetry and lyrics.

Who should read it?

If annotations, translator’s notes and reflections spark joy for you...

If you’ve ever read poetry translations and been intensely curious about what goes on under the hood...

If you’re a translator yourself wanting to hear another voice...

Definitely check this out!

Also if you’re CN+EN bilingual and have ever read something in English that references Chinese terms and concepts etc. except ONLY in English, pinyin or wade-giles and been utterly frustrated by the ensuing guessing game (like me) Fear Not.

That will not be a problem here.

I really appreciate how Chinese words are used naturally where needed for concepts and quotes - they are also translated for those who can't read Chinese so no one is left out. It made this book of and about translation (and more) super comfortable to read! The solution is so simple, so direct, so rarely used that I am amused.

Oh, but do note that the Chinese characters are in simplified though!

The poems are organised by their writers who are listed here by order of birth year, not appearance in the book:

秋瑾 (Qiu Jin, 1875 to 1907)

废名 (Fei Ming. 1901 to 1967)

戴望舒 (Dai Wangshu, 1905 to 1950)

小西 (Xiao Xi, 1974 to _)

张巧慧 (Zhang Qiaohui, 1978 to _)

Altogether, that covers nearly the last 150 years up to now. I’ve never really been into poetry by poets in such relatively recent times, in part because I’d been holding on to this stereotype of them spurning Classical Chinese and ancient poetry in the first half of the 20th century (not entirely true, as I came to realise xD). It made sense and was understandable, but felt sad.

Yet am I the target audience for this book?

Very much so.

In ways I didn’t think I would be too! It was so much fun to experience this both as a reader and a translator that I thought I’d share it here, where we are appreciating Chinese poetry together.

If you didn’t think you’d enjoy modern Chinese poetry, hey, give it a chance!

Oh yeah - on the way home a while back, I was talking to a friend about translation and was surprised to hear that her impression was that it ought to be a straightforward process. Like isn’t it a 1:1 conversion? At some point, ‘what’s the difference between something google translate might return, and how you would say it?’ was asked, and oh that was a delightful question to my ears! I showed her one of my comparison sheets where an original text is laid out alongside multiple translations line-by-line, briefly explaining some common and unique choices and how the people who had translated those probably arrived at the various interpretations. She was pretty amazed to see that the answer to her question was: very different. Hey, it’s a complicated process!

But there’s only so much one can explain in the space of a train ride. That’s why The Lantern and the Night Moths is a book I would also rec to someone like this friend of mine - open minded and curious but never having the chance to think about or encounter the craft of translation.

Like Yilin says, ‘the meaning of a word cannot be fully expressed in one single translation, nor through a series of translation attempts’. She then explains why with great attention to detail and some solid examples from one of the poems with word choices loaded with subtle connotations :D

What's interesting about it?

Okay, for one, Yilin shared a playlist of music that she listened to while working on this book. Here is the link to the spotify one and the one on youtube. Check them out! They sure put me in the mood to read xD (favs: 别知己, 小神仙 & 去有風的地方) Afterwards, this made so much sense like - ah! an audio moodboard.

She's also putting together these adorable mini profiles of each poet along with a cmedia and tea rec to match their vibes. Go see them on her instagram xD

Now to business...

structure

What really helped keep the reader’s focus was the way each section is organized, how the poems and accompanying essay were presented and finally the short bio of each person right at the end.

The poets are first introduced through five or six of their poems, works well suited to this purpose. Their voices, distinct through the vision, ambition and emotion of their words, are brought across by Yilin’s sensitive, thoughtful and poetic translations into English. These translations were also creative and transformative in a way that made so much sense after reading one of her reflections on the process, how she ‘must guide it with gentle hands to ensure its spirit is kept alive and intact during this transformative, and often excruciating process’. A rebirth into another language!

Personally, I’ve come to think of reading translations as looking at a work through another’s eyes. So it’s delightful when the translator’s presence is discernible, and even more so when the reader is given insight into their intention and process via commentary.

Yilin’s essays coupled with the poets’ bios at the end provide a means to go back and appreciate their works in context of their circumstance and inspirations. Similarly, to read the translations with a changed perspective.

I don’t know how much of a thing this is with translated poetry anthologies in English - can count the number I’ve read with both hands lol, and they’re all of the ancient chinese poetry variety - but I really like this design.

drawing on poets who came before them

Remember how we’re always recognizing traces of inspiration from ancient works (to them) in poetry of the various dynasties? 李商隐 Li Shangyin of Tang for example, was influenced by 楚辞 Verses of Chu and folklore and mythology such as that in 山海经 Classic of Mountains and Seas, 李白 Li Bai frequently references poets and history of the 魏晋 Wei-Jin era, and 王维 Wang Wei was clearly familiar with Buddhist scriptures which were translations themselves!

Just like the late Táng poets whom he praised for boldly deviating from the voices before them, Fei Ming used popular references and tropey shorthands ‘in contexts utterly different from the original, reimagining them anew’. Dai Wangshu, too, ‘boldly re-envisioned what modern poetry could look like by revisiting the classics’. In fact, in his very relatable ‘To Answer the Visitor with Classical Imagery’, I see Li Bai’s 春夜宴桃李园序, Qu Yuan’s 离骚 and lots of - as the title says - classical imagery, as if pulling out painting after painting to describe a feeling.

And Dai Wangshu’s faith in the translatability of poetry, that ‘poetry isn’t what is lost in translation, but rather, what survives it’ reminds me of what a friend, @xiakeponz, said that I agree with so much - because readers can ‘experience something in their own individual way through (your) shared humanity rather than language alone’.

poetic tradition and beyond

Between the lines of contemporary poets Zhang Qiaohui and Xiao Xi, I can really see the charm of plain vernacular, how it can be beautiful, incisive and clever in turns. Even as it seems to have moved further than ever from the structure and language of literary Chinese, the themes that inspired common motifs remain a part of life. Mother and divinity, homesickness, finding oneself, tributes to admirable spirits and the issues that trouble society - just in a new form and with different ways of expression.

Qiu Jin

So many FEELINGS about what Qiu Jin was doing - ‘I awaken the spirits of women, hundreds of flowers, abloom’. I would love if she could see the world now. So many things for her to rouse and fight against, but at the same time just as many to be proud of. I am so in awe of her, but now hearing her loneliness and struggle there is a soft spot in my heart for those too.

conclusion

So so so…

Qiu Jin’s admirable fire and lonely resolve. Zhang Qiaohui’s precious ability to express beauty in the mundane and in pain. Fei Ming’s utter delight! He is having so much fun and when* I’m vibing, I feel it too. Xiao Xi’s critical eye and keen observation of the world. Dai Wangshu’s whimsical charm and passion for translation. Finally, Yilin Wang, the connecting thread wound through them all, bringing them together so that we may be acquainted.

*Reading his poetry is like unwrapping a seamless, many layered present. A gift that keeps giving - if only you have a key 😅 Fortunately, Yilin has halved our struggle 🤣

I’ve had such a great time with them all. And if you come, I hope you will too!

#The Lantern and the Night Moths #chinese poetry #Yilin Wang #poetry in translation #灯与夜蛾 #Qiu Jin #Zhang Qiaohui #Fei Ming #Xiao Xi #Dai Wangshu #rambly reviews #i read from Fei Ming onwards on my kobo LOL but that one has no colour so...#i might do more of these review-y rambles about poetry things if y'all are interested?#i've been reading LOL #some are chinese some are english #all of them fun and enlightening

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fateandloveentwined · 1 year

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the chinese "i love you"

So it feels like people never say "I love you" in chinese. 我爱你.

Since old poetry in the Warring States era and such, people have been using more metaphorical or discreet ways to express affection, for instance "I'm thinking of you" or "I miss you" (eg. the character 思 sī), instead of "love". They consider these less literal means more literary and beautiful.

The two classical poems that immediately come to mind would be these:

山有木兮木有枝，心悦君兮君不知。——〈越人歌〉 rough translation: the hills have trees and the trees have branches; I love you but you do not know.

and the other:

彼采葛兮，一日不见，如三月兮。——〈王风·采葛〉 rough translation: the girl picking the arrowroot, I haven't seen her for one day, and it feels I haven't met her for three months.

The poem then progresses to two more stanzas of the similar structure, from three months to three seasons (nine months) and to three years.

"Love" may be used as a more abstract idea, or in philosphical contexts, say confucianism and mohism, to mean compassion and charity, loving everyone, loving regardless something something, etc.

But in all honesty people are just more timid. And culturally speaking, I might put 喜欢 (xǐ huān) on a spectrum between "love" and "like", it already carries that meaning of love, if just not as heavy.

As such, in novels set in older eras they may prefer terms like "心悅/傾慕" (xīn yuè / qīng mù) to mean I like you, and in modern ones they like using 喜欢, also meaning "like", as shyer ways of expressing love.

And so it's usually in the traumatic breakdowns and emotionally charging scenes in the depths of the night that they actually use the phrase "I love you".

#danmei #cdrama #chinese language #language #classical chinese poetry #love language #chinese #literary chinese #cnovel #fate's meta

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indigostudies · 1 year

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feeling enthusiastic tonight so i wanted to talk about my favourite things about the languages i speak/am studying!

mandarin chinese:

singular character words are fairly rare! unlike english, due to the high number of homophones in the spoken language, most words are comprised of two or more characters for clarity's sake. for example, while 孩 does by itself mean child, usually it's combined with another character (ie 孩子，小孩儿，etc.) due to it sounding similar to other words (还，骸).

in spoken language, you often need the entire context to understand the meaning. due to homophones, if you're missing the surrounding context, then it can be easy to misunderstand what someone's saying.

homophones generally! i've been known to love a good tongue-twister, and being a native chinese speaker is definitely part of that—there's just so many good ones! this also crops up in social media/memes, where a homophone is substituted for the original character(s).

the written language! i'm definitely more biased towards simplified chinese, but i can still read traditional chinese, and i think chinese is one of the most beautifully-written languages. it's just so logical! the strokes follow a certain order, and everything is contained in "boxed" that are very pleasing.

german:

poetry! german is known for literature, and i love reading poetry in german, even if not having studied it in a while means i have to look things up pretty frequenty ^^°°

the pronunciation! while i'm definitely at an advantage since i have an ear for languages and can nail german pronunciation at a natural level, i love speaking german—especially the longer words! i love the way the letters sound together (i'm definitely biased towards the eu/äu combination haha).

the ß!

gothic script—this appears a lot in historical german print, and i love it, even if it does make it a bit of a challenge to read anything haha.

kurmanji:

the various possessiveness contructions—there is no verb corresponding to the english to have, so instead you have to use the verb hebûn, to exist, so for example, two brothers of me exist (du birayên min hene, using the izafe construction) or for me two brothers exist (min du bira hene, without izafe, possessor is in the oblique case at the start of the clause) would be used instead of "i have two brothers".

the xw dipthong—i'm probably biased because i love "uncommon" sounds and letter combinations, but not only does the x in kurmanji sound nice (it's sort of like the ch in bach, or the ch in loch), when combined with the w it makes a sort of hissing sound which i'm very partially to.

mongolian:

sounds absolutely gorgeous!! central asian languages generally sound very pleasing to me, but i especially love the guttural sounds in mongolian.

the traditional script is one of the most beautiful things i've ever seen. i have yet to learn how to write in it (at least without a lot of tears on my part), but there's a user on xhs that writes in traditional script, and it's just. stunning. it's fluid, and curling, and just! aaaa!!! i love it. also it's written vertically, which is a fairly uncommon thing as far as languages go.

it's got a ton of different dialects! i'm a known enjoyer of dialects and regional language variations, so of course this is like a goldmine to me.

korean:

i know i said that the mongolian script is gorgeous, but look, i love writing systems in general, and korean is just. so orderly! so perfect for my pattern-obsessed little mind! also, it only takes, like, half an hour to memorise. 12/10 i love it.

a very specific point, but the various ways to say goodbye! you specify whether the person you're speaking to are staying or leaving.

turkish:

probably the most agglutinative language i'm aware of—a lot of words, especially more "modern" (ie new) words are formed by taking a base word and then adding on "meaning" or semantics to it, for example the word for a shoe cabinet is literally "that which stores the covers for the feet".

neutral pronouns! spoken mandarin is also neutral in pronouns, but in turkish both the written and spoken form of the third person pronoun is neutral. while it does make it a little bit frustrating if you're trying to, say, discuss feminist theory, it does mean that no gendered assumptions are made about, for example, a job position.

that's all i can think of right now! if anyone else wants to ramble excitedly about the languages they're studying/speak, please feel free to add on!

#langblr #langblr positivity #language positivity #indigostudies #indigo ink

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yamayuandadu · 10 months

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Tamamizu Monogatari, a unique love story

This article, unlike most of my recent longer pieces, was not planned in advance. I learned about the subject very recently, and instantly realized I absolutely have to introduce it to more people, the previously posted schedule be damned. The Tale of Tamamizu (玉水物語, Tamamizu Monogatari) is a story about a fox turning into a human, but a rather unconventional one, filled with an unusual degree of sympathy for the eponymous protagonist and focused on a rather unique relationship. In addition to summarizing it in detail and explaining the possible inspirations behind it, I will also try to explain why the tale found a new life on social media as a, broadly speaking, lgbt narrative, and why I think there is a compelling case to be made for such an interpretation. Unless stated otherwise, all images used through the article are taken from the Kyoto University Rare Materials Digital Archive, on whose website you can view scans of the original Tamamizu Monogatari.

The Tale of Tamamizu, also known as The Contest of Autumn Leaves (Momiji Awase) is an example of otogi-zōshi, illustrated prose narrative. The story was presumably originally composed in the Muromachi period (1335-1573), and it survives in multiple copies dated either to the early Edo period or to the end of the Japanese “middle ages” directly preceding it. The identity of the author (or authors) is unknown. Despite its apparent popularity in the past, it seems no major studies of the tale of Tamamizu have ever been conducted. A streamlined translation (or rather an extensive summary) was published online by Kyoto University Library in 2001 and can be accessed here. In 2018, a full translation, as well as a brief introduction, were prepared for the anthology Monsters, Animals, and Other Worlds. A Collection of Short Medieval Japanese Tales. Still, it doesn't seem either sparked all that much interest in Tamamizu, despite the story’s obvious modern appeal. Since the tale of Tamamizu is not well known, I will start with a detailed summary. I am consistently using female pronouns for Tamamizu after she transforms, as does the older translation. The other English translation switches between female and male pronouns. I will explain in the final paragraph of the article why I made the decision to follow the former. The Tale of Tamamizu The story of Tamamizu does not start with the eponymous character, but rather with a certain mr. Takayanagi from Toba. He is troubled, as while he is already 30, he has no children. He decides the only choice is to pray to gods and buddhas. This actually does work, and his wife becomes pregnant, and after the expected period gives birth to a daughter. She doesn’t get a name at any point in the story. The girl’s birth is followed by a timeskip. As we learn, she was distinguished by twenty five features associated with beauty. This is apparently a reference to the belief that a buddha possessed thirty two specific physical traits; the number might have been altered to twenty five because of a popular group of twenty five bodhisattvas associated with Amida. By the time she reached the age of fifteen or so, she also developed great skill in composing poetry in both Japanese and Chinese. Her parents at some point decided that it would be ideal to send her to serve in the emperor’s court in the future. The girl spends most of the time in awe of the blooming of flowers, the wind and other similar phenomena, as one would expect from a literary character of similar status. She maintains her own flower garden, and spends much of her time there.

On one of the days when she visited it alongside her friend Tsukisae, the daughter of her nurse, she caught the attention of a fox. The fox is, at this point in time, not yet Tamamizu. He wishes he could introduce himself to the girl. He considers the standard method - transforming into a nobleman - but he realizes this would likely sadden the girl’s parents, and would tarnish her reputation. He falls into despair. It does not exactly help that his attempts at visiting the garden again end up poorly - on the way there, he gets pelted with stones and then, after trying again, shot with an arrow. Still, he continued to hope to meet with the girl. An opportunity finally arose through a lucky coincidence. Another family living in the same area had multiple sons, but no daughters, much to the parents chagrin. They loudly lamented that they wished they had at least one girl among the children. The fox overheard that and realized it might be an opportunity. He transformed himself into a teenage girl (curiously, the story specifically puts her at the exact same age as the unnamed second protagonist), and enters their house. She explains that she is an orphan, and while passing by she overheard the family’s woes. She offers to become their daughter. The couple instantly agrees.

The fox spends some time living with her adoptive family, though she gets sad easily and keeps bursting into tears. After some time, they offer that they will find her a husband in due time, but she reacts to that poorly, and eventually suggests she would prefer to become the servant of a noble lady. Her adoptive mother agrees this isn’t a bad idea, and reveals that her younger sister is a lady-in-waiting of the daughter of a local noble, mr. Takayanagi. She suggests the fox could become her attendant too. She is overjoyed at this prospect, and is soon sent to Takayanagi’s mansion to meet with his daughter. The girl receives her new attendant warmly, and gives her a nickname, Tamamizu-no-mae (Tamamizu for short). They get along really well, and Tamamizu gets to partake in her various activities, serves her food and drinks, and even sleeps in the same bed (Tsukisae does too, though). While Tamamizu does remarkably well as a human, some of her fox habits remain. Most notably, she is really afraid of dogs. Her lady sympathizes with her plight, and actually bans dogs from her household. This is a much welcome change from Tamamizu’s point of view, though apparently some other members of the staff start to view her as a coward because of this, and simultaneously resent her closeness with the girl. The bond between Tamamizu and the girl reaches a new level when on a moonlight night they spontaneously compose a poem together. It deals with longing. We are told it was followed up by multiple other poems, which are not quoted in the story. Eventually the girl gets tired and heads to her room. However, Tamamizu remains outside gazing at the moon and eventually starts crying, unsure what fate awaits her. Tsukisae, who was inside all along, actually becomes concerned about Tamamizu, and says she feels sorry for her, correctly identifying the cause of her sorrow as love for an unidentified party. She shares her thoughts with their lady (in the form of a poem, of course). The latter summons Tamamizu inside, and soon all three go to bed together. Tamamizu is still overwhelmed by her feelings and can’t fall asleep, though. Tamamizu continues to serve the girl for the next three years. She also remains in touch with her adoptive mother, who sends her letters and new clothes every now and then. One day, many visitors arrived in the house for a friendly competition. The winner will be the person with the most beautiful collection of autumn leaves. Tamamizu decides she must find some for her mistress to give her an advantage. To accomplish that, at night for the first time in years she turns back into a fox, and leaves to visit her siblings. Not the adoptive ones, though. As it turns out, she has two fox brothers, one younger and one older. She actually hasn’t visited them in so long they assumed she died and held funerary services for her in the meanwhile. They are overjoyed to learn that is not the case, and after learning about her current life agree to help her with finding unique leaves. She tells them to leave them on the veranda of her mistress’ mansion, and reassures them it’s safe for foxes to be there thanks to the earlier decision to not allow dogs on the premises. After the visit Tamamizu returns home in her human form. Tsukisae and her mistress ask her where she has been, and she jokes about meeting with a “dubious fellow” (which, to be fair, is not even a lie, given the typical folkloric portrayal of foxes). This in turn leads to more jokes, revolving around Tamamizu no longer thinking about her mistress. She feels distressed by this suggestion.

Tamamizu’s brothers in the meanwhile succeed in their search for thrilling leaves. One of them found a branch with five-colored leaves decorated with the Lotus Sutra (as you probably know, one of the main religious texts in the Mahayana Buddhist tradition). Tamamizu is overjoyed, and instantly brings them to her mistress. The girl received plenty of leaves from other people in the meanwhile, but all of them pale in comparison. She is so happy about the gift that she requests Tamamizu to also write poems meant to accompany the presentation of the collection. She protests that she is unsuitable, but eventually accepts this honor and gets down to work. The parents of the girl came along to watch her write, and both of them concluded she is exceptionally skilled. She ends up providing five poems, one for each color of leaves gathered. They are subsequently combined by these the girl wrote herself.

Obviously, the main characters’ joint entry wins the competition. This grants the girl such fame that the emperor declares she should come to his court. Since her father is not affluent enough to pay for traveling there, he bestows additional estates upon him to make that possible. Even Tamamizu gets her own estate, Kakuta in Settsu Province. However, she decides it will be for the best to give it to her adoptive parents. Shortly after that, Tamamizu’s adoptive mother falls sick. She leaves her mistress to attend to her, but it did not help much and her condition kept worsening. Therefore, her stay had to be extended over and over again. This predicament worries her mistress, who sends her a letter to let her know that it is boring and gloomy without her around, and implores her to return as soon as her mother’s condition improves. Tsukisae is similarly concerned. Both of them voice their concerns through poems, which at this point should not be surprising for the reader.

Tamamizu of course appreciates these displays of sympathy, but she cannot return, so in response she only reassures both of them that she will meet with them again as soon as possible. Shortly after that, the mother’s condition worsened yet again. The entire family laments through the entire day, but eventually everyone manages to fall asleep - save for Tamamizu. In the middle of the night Tamamizu notices that an old, hairless fox entered the house. She quickly realizes that he was her paternal uncle (a fox uncle, that is. Not a relative of her adoptive parents). The illness was his doing, as she quickly realizes. Tamamizu requests him to leave her adoptive mother alone. However, the old fox says he cannot do that, as the illness is his act of revenge against her family, since her father killed his child. He concluded it is only right to make his daughter sick so that she dies too.

Tamamizu admits that this makes sense in theory, but she points out that acting upon desire for revenge will only bring bad karma, and bad karma from previous lives is why both of them were born as foxes in the first place. She offers the old fox a crash course in Buddhist ethics, and warns him that accumulating even more bad karma might lead to someone eventually killing him too, and to yet more rebirths in one of the three realms which are best to avoid (animals, hungry spirits, hell).

The old fox notes following buddhas is for humans, not for those born in other realms of rebirth (he’s not entirely wrong, humans are generally held to be in the optimal condition to seek enlightenment; animals must follow instinct and thus end up accumulating bad karma, devas are to preoccupied with celestial bliss), but eventually he relents and agrees that it would be wrong to kill the woman because of the actions of her father. He concludes that it would not even make him feel better, since his child would remain dead. He tells Tamamizu that evidently he was able to meet her because of good karma acquired in a past life, asks her to pray for his deceased child, and leaves, announcing he shall become a monk reciting nenbutsu from now on. Tamamizu did what he asked for, and even performed a funerary service for her late cousin. With the problem solved, her adoptive mother returned to good health. She was therefore free to meet with her mistress again. She was elevated to the rank of chujo no kimi, the foremost among servants. However, despite her mistress’ best efforts to make her feel appreciated, she was suffering from persistent bouts of melancholy. She wished she could confess her love and consummate the relationship, but she concluded that since she kept her identity secret for so long, it would be no longer possible to reveal it without losing the acceptance of the girl. She decides she must disappear. However, before that she prepares a long poem explaining her predicament.

She placed it in a box, and gave it to her mistress, explaining that it should only be opened if something happens to her. She then broke down in tears.

Tamamizu’s mistress does not fully understand what is happening, and asks if she perhaps is worried about their planned relocation to the imperial court. However, Tamamizu denies that and guarantees she will accompany her on the journey there. Her mistress starts crying too, and says she has hoped they will always be together. Shortly after, the day of the journey came. Tamamizu’s mistress and mr. Takayanagi, now recognized as a lord, were certain that she went with them, but as soon as they reached their destination it turned out she was nowhere to be found. Days upon days of grieving followed. Eventually, the girl realized that she had no choice but to open the box. From the poem contained within, she learned everything about Tamamizu, from the day they first met all the way up to the disappearance. It explained how she hoped to protect her mistress through her current life and beyond, but had to give up after realizing it was all in vain. In the final words of the poem, she firmly refers to her with the name she was given by the girl - Tamamizu.

The poem moves her deeply, but the story does not have a happy ending - we never learn what happened to Tamamizu afterwards.

Tamamizu’s forerunners

It is agreed that much like the considerably more famous Tamamo no Mae, Tamamizu in part depends on earlier Chinese literature about foxes. Not exactly on the same sort of stories, though - she is not exactly a malevolent seductress, to put it lightly. The key to finding her forerunners is the scene in the beginning when the still nameless fox considers transforming into a male suitor at first, before settling on the form of a female attendant, and the erudition she displays through the story. An argument can be made that this is conscious engagement with a very specific type of older fox story, largely forgotten today. In Tang China, fox stories enjoyed considerable popularity. You may remember that I mentioned this in passing a few months ago in another fox-themed article. One of the genres popular at the time was focused on fox suitors. There are many stories like that, but they largely follow a similar plot: a male fox falls in love with a human girl, takes the form of a dashing literatus and requests marriage. The girl’s family rejects the proposal, as despite charm and erudition the fox is ultimately an outsider with no family, and doesn’t depend on the well established institution of matchmaking. Afterwards, he typically tries to win the girl over with some sort of trick, and fails in the process, thus meeting his demise when his real identity is inevitably exposed.

In some cases, twists are introduced and the fox is effectively exploited by the family: for example, in the story about a certain mr. Hu (a common surname which is a homonym for the word for fox) and the granddaughter of the official Li Yuangong, the Li family agrees for the girl to be taught by the fox, and even asks him for advice on various matters, just to kill him once he outlived his usefulness.

Zhou Wenju's painting A Literary Garden (文苑图, Wenyuantu), showing a group of discouring Tang literati (wikimedia commons)

Many literati came from humble backgrounds, and only attained high positions thanks to success in the imperial examinations. However, their advances were often frowned upon by nobles, who saw them as upstarts. Therefore, faking a more notable origin was widespread to secure a better position in the high strata of society. All of this is reflected in the stories of the fox suitors. Xiaofei Kang, who wrote my favorite monograph about Chinese fox beliefs, notes that the stories might have effectively been a way to cope with everyday anxieties. In other words, perhaps the fox self insert fails so that the real person sharing his precarious status can succeed.

Another aspect of the Tale of Tamamizu which offers a clue about its origins is the focus on Buddhism, and its role in the lives of non-humans in particular. Tamamizu evidently attains a considerable familiarity with Buddhist doctrine, to the point the old fox basically seems to perceive her as thinking more like a human than a fox. Evidently, she doesn’t think being an animal should prevent one from seeking good karma. This seems to reflect a medieval Buddhist phenomenon. Roughly from the Insei period (1086-1185) up to the eighteenth century, and especially between the twelfth and fourteenth centuries, the dominant esoteric schools of Buddhism propagated the doctrine of hongaku (本覺), “original enlightenment”. This idea originates in an earlier Buddhis text, Awakening of Faith in the Mahāyāna. According to proponents of this idea all living beings, even plants, possessed an innate “Buddha nature”, as did natural features like mountains. They were innately capable of attaining enlightenment, or innately enlightened outright. Religion influences art, so it has been argued that the spread of new stories about animals behaving like people in the Muromachi period had a distinctly Buddhist dimension.

The modern reception of Tamamizu

Despite the fascinating themes of the story of Tamamizu, it only found a greater degree of modern recognition in 2019, outside of academic circles at that. I'm surprised it took so long, since when you think about it, the sensibilities of the author indeed seem surprisingly modern. The narrator even reassures us Tamamizu’s human form is the same age as the object of her affection, anticipating what sorts of shipping discourse could arise 700 years later. Anyway, in 2019 a fragment of the story was the subject of one of the classical Japanese literature questions from the National Center Test for University Admissions, a standardized university entrance exam held across Japan each January from 1990 to 2020. This obviously exposed an enormous number of people to it, not just exam-takers. Following this event, a Tamamizu fad seemingly swept social media and pixiv (curiously, there’s a single piece of art there which predates the phenomenon by six years; op actually updated the description in 2019 to say they are happy more people learned about the story). There’s even a Tamamizu Monogatari tag on Dynasty Scans as a result. It’s worth pointing out the wikipedia entry of the story was written in 2019 as well. Most curiously apparently a research project focused on Tamamizu, Kahoko Iguru’s Border transgression between species and gender as observed in “Tamamizu Monogatari”, received a grant in the same year too (source; more info here). It doesn’t seem the results have been published yet. I will keep you updated if that changes, obviously. I am actually surprised I didn’t notice the Tamamizu phenomenon back then, even though 2019 Antonia was distinctly more terminally online than 2023 Antonia is. It’s worth noting that Tamamizu’s fame didn’t fade away. The online following the story gained was referenced in an Asahi Shimbun article a year later. A quick survey of social media will show you there are people still talking about Tamamizu today. People who aren’t me, that is. What made Tamamizu so unexpectedly popular - arguably more than the story has been in the past few centuries - in recent years? Most of the linked sources relatively neutrally state that people perceive it as a “unique love story”. Social media posts are often considerably more direct: for many people, the appeal lies in the realization the Tale of Tamamizu is probably the closest to a lesbian love story in the entire corpus of medieval Japanese literature. I won’t deny this is in no small part its appeal for me too. Note this is not an universal sentiment by any means, though. It is difficult to tell if this was the intent of the medieval author(s), of course. It is obviously impossible to deny that women attracted to women existed in medieval Japan, as is the case in every society since the dawn of history. However, they left little, if any, trace in textual sources. As pointed out by Bernard Faure, in Japan in the past as in many other historical societies “sexuality without men is properly unthinkable” and therefore received no coverage. While there is plenty of Japanese Buddhist literature dealing with male homosexuality (trust me though, you do not want to read it; I’ve included a brief explanation why in the bibliography), there is basically nothing when it comes to women. The only possible exception is what some authors argue might be a medieval depiction of a lesbian couple in Tengu Zōshi, a work I plan to discuss in more detail next month, but note that this would be only an example of condemnation, since this work is a religious polemic dealing with vices of the clergy.

The supposed lesbian couple from Tengu Zōshi; image from Haruko Wakayabashi's The Seven Tengu Scrolls: Evil and the Rhetoric of Legitimacy in Medieval Japanese Buddhism; reproduced here for educational purposes only.

This sort of absence of evidence is a recurring pattern through history - you might recall my own attempts to find out what Bronze Age Mesopotamian sources have to say on this matter. Before the Meiji period, when the term dōseiai (同性愛) was coined as a calque of Charles Gilbert Chaddok’s freshly invented label “homosexual”, there wasn’t even a distinct Japanese term which could be applied to lesbian relationships. Once again, this does not indicate this phenomenon did not exist - but it does indicate that due to extreme levels of sexism in the perception of both sexuality and relationships it was difficult to even imagine for the average author. Faure suggests the prevailing attitude was presumably similar as in continental Buddhism, in which lesbian love “was at best perceived as a poor imitation of heterosexual relations—or a preparation for them—and as such condemned” at least in monastic rules. To put it bluntly, only penetrative sex was regarded as real.

And yet, in spite of this, I do not think it is wrong to wonder if perhaps what seems like subtext to a modern reader is actually intentional. This is obviously a reach, but given that relationships between women - not even romantic ones - were historically not a major concern of most authors, I would argue it is not impossible that a work which revolves virtually entirely around the relationships between female characters was written by a woman. Perhaps a woman romantically interested in other women, even. Even more boldly, I’d ponder if perhaps the ambiguous gender of the fox before transformation was meant to make the romance palatable to general audiences. Note that while foxes transforming is a mainstay of both Japanese and Chinese literature, the change of gender is actually quite uncommon in such stories, making this single reference all the more unusual. Granted, gender change is hardly a major focus in the story of Tamamizu. The only real indication the fox is male is the decision to take a male human form at first, but beyond that, things get muddy to the point the matter of gender in the story evidently warranted an actual study, as I pointed out earlier. As you’ve noticed, this matter was approached in different ways by translators too. I personally think the most important factor is the fact Tamamizu refers to herself with this name in the final poem. This name is intimately tied to the distinctly female identity she took. Whoever she was in the beginning, by the end of the story she is clearly Tamamizu. If one felt particularly bold a case perhaps even be made that Tamamizu can be read as a trans woman based on this, perhaps. I think simply disregarding the brief reference to a male form is valid too, though. Even if these arguments were to be refuted fully, I would argue that there is a further reason why at the very least reinterpreting the story as dealing with a gay relationship is not against the spirit of the original work. As I outlined, the tale of Tamamizu seems to draw inspiration from a very specific genre of fox stories, in which foxes are essentially a metaphor for people seeking relationships which were frowned upon. Obviously, the fact that Tamamizu is not a human by default makes any relationship she would be involved in somewhat unusual and frowned upon, but that does not assign a different metaphorical meaning to her struggle. Is Tamamizu even really fully a fox and not a human at all by the time she writes the confession of her love, though? The old fox seems to basically dispute if she still thinks like an animal. We also know that she maintained her human form for so long her biological relatives assumed she had passed away. She also found acceptance of virtually every single human character in the story - save for herself, that is. It’s also not like it’s hard to reinterpret her struggle specifically with the inability to consummate the relationship through the lens of the medieval Buddhist views of female sexuality, rather than through the lens of the general view that relationships between human and transformed foxes were doomed to failure. To paraphrase Cynthia Eller’s evergreen quote about futile search for nonexistent matriarchal prehistory in ancient texts, I do not think an invented wlw past can give anyone a future, but at the same time I do not think it means we should conclude that nobody ever had similar experiences in the past, or that we can relate with works even in ways their authors did not intend. For this reason, I would ultimately argue in favor of embracing the Tale of Tamamizu as a narrative which can be read as a lesbian love story.

Bibliography

Bernard Faure, The Red Thread. Buddhist Approaches to Sexuality (please note: read this book very cautiously since multiple content warnings apply. Faure is a remarkably progressive author, so it’s not about his personal attitude or anything. The problem is that it is not possible to deny much of the Japanese Buddhist discourse about homosexuality had little to do with modern notion of gay relationships, and essentially amounts to explaining when exploitation of children is a pious act)

Rania Huntington, Alien Kind. Foxes and Late Imperial Chinese Narrative (some sort of explicit content warning applies here too, though mostly because some of the discussed works are trashy Qing period erotica. More funny than anything.)

Xiaofei Kang, The Cult of the Fox: Power, Gender, and Popular Religion in Late Imperial and Modern China

Keller Kimbrough and Haruo Shirane (eds.), Monsters, Animals, and Other Worlds. A Collection of Short Medieval Japanese Tales

Jacqueline Stone, Medieval Tendai hongaku thought and the new Kamakura Buddhism: A reconsideration

#japanese literature #tamamizu monogatari #lgbt history

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