#post inspired by that post about banning books

[dearqueerdeers]

no wait actually as an avid reader English classes pissed me off so bad in high school. before high school I just found them vaguely annoying because it was super easy stuff— the author says in paragraph 3 that daisy is mad. Which of these word is a synonym for “mad”?— but in high school they really started to lean into analysis that was deeper than “surface level”. Here’s the thing. I’ve been writing fanfiction since I was 11. I know how to read between the lines. I know how to analyze shit. Been doing it forever. So I get to English classes where they’re asking me to do that and I go “great! this will be fun!”— only to be told that I am, in fact, wrong, in my interpretation of whatever current book we were reading.

This happened a lot for a lot of books (I am autistic lmao), but the one that infuriates me to this day is when we read Things Fall Apart in my senior year English class. Note that we did not read Heart of Darkness, which supposedly this book was a response to, so I could very well be missing a chunk of analysis here. It essentially followed a man living in Nigeria pre-colonialism and followed his life as European “missionaries” slowly started invading the surrounding area & eventually his home. According to my English teacher, Heart of Darkness portrayed the indigenous people in African in a very negative light and erased a lot of their culture, and Things Fall Apart was written as a rebuttal to showcase the rich culture and interior lives of the people portrayed as “savages” in Heart of Darkness.

And yes, the book did a wonderful job of showcasing the presence of a thriving culture and the personhood of those living in Nigeria! However. This teacher absolutely refused to hear any analysis that painted the main character in a bad light. If you pointed out that any of his actions were bad and suggested that he had personal growth to do, she’d shut you down immediately. I specifically was told “it’s a different culture and you can’t judge them based on our cultural standards.” My class was told the protagonist was a good guy trying his best, & that’s what the book was trying to showcase. If you listened to my English teacher without ever touching this book, you’d probably think it was about a guy doing his best and who therefore didn’t deserve the violence he experienced at the hands of the colonizers. (Disclaimer here that shouldn’t need to be said but I’m saying it anyways: You can’t “deserve” to be colonized. No culture or individual person should ever be forced to endure colonization. Full stop, period, end of story.)

Here’s the thing. This dude sucked balls, guys. He murders his adopted son. He hits his kids. He abuses his wives. & the whole time shows no learning from any of these actions. And those actions formed my analysis of the book! My analysis was that this guy sucked hard and the point of the book was that even when people suck, colonization is bad. My TEACHER’S analysis (and the only analysis she allowed us to discuss) was that this guy was a good guy and the point of the book was to make us feel bad that a good guy was the victim of colonization. I don’t even think I need to unpack why that’s totally bullshit, y’all have reading comprehension skills lmao.

To this day I still bitch about this book and this unit to my friends who were in that class. Not that any media analysis should ever be considered “right” or “wrong,” but to be told I was wrong in my analysis when I so very clearly was not was infuriating.

[not-so-superheroine]

deseret book is more persistent than duolingo.

i ordered 2 books for a church research project on Black saints in the early Church and also in the Reorganization, on which the one book had a small section us and all had info from the our shared early church history, and it was an ebook too!

and i get physical mail from them once a month. i have no idea how to cancel.

herald house, the community of christ publishing house, contacts me much less, and i buy books from them all the time.

and oh their church book app reminds me to read my scriptures and the words of their prophets regularly if it's not in sleep mode.

i have to admire the effort behind it, ngl.

[jerzwriter]

New Discoveries

This fic is part of "MOC (Merida, Olivia, Casey) World," but it focuses on the guys! This is a dual ask from @annoyingmillenialnewbie and also prompts provided by @storyofmychoices. I love writing for these three together! Thanks so much for the inspiration!

Book: Open Heart (Post Series) Characters: Ethan Ramsey, Bryce Lahela, Tobias Carrick Rating: Teen Words: 2,099 Trope: There's just one bed.... Summary: A boy's weekend camping takes a few different turns (literally and figuratively), but they endure and make some new discoveries along the way.

A/N: This is part of the Merida, Olivia, and Casey world. Merida belongs to the lovely @lilyoffandoms, and Olivia belongs to our dear @storyofmychoices. The prompts can be found on this list created by @creativepromptsforwriting. (The prompts are bolded in text.) Participating in @choicesjunechallenge2024 - Beginning.

The mountainous road was perilous, to say the least. Yet, if Tobias was fazed by it, it didn't show. The day was beautiful, with a brilliant blue sky stretching endlessly without a cloud in sight. They were the only travelers on the road, and the rugged terrain was no match for his new Range Rover. All in all, it was perfect.

The SUV jolted hard to the right... then to the left...

“Look out!” Ethan shouted.

Then to the right again.

While Tobias was living his best life, Bryce was left to wonder how much life he had left. He had to be cajoled to go camping in the first place, and now he lost hope of arriving at the cabin alive. Tobias glanced at him in the rearview mirror, smiling sardonically when he noticed his friend’s pale, green complexion.

“You all right there, buddy?” he bellowed.

“Of course he’s not all right!” Ethan replied from the passenger’s seat. “We’re both wondering how many more sharp turns you'll take before this tin can goes toppling over the side of the mountain.”

“For fucks sake, Ramsey,” Tobias chuckled. “Grow some hair on them. We’re absolutely fine.”

“We are not fine,” Bryce insisted. “If I don’t make it, please tell Olivia I love her.”

“OK, maybe you are being a tad too dramatic,” Ethan reconsidered, to Tobias’s delight.

“That’s better!”

Nevertheless, two of the three men couldn’t have been more relieved when they pulled up to the rustic cabin that would serve as their home for the weekend. Tobias stepped out of the car with his usual swagger. Black Ray-Bans in place and an Original Gourmet Lollipop in his mouth, he surveyed the land, filled his lungs with the fresh air, and smiled.

“Welcome home, friends!”

Bryce’s exit was a little different. Stumbling out the back door, he looked peaked, but the fear started to vanish from his eyes when he realized they were on solid earth.

“I would lean over and kiss the ground, but I’m pretty sure I’d throw up,” he announced as Ethan mumbled under his breath.

 “What was that, boss?" Tobias called out. "If you have something to say, you really should tell the whole class.”

“I said I don’t know how you convinced me to do this.”

With his hands in his pockets, Tobias rolled back and forth on his feet with a grin. “First, you love us, no matter how much you try to deny it. Second, Merida would have kicked your ass if you backed out.”

“Not to mention you would have never lived down the ribbing we'd give you if you admitted you couldn’t rough it for one weekend.”

“I can rough it, Bryce!” Ethan replied. “Make no mistake about that... I just don’t know if I can rough it with the two of you.”

Tobias clapped his hand against Ethan's shoulder before removing his backpack from the trunk.

“You’re full of shit,” he said, tossing Ethan his bag.

Bryce shielded his eyes to take a better look at the cabin. He had to admit that the bucolic setting was beautiful, ushering in a sense of tranquility that Boston could never deliver.

“The cabin does look really nice,” he observed.

Ethan shrugged with a wrinkled nose. “Looks smaller than I expected.”

Tobias pulled the lollipop out of his mouth, his face glowing like he had just won the jackpot. “Now, there are five words Ramsey has heard repeatedly throughout his life.”

He and Bryce broke into a fit of laughter while Ethan rambled about their juvenile behavior.

“Relax, old man,” Tobias teased. “It is small, but it’s not like we’ll be inside much anyway. Come on, let’s go set up.”  

Ethan and Tobias lingered on the porch as Bryce stepped inside, but he returned in an instant.

“Uh, Tobias, are you sure this is the right cabin?”

“Well, the keys I gave you just opened the door, didn’t they? Of course, it’s the right cabin.” Noting the look on Bryce’s face, he continued. “What’s the matter, Lahela? Did you see a mouse?”

“Oh,” Bryce chuckled. “I wish.”

Ethan raised a brow at Bryce while Tobias stepped inside.

“Wait for it,” Bryce mouthed just before they heard...

“Oh, for fucks sake!!”

Ethan rushed into the cabin with Bryce trailing behind him, and his eyes went wide.

“Are you kidding me?” Ethan scowled. “One bed? What the hell did you do, Carrick? Rent the honeymoon suite?”

Tobias turned to his friend, lips twisted. “Who’d take anyone on a honeymoon here, Ramsey! Even you’re not that clueless.”

“You’re right, and I’m also not clueless enough to get us a cabin with ONE bed.”

Tobias ran his hand over his head with a sigh. “The listing said one single bed and two bunks!”

“Well,” Bryce simpered. “The listing lied.”

“I told you we should have just brought tents and sleeping bags,” Tobias admonished. “But noooo, you two couldn’t rough it!”

“Says the man with the luxury Range Rover,” Ethan smirked.

Ignoring him, Tobias placed his phone back into his pocket. “There’s no service here, but if you want, we can drive back down the to the main road. We passed a Motel 6; we could just stay there tonight if you like.”

“Yeah, I’m not about to head back down that death trap of a road in this weather!” Bryce stated.

“In this weather? It’s beautiful out,” Tobias said just before a loud thunderclap shook them. “Wait! What?” He gasped. “Where the hell did this come from! It was gorgeous out! There was no rain predicted, and... how?”

“What was that you said about not spending much time inside the cabin anyway?” Ethan mocked.

Tobias threw himself back on the bed. “This isn’t happening.”

“It’s all right,” Bryce said, trying to lighten the mood. “ “It’s just for two nights; we can handle that.”

“Maybe you can,” Ethan deadpanned. “I’m not so sure.”

“Well, unless you want to take my keys and drive yourself down the mountain in this monsoon, it doesn’t look like you’ll have much of a choice.”

~~~~~

The afternoon and evening looked different than they had anticipated. Envigorating hikes were replaced by several rounds of poker. An open campfire under the stars turned into hotdogs and baked beans prepared on the hotplate. It was as if a woodland fairy godmother had appeared and reversed her magic.

“I wonder what the girls are doing now,” Bryce asked forlornly.

Ethan pulled a chunk of fat out of the beans with a grimace. “Eating better than we are, that’s for sure!”

“All right!” Tobias snapped. “Enough of this. Hopefully, the rain will pass tonight, and we will have two days to enjoy the great outdoors. But tonight... let's make the best of it. There could be worse things than the three of us stuck in a cabin in the middle of nowhere with copious amounts of beer.”

“The beer will help,” Bryce agreed.

“As long as you two don’t overdo it,” Ethan said, popping a can open. “If either of you falls into a drunken stupor and pees in the bed tonight, we'll be returning to Boston with a lighter load."

“How are we going to sleep?” Bryce asked the question they had all been pondering. “What’s that, a full-size bed? How are the three of us going to fit on that?”

“It’s a queen-size,” Tobias corrected. “We’ll make do.”

“Do you have your sleeping bag, T?” Bryce asked. “Maybe one of us could sleep on the floor.”

“Negative,” he replied. “Once you two overruled tents, I had no reason to pack it.”

“I could just sleep on the floor anyway.”

“Bryce, you’ll freeze,” Ethan pointed out. “The temperature drops significantly during the night in these parts, and this place isn't exactly insulated."

“Yeah, and those cute little shorts and crop tops you bought won’t do a damn thing to keep you warm,” Tobias chortled.

Bryce let out a sigh. “I told you a beach weekend would have been better, but noooo....”

“Weren’t you the one saying it’s just two nights, we’ll survive?” Ethan yawned. “Look, it’s late, I’m exhausted, and I don’t want to freeze, so why don’t we just get this over with?”

“I’m with you,” a weary Tobias replied.

“All right, question. Who sleeps in the middle?”

Bryce's words stopped the other two men in their tracks.

“Well, I hadn’t thought of that,” Tobias snickered.

“This is going to be the longest night of my life,” Ethan groaned.

“Come on, princess,” Tobias winked. “You could do much worse than sharing a bed with two lookers like Lahela and me.”

“I mean, we’re all bi,” Bryce reminded. “It’s not like we’ve never shared a bed with a man before."

“That doesn’t mean I want to be sharing a bed with these two men,” Ethan said, gesturing furiously between his two friends.

“Look, I’m freaking tired,” Tobias interrupted. “I say we pick straws. Short straw gets the middle.”

“Works for me!” Bryce agreed.

No one waited for Ethan to reply, which was unfortunate since he picked the short straw.

“Motherfucker!” he cursed.

“Look,” Tobias pointed out. “None of us are going to sleep well tonight anyway, so what does it really matter.”

“Fine! You want the middle, then?”

“Nope!” Tobias said, claiming his spot against the wall. “I’m good.”

“Wait! That means I’ll be on the edge!” Bryce realized. “I’m going to end up on the floor!”

“Would you like the short stick?” Ethan offered.

“Mmmhh. Nah,” Bryce replied. “Just try not to push me off the bed."

The three men spent the next few minutes squiggling and shifting, doing their best to find a position that would be remotely comfortable for all, and the jokes kept coming, at least from Tobias and Bryce.

“Remember, Ramsey... if your hands get cold during the night, my butt cheeks are not pillows, all right?”

“Jesus Christ!” Ethan groused, rolling to his other side.

“What?” Bryce replied. “Do you think my butt cheeks are available? We can get you some socks for those hands of yours.”

Bryce and Tobias couldn't stop giggling as Ethan seethed between them.

“Come on, Ethan,” Tobias laughed. “You’re amongst friends, and at least you won’t freeze to death.”

“Sure won’t. You’re like a damn furnace! I felt like I needed to remove my clothes.”

“Oh, so you're getting fresh now?” Tobias teased, but Ethan wasn't remotely amused.

“Good night!!” He huffed.

“Sorry,” Bryce yawned. “But you walked right into that one.”

“GOOD NIGHT!”

And then something miraculous occurred; against all odds, the men managed to fall asleep.

~~~

When the sun rose, Bryce was the first to wake. He was already sitting in a folding chair near the window, eating a container of yogurt, when Ethan and Tobias began to stir.

“Good morning!” He chirped, as buoyant as the birds flying around the sunny sky. “It’s about time you're awake.”

“Why are you already up?” Tobias said, rubbing the sleep from his eyes.

Ethan groaned as he threw his legs over the edge of the bed, attempting to stretch his sore muscles. “And how the hell are you not in pain!”

“The benefits of youth, old men!” Bryce laughed. “I really do need to get some friends my own age.”

“Yeah, screw you!” Tobias said, vaulting out of bed to prove a point, but he couldn't hold back an ouch moments later.

“You were saying?” Ethan mocked.

“Of course, I’m in pain!” Tobias shot back. “I can’t barely feel my arm anymore; you were lying on it all night.”

“Are you aware that you talk in your sleep?” Ethan snickered, completely changing the course of conversation.

"Wait... what?" Tobias turned around, the blood rushing from his face. “What...what did I say?”

“I don’t remember everything,” Ethan smirked. “But I’m pretty confident you proposed to me.”

“Yeah, right!” Tobias laughed nervously.

Bryce mindlessly scraped his yogurt container with his spoon. “Honestly, he’s not joking. You were going on and on about getting married.”

“Do you have something to share?” Ethan grinned.

“Well,” Tobias hesitated. “I guess if the cat’s out of the bag. I'm planning on proposing soon, just not to either of you fuckers.”

“You’re proposing to Casey,” Bryce gasped. “Oh my God, Olivia is going to lose her mind!”

“Yeah,” Ethan ran a hand down his neck. “Merida will probably be all over this, too.”

"If you wouldn't mind keeping this from them for the time being," Tobias pled. "It's not that I don't trust them, but..."

"No need to ask," Ethan smiled, shaking his friend's hand. "Congratulations, buddy. All joking aside, I couldn’t be happier for you.”

“Yeah,” Bryce agreed. “This is great news! When are you planning on doing it?”

“Next week, it’s the anniversary of the day we met. I don’t know if she remembers, but I do, so....”

“Do you think she knows?” Bryce asked.

“Nah,” Tobias smiled. “She doesn’t have a clue.”

“You're sure about that?” Ethan asked, preparing a cup of coffee.

“Pretty sure.... why?”

Ethan handed the steaming cup to Tobias with a wink. “Because, apparently.... you talk in your sleep.”

@choicesficwriterscreations @openheartfanfics

Tagging others separately.

[carriesthewind]

I can't stop thinking about the notes on this rage-bait post about To Kill a Mockingbird.

Some of it is the sheer number of people falling for the bait and believing that the school district in question banned the novel:

But there's also this...tone to so many of the notes that I find fascinating. And I think two sets of comments illustrate why:

Every time I look at these tags I feel like there is something more to unpack. If I am being kind of flip, I can roll my eyes at someone "sigh[ing] at the lack of reading comprehension" while falling for outrage bait.

But more seriously, I feel like this comment is completely right about needing to be uncomfortable and leave sterile environments in order to grown and change...but that comment exists in the context of the writer being so deeply uncomfortable at the mere idea that an over 60 year old book will no longer be taught to some children that they completely fail to interrogate the underlying story. There's a failure to take the next step. It's possible the writer was uncomfortable when they first read the novel, but to quote a tag I didn't capture here, it's "one of [their] favorite books." The book doesn't make *them* uncomfortable at all. The writer is not willing to interrogate that the school district might have had good reasons for switching the book out of the curriculum. Instead, they assume that the reasons are because "people don't understand" the book - the writer "see[s] what they look for."

I love To Kill a Mockingbird. (Hell, I'm one of those white future-public defenders who read the book and saw the movie and watched Atticus with my soul in my throat and, while I was not directly inspired by him, he resonated with a deep part of me.) It would be an uphill debate to convince me to remove it from a teaching curriculum - but then again, I'm not in charge of any teaching curriculum and have zero relevant expertise. I've read now a number of different articles and reactions to this incident, and the reactions rarely have anything to do with the reality of what decisions were made and why. You have to jump through numerous links to find what appears to be the original parent complaint:

Yolanda Williams said she found out that students were saying the N-word and laughing in the classroom, and it was offensive. “Students were laughing out loud at the teacher’s response. That’s unacceptable to me,” she told the board. “Is there not a better way to teach about that era and the horrors of that era, other than having kids laughing in class when the N-word is said? It should not be required reading for all students. My child shouldn’t have to sit in that class like that.” “It’s not a conducive environment,” Yolanda Williams said. “It’s not just the book, but supplemental material that had the N-word.

(How much do we value, how do we weigh, one way of learning about the history of racism, against the pain of a black child? Whose comfort are we willing to sacrifice, and for what?)

The second comment I come back to is much shorter, but I feel like it's where everything fell in to place for me:

Were the people made uncomfortable by the book white people? How many of them? I don't know for sure - although I know at least one of the parents, as quoted above, was black - and neither do any of the commenters.

Why do we read "people" and see "white people?" And in a way, I'm asking a rhetorical question - because of course we do, because the tweet is set up that day. And, even more so, of course we do - because the people the book is for are white people.

To go back to the previous comment, the one I can't stop unpacking: the writer quotes a famous line from the book, "You never really understand a person until you consider things from his point of view...until you climb into his skin and walk around in it."

And yes, I love this quote.

But.

But.

To Kill a Mockingbird was written by Harper Lee, a white woman.

The narrator of the book is Scout, a white child.

The hero of the book is Atticus, her white father.

The embodiment of the theme, the person whose skin Scout tries to step into, is Boo Radley, another white man.

Do you remember, the man who was murdered? Do you see him in that picture at the top of the post? How long does it take you to remember his name?

When do we step into his skin? When do we walk around with his perspective?

I love To Kill a Mockingbird. But if a school district wanted to teach a book to embody this quote, aren't there so many better ones?

Another commenter on the post appears to have actual lived experience with this book being removed from the teaching curriculum.

[scotianostra]

On August 15th 1771 Sir Walter Scott the poet and novelist was born in Edinburgh.

Walter survived polio as a toddler which left him with a limp and he used a cane the rest of his life. He was the first author to have international fame in his lifetime and is credited with inventing the historical novel.

Scott used the great storytelling tradition of the Highlands to help bring back the Scottish identity that had been cruelly crushed by the British. His Waverly novels were very popular in Europe and America starting Romanticism and influencing American writers such as Thoreau and Twain.

As well as popularising the historical novel, his books more or less invented tourism in Scotland. A family holiday to Loch Katrine inspired Scott to write the epic narrative poem The Lady of the Lake; a romantic, stirring tale of secret identity, love and loss. It was a publishing phenomenon and readers flocked to see the landscape Scott had described. Thus when travel entrepreneurs such as Thomas Cook began selling packaged railroad tours in the 1840s, Scotland was one of the most popular destinations. Victorians who had grown up on Scott’s Waverley novels, and now technology made it possible to reach these areas

Scott was a prolific writer, publishing two novels a year. Readers around the globe devoured his tales of historic Scotland and its noble, heroic people.

Composers in particular found inspiration in his work, among them Gaetano Donizetti who was inspired to write the tragic opera Lucia del Lammermoor based on Scott’s novel The Bride of Lammermoor.  Franz Schubert was similarly moved, setting text from The Lady of the Lake to music to create his much-loved work Ave Maria.

When King George IIII visited Edinburgh in 1822 Scott was put in charge of the festivities. This was the first time a reigning monarch had made it north of the border in over 200 years and Scott masterminded a spectacular Scottish show in his honour.

He created a romantic - and, some argued, and still do argue, an unrealistic - vision of the Highlands on the streets of the capital with parades, gatherings of clans and swathes of tartan on display. King George himself lapped up this romantic symbolism, dressing in a kilt for the occasion and, like a 19th century influencer, prompting others to wear it too. It marked a turning point in the way the world saw Scotland, and the return of tartan to fashionable society following a ban enforced by the government in the aftermath of the Jacobite rebellion.

Scott’s influence in society allowed him to lobby on causes he held dear.Sir Walter Scott got involved in a number of political issues. Particularly, his interested in issues where the government was trying to impose things on Scotland. For example, the Bank of England wanted to withdraw the right of Scottish banks to print bank notes, it's testement to the man that he features on bank notes not just today, but going back to the days of smaller nbanks, like the Linen Bank in Scotland, The Bank of Scotland range of notes still carry his portrait. Scott He stirred up such a furore that the government backed down, so you have him to thank that your not carrying English bank notes around with you, imagine a life where we Scots couldn't have a good old moan about businesses in England refusing to take our money as payment!

Scott’s popularity as a poet was cemented in 1813 when he was given the opportunity to become Poet Laureate. However, he declined and Robert Southey accepted the position instead.

Having suffered a stroke in 1831, which resulted in apoplectic paralysis, his health continued to fail and Scott died on 21st September 1832 at Abbotsford, I hope to read and post more about Sir Walter Scott in just over a months time.

[praetorqueenreyna]

I love reading about u talk about acotar, really intrigues me enough to consider reading the books, I'm also very interested in any and all fandom gossip, so please please please tell me what is the current situation? What is elaingate in reference to? 👀👀👀

WELL FIRSTABLE if you read the books, stop after the first one 😂 and THANK YOU FOR ASKING I will relay the tale of some of the most low-stakes fandom drama to ever exist that I accidentally started WHOOPSIE

On July 24, 2024, the blog for Elain Archeron Week posted the rules for the event. There were 4 rules, one of which was that they wouldn't allow ships with "known abusers" and listed Tamlin and Beron as examples (I assume you know who Tamlin is lmao, Beron is a kind of generic Mean Dad character). ACOTAR fandom is known for being puritanical and religiously devoted to canon, but this is a new development. Event week mods have ignored/not reblogged content they don't like that was submitted for their week, but this is the first one I've seen that outright BANNED anything.

There was already a little kickback that mostly has to do with the two competing ships for Elain, elriel and elucien. They both think the other is the DEVIL even though both ships are equally boring. Apparently, the Elain Week is run by elriels, and eluciens were already huffy about the wording of an ask wondering if elucien would be allowed in the event. This part of the story is boring and doesn't have anything to do with me, the star of the show, so I will move on.

Anyway! A few fandom friends sent me links and screenshots of all of this because it's objectively funny. I made a post talking about how funny it was, which brought attention to it on this side of the fandom. My mutuals (the most hilarious people on the planet) asked what was going on, and immediately joined in on the fun. Memes were created at an astronomical rate. Art, fic, and poems for every possible ship of those three characters were made. Amazingly enough, Tamlin/Beron has had a huge surge of content, as the two men named and specifically banned from the week. I started tagging the posts #elaingate, and apparently it caught on enough that the tag now has over 100 posts in it.

To clarify!! The issue has never been about the ships themselves. There are VERY few Tamlin/Elain shippers on tumblr, which I know because I have run multiple demographic surveys and crunched the numbers. And absolutely NOBODY was making Beron/Elain. You have to understand how bland this fandom is. They consider one of the most degenerate, disgusting ships to be the main male character and....his wife's sister. And it certainly isn't isolated to elain/elriel stans, they were just the unlucky bastards to finally verbalize these insidious issues with fandom, especially ACOTAR fandom. Mostly just that the fandom is EXTREMELY conservative, and also that people that like the Popular Thing always have to make themselves out to be the ultimate victims. It's also in poor taste for running an event week. Yes, event weeks are run by fans in their free time, but the idea is to inspire EVERYBODY to create for the thing that you're a fan of. If you're so precious that simple seeing a ship you don't like sends you to the fainting couch, an event week is probably not the thing for you.

I wrote a whole essay on modern ACOTAR fandom here then deleted it bc YOU DID NOT ASK. But anyway THAT IS ELAINGATE we are all being very silly.

[b0rtney]

you want homosexuals in every conceivable scenario?

Boy oh boy do i have the substack for u: mine!

NO PLEASE LEMME TELL U THE STORIES BEFORE U LEAVE--

Current is Cinnamon Muffins. TLDR: Six queer boys in a homophobic tiny town in Iowa are trying to survive winter break dodging awful parents, social stigma, and mental health crises.

Next up is How to Get Away with Marriage. TLDR: Guy with awful, religious parents marries guy who is living paycheck to paycheck so they can both get all their younger sisters out of their shitty situations (but they fall in love ofc).

Longer desc of these plus the stories coming in the next months are below the cut! (Genres include fantasy, sci-fi, dystopian, mystery/thriller, coming-of-age)

Cinnamon Muffins centers on Taylor Macready, a homeless senior in high school holed up in a sleeping bag under a bridge after his parents kicked him out. He's fully ready to just accept death when it starts snowing on him while he's stargazing, but social outcast Wes Post is taking his nightly walk in a new direction and stumbles (literally) on his longtime crush, Taylor. Dragging Taylor home, Wes's parents prove themselves the only reasonable parents in this book by setting Taylor up on their pullout couch and nursing him back to health. Then Wes, whose closest school relationships include the kids who bully him for his anxiety-related speech impediment, has to get in touch with Taylor's friends to let them know the situation. Meanwhile, the mean girls of Swisher High School are starting a campaign to get homosexuality banned at school. Administratively, it gets nowhere, but it inspires several small-minded shitwads to take matters into their own hands. While Taylor is used to getting into fights, Wes isn't, but he'll have to sink or swim, because the teachers are not paid enough to care what happens in the hallways during lunchtime.

How to Get Away with Marriage opens with Luke Providence, son of a devoutly Baptist family in Nebraska, proposing to Patrick Demden, son of a recently-deceased alcoholic mechanic. The wealthy Providence parents have a longstanding agreement that once their children get married, they will receive a trust of $100,000 to use on the down-payment of a house and to start a life with their spouse. Patrick's younger sister tutors Luke's younger sister, but Patrick's sister is 16. This age gap doesn't matter much to the Providence parents, but it matters a lot to Luke, so he strikes a deal with Patrick: tell the parents he'll marry the sister, legally marry the brother, everyone gets to move to Colorado and escape abusive religious parents and crushing poverty. He needn't have done something so elaborate, Patrick would have married him for any reason at all. But the secret doesn't stay secret forever, and the Providence parents eventually come knocking, trying to recollect their children and their money.

Future stories I'll keep shorter, but feel free to ask about them either in the replies or my askbox and I'll elaborate!

Assassin x Demon King will be getting books 2 and 3! ADK is about an assassin and the king he was supposed to kill, both of whom have quit their jobs and started trying to save as many people as the assassin killed before he dies of a slow-acting poison in twelve months. Books 2 and 3 will have things getting awfully tragic and somewhat more horny than before! (No smut will make it into the print versions of these, that will remain on my substack alone)

How to Find Your Friends After the End of the World is a fantasy inspired by the isekai anime genre. Five friends in their 20s are on earth as it is wracked by a violent battle between the Heroine of the Gods and her Nemesis, and then, suddenly, they aren't. Earth has been destroyed and they are now on a new planet, in new (non-human) bodies, strewn across continents! On their new wrists, they have tattoos with each others' names, plus one (or two) new ones: their soulmates. Court politics and wastelands of monsters await them as they try desperately to reach each other, and their soulmates try desperately to reach them.

HtFYF will also have a prequel, focusing on the events that led to earth's destruction, and the battle between the Heroine of the Gods, a young woman, and her Nemesis, who seems to know more about the gods than she says. Why do the gods keep choosing such young heroes? What has the Nemesis done to put the world in such peril? Will the Heroine get to graduate on time despite the sleep she's been missing!?

The following do not yet have titles, but are fully fleshed out works ready to be thrown onto Substack:

A trilogy of eleven teens assisting in the fight against an agency that traffics, tortures, and then sells children with preternatural powers and abilities, and an exploration of the trauma those kids emerge with.

A murder mystery where a woman's sister dies, the police rule it suicide, and the woman enlists the help of a rumored contract killer to help her solve the murder-- but why does this rumored murderer-for-hire seem to know so much about her sister's death? And who was truly responsible?

A campy novel about a woman who graduates college, goes back to her hometown, and finds her highschool crush is still there, still single, and has since come out as gay. Of course, the only solution is to co-adopt an at-risk child from a neighbor.

This post will remain pinned on my profile, but for the next few days I'm having a sale on my substack tiers-- 20% off! That makes the cost to you just $8 per month to get a chapter every other day. 15 chapters for $8; that's a steal!

[tossawary]

Part of the problem with discussing how racism manifests in fandom and in fan organizations is that to present a nuanced and thorough take on a complicated problem, which actually consists of a number of different complex issues with lots of different potential solutions each, you have write really, REALLY long posts about it.

And people don't read long posts.

Or they read the first part and get stuck on one point they don't agree with or can't 100% agree with. So they get caught up in proving one point wrong instead of at least expressing sympathy or sharing the parts they do actually agree with.

(Or people make fun of you for caring about "people being mean in fanfiction communities" as an issue. Because caring is cringe, apparently. Racism in hobbies like book clubs and local knitting groups and kid sports leagues is also important, even if it's "not that big of a deal" in the grand scheme of things in your opinion.)

Which can have (unintentional or intentional) vibes of telling fans of color to shut up about racism. Which is rude and understandably upsetting to people who have experienced this kind of harassment. Saying "go make your own archive" implies that the affected fans of color have not been a part of building the OTW or in running AO3 and don't belong there as writers or readers, which is untrue and unkind.

Now, I know that people have a kneejerk defensive reaction to any form of "We Need To Ban The Bad Fic That I Don't Like". I have that too. And I won't deny that this is a conversation partly about content moderation. And I won't deny that within this broad conversation between lots of different people who want to do something about fandom racism, there are probably some people who are calling to ban everything they find even a little problematic. They're always popping up. I don't agree with those people.

I didn't reblog End OTW Racism's Call to Action post the first time that I saw it because my brain wanted to chew on the thoughts it inspired. I thought a lot about how exactly to write detailed policy that could explicitly ban the worst examples of fanfiction used as intentional hate speech provably for the purpose of targeted harassment, while still ensuring the protection of the queer content, the problematic darkfic, and the explicit kinky fiction that the archive was created to host (which EOTWR also cares about). I do want fans to be able to explore some disturbing and distasteful topics, even if they don't always write it well, without being censored. And yet I also thought a lot about the "Paradox of Tolerance" as a social contract and what it meant to be "Fair to Unfair Voices".

I also thought a lot about how AO3 volunteers can never review every single thing posted to the website (which was not being suggested). And about how this issue intersects heavily with the structural issues that leave some AO3 volunteers overworked and underappreciated. And the structural issues that leave some AO3 volunteers feeling isolated, neglected, ignored, or mistreated. And also how AO3 is shockingly enormous now for being the result of volunteer work on a budget that's small compared to other non-profit organizations.

And honestly, I was fucking exhausted from my job that day and I cynically thought to myself, "I'll read through the links later, but I don't really see how changing the names on a bunch of fics is going to inspire great change within an organization."

(And the people behind this online protest are pretty open about the fact that they didn't expect their awareness campaign - and that's what it is: it's just an awareness campaign - to do anything on the front of "Solving Institutional Racism Immediately".)

But then I thought to myself, "Okay, but I do believe in antiracist action. And even if I don't think some of these suggestions are workable with the current state of things, or that the OTW will ever agree to some things here, there has got to be something here that could be done right now to make things a little better."

I kind of like the idea of expanding the required archive warnings so that more well-meaning people will opt-in to tagging triggering material, which is a form of content moderation. Like the way that the "Graphic Depictions of Violence" tag works already. Major Archive Warnings are left up to the author's best judgement unless reported. And even if people repeatedly refuse to use any relevant warning tags when writing blatantly racist stories, when they get reported for not even using "Creator Chose Not To Use Archive Warnings", then we'll be pretty sure that they're doing it to be a jerk, and AO3 volunteers can suspend or ban them for it.

I like the idea of expanding the abuse policy and clearly defining its terms so that Policy and Abuse volunteers can still retain some freedom of best judgement, but also be more consistent about recognizing when someone is being a racist jerk in the comment section or being racist by gifting violently racist fic to fans of color or otherwise behaving badly. And I like the idea of improving the reporting system while keeping potential misuse in mind. And giving PAC volunteers better admin tools and other resources.

Even if you believe that AO3 is largely run by well-meaning queer women, I personally don't 100% trust that every single volunteer will be great at recognizing the many varied forms of racism, or antisemitism, or transphobia, or prejudice against bisexual or asexual or polyamorous people, or against mentally ill or physically disabled people. And part of this discussion is about when individual members of the PAC team have failed to address malicious behavior that is already explicitly covered by AO3's existing anti-bullying policy. Or that can't be solved by just blocking and muting someone.

Like, this discussion is about racism, and it's worth caring about solely for how it affects fans of color, but optimizing the abuse policy and protocols against harassment would better protect everyone. (And also, please do not assume that fans of color are not also older fans and/or queer fans who care about censorship.)

Some of End OTW Racism's offered solutions are suggestions originally made by AO3 itself back in 2020. A huge part of this discussion is just some fans (they're only, like, 5 people) trying to make some noise so that the OTW will give all users a thorough update on their progress. They are trying to raise awareness to keep the conversation about fandom bigotry going and recruit people to show up to OTW Board meetings to ask what obstacles need to be tackled. They want volunteers trying to change things internally to feel supported and for some more transparency on this subject to externally hold people accountable to their promises.

And I also thought, "Fuck it. This post is worth reblogging if only to remind people that AO3 needs work, to educate new fans on the history and present of fandom racism in general, and to maybe make one person out there feel less alone and connect them with some new friends. Fans of color don't have to be perfect to be heard."

I believe that AO3 has gotten bigger than ever anticipated and management of the OTW has only gotten harder. And I think hiring a diversity consultant, as per AO3's own suggestion back in 2020, sounds like a good idea to curb harassment of all kinds and improve the working conditions of volunteers. Outside contractors have been hired before and these professionals have no effect on OTW's non-profit status. A temporary consultant's job would be to identify where the organization is getting stuck and give suggestions on how to fight bigotry, and the OTW Board can just pick the solutions they think will work in practice with their mission statements.

Honestly, I kind of think it might be a good idea to also hire a security consultant of some kind after some of the harassment of AO3 volunteers in recent years. And if hiring some programming contractors would help the coding volunteers build better admin tools and make tag blacklisting happen sooner, then I support that as well. But that's all up to the OTW Board. And I want the OTW volunteers to know that I support their original suggestion to hire some outside professional help, so that fandom can begin to address some of these ongoing problems beyond just acknowledging that they exist, even if it simply starts with AO3 explicitly calling for more volunteers to get the planned work done.

Saying that there's nothing to be done is defeatist. Saying that the affected fans of color and their allies sound too angry or too serious or too ungrateful, or that everyone involved just doesn't understand how hard these things are, is pretty rude. I don't expect perfect solutions on the first try. I don't expect them immediately. I expect some of these things to take the OTW... years, honestly. I don't always feel very optimistic. I find this entire discussion discomforting and depressing. I'm not ungrateful to the OTW and AO3 when the community has been an undeniably good experience for me personally over the past 10 years. I want people to be able to escape into fandom at the end of a shitty day.

End OTW Racism's awareness campaign is one small part of a much broader discussion and you don't have to agree 100% with everything that they say. Or with what other people talking about fandom racism say (and some people, including academics and journalists and media critics and video essayists, have been talking about fandom racism for a long time). And you definitely don't have to 100% agree with what I've said here.

You don't have immediately volunteer all of your time to the OTW to fix these problems to be a good person. We all have other shit going on in our lives. Just... keep some of the points being made in mind moving forward, yeah? If you have a moment, maybe listen to some of the frustrations with an open mind, and maybe show a little extra love to your fellow fans who are going through it.

And if you have the energy to tear down what you think just one of EOTWR's suggestions is as bad - and they are NOT calling for every single fic on AO3 to be reviewed for problematic tropes or racial slurs before posting, that would be ridiculous, and it's disingenuous to misinterpret them that way - are you also separately talking about and supporting any of the antiracist actions and other harm reduction policies that you think are genuinely viable?

[goodqueenaly]

@althaeaofficinalis reblogged your post “One aspect of Baelor’s reign that I find...”

A part of me, familiar with this level of religious zeal in both history and irl, wonders if perhaps Baelor's choices (still earnestly meant through his own zealousness and belief in his ecclesiastical kingship) didn't also serve to place the Faith by his own direction. By which I mean: the High Septons Baelor had divine revelations about were a) conveniently not septons at all and b) were in no way educated or mature enough to navigate the poltical or religious function of being High Septon in their own right, and so by necessity would have to rely on Baelor himself to maneuver through those political minefields. This isn't to say that Baelor didn't believe in his own proclamations (really that's up for debate, on a sliding scale of cynicism, but I'm inclined to believe he genuinely believed in his own visions) - more that hmmm isn't it crazy how his divinely inspired visions led him to candidates who would be wholly reliant on himself to lead the Faith?

It’s an interesting consideration, whether Baelor was being deliberately ambitious and/or calculating in his choices for these two successive High Septons. I do absolutely see Baelor as an ambitious person, and I certainly think Baelor was not interested in simply allowing the Faith to run the country while he entered de facto monastic retirement. Still, I tend to think that Baelor saw himself as almost in a way above the Faith - again, a sort of divine right of kings, where he was to some extent on a pedestal above the Faith, receiving the instructions of the gods directly and then transmitting them to both Faith and people. He wasn’t trying to run the Faith himself, necessarily, but rather he was going to transmit to the Faith how the gods had told him they wanted the Faith to be run

I could also see where Baelor’s goal may have been less about attempting to control the Faith himself via a convenient puppet (or two) and more about forcibly humbling the Most Devout, perhaps in line with his own zealous humility.  Rigorously ascetic himself, and certainly willing to chasten the haughty - demonstrated in that anecdote of the “proud Lord Belgrave” made to "wash the beggar's ulcerous feet" by the king - Baelor may have been disappointed in or distrustful of the Most Devout if he saw this body as too comfortable, too removed from what Baelor may have believed were the fundamentals of the Faith of the Seven. If Baelor saw himself as a divinely appointed king charged with shepherding his wayward subjects back to the Seven - and I think he did, given his attempts to (as he saw) correct public morals by banning sex work and burning risqué and “sorcerous” books - then there may have been no reason, in Baelor’s mind, not to extend that purification to the Most Devout.

In turn, perhaps Baelor saw the remedy outside the Most Devout as an institution, a solution apparently validated by the gods themselves. If Baelor sought the will of the Seven beyond the persons of the Most Devout, then there may have seemed no better symbol than the Smith supposedly incarnating himself in a common stonemason, and then the Seven supposedly zoomorphizing themselves to appear before a draper’s son. The Seven, so. Baelor may have seen it, were using the lowest of his subjects, those people whom Baelor himself had emptied his treasury to provide for, to present themselves in the world, perhaps not unlike how they had in the days of Hugor of the Hill. Their appearance, as the king may have seen it, did not simply confirm Baelor’s rightness in caring for the smallfolk, but also seemingly proved that only the meekest and lowliest in his realm would receive the favor of the Seven. Just as the gods had, Baelor may have believed, struck down the Targaryen dragons to punish the Targaryens for their heretical Exceptionalism, so perhaps the gods had removed their favor from the Most Devout and designated the successors of the High Septon among the common people in order to show that even those at the highest levels of the Faith could be chastened if they were not pure and humble enough, the way that these smallfolk were. 

If Baelor was thinking along these lines, then perhaps there is a comparison to be made to the ascension of the High Sparrow in ASOIAF. Like the stonemason Pate and the draper’s son, the High Sparrow was very obviously not a member of the Most Devout, and was like them almost certainly a commoner himself. If the election of the High Sparrow - when “the sparrows came pouring into the Great Sept with their leader on their shoulders and their axes in their hands” - was something of a “vox populi, vox Dei” moment for the Most Devout (at least in terms of the election’s spiritual justification), Baelor I think may have seen the same in his choices for High Septon - the voice of the Seven spoken, supposedly literally, through the mouths of these, to borrow the High Sparrow’s turn of phrase, “humblest and most common of men”. Just as the High Sparrow - who himself seems to hold Baelor in high regard - set the Most Devout septon Raynard to scrubbing floors and confined his Most Devout brother Torbert to a penitent’s cell, so perhaps Baelor also saw his reign’s Most Devout as needing similar correcting from a humble source. If Baelor would not literally hand the members of the Most Devout a scrub brush and a bucket (although I could see him doing that too), he might, nevertheless, have felt it prudent to set above them a master (or two, consecutively) who was (and were) from the lowest levels of Westerosi society, the better to remind them of their abasement before the Seven.

(To continue my pastime of paralleling Baelor and brother Daeron, to see them as more alike than they might appear at first blush - perhaps we can draw a broad parallel between Daeron’s governance of Dorne following the Submission of Sunspear and Baelor’s choice of first Pate and then the draper’s son as High Septons. Daeron had received the ostensible fealty of the Prince of Dorne and his vassals at the Submission of Sunspear, but clearly he was not interested in leaving Dorne in the hands of the Dornish following (what he saw as) the completion of his Conquest; instead, according to Yandel, “Lord Lyonel Tyrell was given charge of Dorne after the Young Dragon returned in triumph to King's Landing”. Just as Daeron had set above his (would-be) new subjects a governor not of their own body, as a sign of the king’s favor toward one of the most fervent supporters of his war, so Baelor set above the Most Devout two High Septons not from their own number, chosen for the divine favor seemingly shown to Pate and the draper’s son. Too, just as Daeron’s choice may have been intended to humble the Dornish and bring them forcibly into the feudal structure of his realm - putting them under the rule of a Reachman, despite or rather because of the historical animosity between Dorne and the Reach - so I think Baelor’s choice was designed, at least in part, to humble the Most Devout to the physical and spiritual meekness Baelor himself emphasized and prized.) 

I’m also reminded a little bit - I know, it me - of the seventh novel in The Accursed Kings, The King Without a Kingdom. The narrator of the story is Cardinal Hélie de Talleyrand, a very high-ranking and aristocratic French prelate. During the novel, the cardinal describes the three papal elections at which he, the cardinal, was eligible to be elected pope but always somehow missed the tiara. The election which clearly bothers him most is that of 1352, following the death of Pope Clement VI. Cardinal Talleyrand moans that during the 1352 conclave, “my impediment was … the fact that I was too princely … [t]oo grand seigneur, too extravagant”, and notes that “[t]here are occasions when the Church is seized with a sudden passion for humility, for modesty”. According to Cardinal Talleyrand, his fellow cardinals “wanted a man of the people … a simple soul, a humble being, a plain one”. While the cardinal, somewhat self-satisfied, remembers that he was “barely able to prevent their electing Jean Birel, a holy man – oh! most certainly, a holy man – but who hasn’t an ounce of a mind suited for government”, he concludes that he “managed to have Étienne Aubert proclaimed Pope, he who was born to poverty”. 

[redgoldsparks]

I did a short interview for an alumni spotlight on the CCA website. You can click through but I'll also just copy my answers below the cut.

Maia Kobabe (e/em/eir) is a nonbinary/queer/trans author and illustrator, a voracious reader, a k-pop fan, and a daydreamer. You can learn an astonishing number of intimate details about em in Gender Queer: A Memoir and in eir other short comics, published by The New Yorker, The Nib, The Washington Post and in many print anthologies. Gender Queer won a Stonewall Honor and an Alex Award from the American Library Association in 2020. It was also the most challenged book in the United States in 2021 and 2022.

Maia shares more about eir life as a full-time artist and activist, fighting to protect diverse literature and the freedom to access information.

1. What is your current practice/business?

I am a full time cartoonist. My job consists of days working at home writing and drawing mixed with days speaking out against book banning and censorship, and in support of the freedom to read, the freedom to teach, and the freedom to access information. I spend a lot of time talking with other authors, teachers, and librarians about protecting diverse and queer books from the current wave of conservative attacks. The first piece I drew for the comics journalism site The Nib was about the rise of fascism in the United States; my later writing about queer, trans, and nonbinary identities has led me into consistently political territory.

2. Why did you choose CCA?

I chose CCA because I was looking for a MFA Comics program, of which there are very few, and I wanted to stay in the Bay Area. Because I'm a local, I was able to meet the majority of the MFA Comics faculty before I applied and felt immediately welcomed into their community. The fact that a majority of my professors for the first year of the program were queer was a huge draw as well.

3. If you could share one piece of advice with current or future students, what would it be?

Every single person has a story only they could tell. No matter what media you are working in, do your best to tell the story which is uniquely yours. If you aren't ready to tell it yet, just keep making art until the time to share that story arrives. No time spent creating is ever wasted.

4. What's your secret to staying inspired and creative?

I realized fairly early in life that my very favorite way to spend the day was drawing while listening to music, a podcast, or an audiobook. I like making things! I would rather be making things than doing almost anything else. I created a life in which I can spend a lot of time creating things and even if I don't particularly know what I am making, I am happy.

5. What do you have coming up?

My second book, Breathe: Journeys to Healthy Binding, written with Dr Sarah Pietzmeier, is coming out in May 2024 from Dutton. It's a nonfiction comic about chest binding as an aspect of trans healthcare. I'm currently drawing my third book, Saachi's Stories, written with Lucky Srikumar; it's due out from Scholastic Graphix in 2026. I am also working on adapting Gender Queer: A Memoir into an audiobook.

[schrijverr]

The Hearts of Gotham 6

Chapter 6 out of 7

Bruce makes the Justice League believe he has two hearts and is a manifestation of Gotham’s night to throw them off his secret identity, not trusting them. When the sound system breaks, he doesn’t come clean, but lies instead that he split into two to make Robin. From there it spirals as all the Robins make the lies grow and twist it in their own ways, until the truth comes out.

This fic is based on this post and inspired by Bouncing Baby Bat, or so the Justice League is led to believe... by EmpressGeek.

On AO3.

Ships: none

Warnings: none

~~~~

Chapter 6: How Damian Makes It a Competition

Damian doesn’t see the point of lying to the Justice League. They’re a group of incompetents and Father doesn’t need to portray himself as a stupid meta to fit in with them. In fact, at first he refused to play along, which had him banned from meeting the Justice League.

Tt, like he cares.

However, then Drake and Todd had started squabbling about who had fooled the Justice League better, with Todd exclaiming he basically wrote the book, while Drake argued he truly cemented everything and created consistency.

Which caused Brown to start complaining that she never got to meet the Justice League and they both missed the opportunity to mess with Father himself, which Damian doesn’t condone. However, it’s clear the others do, because Drake helps her break in as Robin to prove it.

She comes back and loudly exclaims her triumph and that no one can do it better than her. This is obviously a challenge. All the previous Robins have gotten this trail, so he will do it too and show them all that he is the obvious best.

Thus, there is a determination in his step as he stomps after father into the Watchtower for the first time, a glower on his face and his shoulders squared.

They enter a big room with a table, around which all the Justice League members are sitting. A few start to greet Batman, but they are distracted by Damian, who steps up next to him. His rightful place and stares at the assembled heroes.

“I am Robin,” he proclaims. “I am the light of Gotham’s night and the heir to the Batman mantle and I will not have you tarnish Father’s skill set by exposure to your incompetence.”

The heroes look confused, because of course they can’t understand basic language and Father lowers himself to excuse Damian with: “We’ve been having an assassin problem in Gotham, lot of flash bombs,” as if Damian needs to be excused.

The alien that calls himself Superman approaches first, giving Damian one of those patronizing kind smiles as he says: “I’m Superman, it’s nice to meet you Robin.”

With vague disdain floating around in his veins, Damian eyes the hand, not shaking it as he returns: “I will not lie that it is nice to meet you too, alien.”

“Robin,” Father warns. “What have I told you about being polite?”

“Tt.” Damian is above stupid things as social conventions that just waste time, he doesn’t get why Father doesn’t see that.

“Robin.”

Fine, whatever, Damian can try and follow Father’s rules and ethics. He came here to learn to be the Batman, this is apparently the Batman. So, he spits: “My apologies, Kent,” not sounding apologetic at all.

However, it is enough for Father, because he doesn’t pressure Damian to apologize again. Instead he sighs: “I’m sorry about him, he’s getting used to living like a person.”

“Why is he so crabby?” the speedster comments.

“Yeah, he hasn’t got the time to be roughed up by the world yet,” the Lantern says. “Shouldn’t he still have ideals?”

Damian feels a little like biting these imbeciles heads off, however, he is here to complete his mission and to prove to his siblings that he is the best at meeting the Justice League. From what he has observed, ‘fucking with them’ and freaking them out is part of that.

So, he unsheathes his sword and points it at the two fools that spoke and says: “It is clear that you have never been remade out of the darkness.”

“What the fuck,” the Lantern swears, while the speedster squeaks: “Batman, Robin is pointing a sword at us,” ducking behind the Lantern when he does.

Father at least seems to understand the mission. Though, it is still patronizing when he says: “And he didn’t use it. Good job, kiddo.”

“Tt. They would have deserved it if I did. They know not what they speak off, Father,” Damian tsks at the heroes, who are starting to back away from him, he is pleased to note.

“Is this normal, Batman?” the alien asks. “He seems a bit more… mean than his predecessors.”

Damian doesn’t let Father answer for him. He is not a little kid, he can speak for himself just fine, thank you very much.

“Kent,” he barks, now pointing his sword in the direction of the alien. “I have been told it is not polite to speak of someone behind their back, nor to whisper in company. Do you have a good explanation for yourself?”

The alien has the decency to look apologetic, weak as the emotion may be. “I’m sorry, Robin. I- I suppose I was wondering if you were okay?”

“Why would I not be?” Damian snaps, baring his teeth more.

“Uhm, the- the sword is new?” the alien says like it’s a question instead of an observation, because he’s an imbecile.

“The sword was necessary for my birth,” Damian answers anyway, noting an exasperated look on Father’s face. From what he has seen, this is a good thing if he wants to win.

Bruce, meanwhile, has decided to give up and let it play out, only stepping in if Damian starts stabbing. His stupidity has led to this moment, he can live with the shame of whatever his son puts him through. It’s an initiation process at this point. For both of them.

“Your birth?” the speedster asks, looking apprehensive and cautious while doing so. Damian still thinks him incompetent, but he has to give him credit for speaking while scared. He knows that he is a threat, that is bravery.

“Yes, my birth,” Damian says, before decided a monologue would now be in order. Dramatics are a part of succeeding. He has to have a good monologue to assure victory over the others.

He proceeds: “After my predecessor got reabsorbed there were some complications with my emergence. Darkness is strong in Gotham and the night did not want to let me reemerge at first.” He has also noted that it has to be truthful on some level and Father certainly did not want him out in the field at first.

“However, Robin is necessary and I am the rightful heir to take on the mantle. So, I fought Father and ripped myself out of his flesh with this sword. It is formed by the ones that trained the Batman and thus the most suitable weapon against him,” Damian tells them. “It is mine to wield and ensure that I continue to exist as Robin.”

The Justice League appears to be slightly horrified at that, which is a definite success in Damian’s book.

“Are- are you okay, Batman?” the alien asks tentatively, like the coward he is.

Father did, in fact, get slashed on patrol a few days ago and Damian is pleased when he goes along with his story like he has with the others. He does so by bringing a hand to the wound, so that those with heightened senses could smell the blood, as he says: “I’m getting better.”

The Lantern looks pale as he comments: “Is it always so violent?”

“Tt, of course not, the others just had to separate their flesh from Father, ripping their seams that connected them, before finding their shape,” Damian says. “I had to cut myself out of the darkness, ripping out the pieces of flesh I needed from Father to form myself. It was a far more bloody process.”

Before he can continue describing it, Father steps in, much to his dismay. He claps a hand over Damian’s mouth and says: “Like I said, it’s a private affair.”

Vaguely Damian can make out a whispered: “Holy shit,” though he doesn’t know who it was.

“Father, I have enough of these imbeciles,” Damian announces, having fought off the hand and feeling like he has won successfully, so there is no need to remain. “They obviously cannot handle much and I do not wish to exposed to it for longer.”

“I have a meeting, Robin. You can go home by yourself,” Father sighs.

“No, no, it’s okay, we can postpone,” the speedster hastens says. Tt, the man is terrified of this little, how does he operate in the field? How do any of them with how quick they are to agree?

“Fine,” Father gives in easily. Damian doesn’t realize that the Justice League thinks he agrees so easily because he is still recovering from Damian’s birth, but Bruce does. He wonders why he still keeps it up when his kids make him go through shit like this.

They return to the Cave through the Zeta-Beam where they are greeted by applause. Brown comes over and slings an arm around Damian’s shoulders that he is quick to shrug off. She says: “I didn’t know you had it in you, squirt, but that was hilarious.”

“Tt, I am not a squirt,” Damian grouches. “And it is not very difficult. The Justice League are a bunch of incompetent cowards. I would highly recommend cutting ties with them Father.”

“The League are skilled in their own ways and integral to the world’s safety, Damian,” Father replies, before shooing Drake out of the chair so he can work on his cases.

Drake shoots him a glare, but continues on his laptop, while Brown goes back to annoy him once again. Damian doesn’t care. He has to train.

However, later the footage of his interaction with the Justice League appears in the group chat for further evaluation. Todd, however, maintains he fooled them the best, while Brown argues that she tops Todd.

Still, the face the Lantern made when Damian started describing his ‘birth’ becomes a reaction meme in the group chat. Damian has observed this to be a high honor and privately concludes that he has won the contest and has proven himself to be the superior Robin once more.

~~

A/N:

Omg, Damian is such a difficult character to writeee, I’m strugglinggg! Hope this was okay for a first attempt at getting in his head :D

[absolxguardian]

The new book Rise And Fall of the Galactic Empire, which is an in-universe history book, provides some lore that I think provides very interesting background context to that Tay'lor Spiff post. (I know there's a Republic era pop-star that was a Taylor Swift easter egg in the last issue of the Jango Fett comic series, but the fact she's a Twi'lek makes me feel like she can't be a full Taylor Swift expy- because she wouldn't be a part of the dominant racial group.)

Set alongside the SAGroup was the Coalition for Progress, which in many ways fulfilled similar roles and responsibilities relating to the adult population of the galaxy. Initially one of the smallest groups within COMPNOR, Progress—as the name was often shortened to—was sometimes greeted with a degree of trepidation by Imperial citizens and planetary governors. Much of this stemmed from the actions of the group within Progress designated to deal with art and culture. Progress created a very narrow definition regarding acceptable art, music, or performances that could be held or showcased in public. The result was a funding collapse in artistic pursuits and the blacklisting of some extremely high-profile artists, performers, and musicians who fell afoul of the new regulations. This included some of the leading gonk-rock groups of Bormea sector, who regularly had their venues closed or raided, and the overtly anti-Imperial band Red Shift Limit. Furthermore a musician from Naboo named Palo Jemabie was imprisoned at a labor camp by the Empire for a musical performance described—without detail—by his criminal record as “deviant.” This situation was particularly complicated as various planetary governors had previously been patrons and supporters of those who were now banned and could no longer enjoy their work.

[...]

The SAGRecreation group in particular was highly adept at identifying potential role models within various spheres of sport and culture who might appeal to younger citizens. Grav-ball already had an existing widespread appeal in the galaxy, but the Empire took the extra step of incorporating it into various military academies and recruiting some of its most famous stars as examples of what both physical prowess and loyalty to the Empire could mean. Broadcasts of grav-ball tournaments on the holonet were often accompanied by recruitment messages that featured popular players, and Grand Moff Tarkin was sometimes seen in the crowd for games that took place on Coruscant, though it remains unclear whether he actually had any interest in the sport.

This is clearly inspired by how sports and the arts were treated within real life fascist regimes- grav ball is space American football, there's an entire middle grade book about that. Given the position the kind of country pop Taylor Swift makes in our current cultural hegemony- the Empire isn't considering it "degenerate music". So Spiffies (specifically young people from wealthy Core families who'd be the only ones able to get away with posting stuff like that on the Holonet) insistence that Tay'lor is actual a force sensitive rebel sympathizer is even more ridiculous, when her boyfriend is actually part of Imperial propaganda. However at the same time I feel like there does have to be some poor ISB agent who has to check all of Spiff's lyrics to make sure there aren't actually secret messages like some of her fans claim.

[direwolfrules]

EAH Glee AU

I do not have time right now to work on my actual writing- midterms are done so now we're just jumping right into final papers- but have an AU outline post.

Professor Pied Piper, taking inspiration from some of his best high school memories, gets Headmaster Grimm to reinstate the school glee club.

Meanwhile, Madame Baba Yaga fears the new activity will steal away talent from her prize cheer-hexing team, the Ever After High Cheerios (I can’t think of a good fairytale-ification for this, I will accept suggestions). To rectify this situation, she sends in three of her girls undercover with the goal of sabotaging the glee club.

Basically, Pied Piper is Will Schuester, Baba Yaga is Sue Sylvester, and chaos ensues.

Glee Club Members:

Apple White: She joined because 1) she's good at singing 2) she genuinely enjoys singing 3) her mom was in the Glee Club and led them to winning Nationals. I'd say she's the Rachel Berry or the Quinn Fabray, but I'm not gonna do that thing where I entirely change a character's personality to make them fit into the role of another character...for the students anyway. Look, Apple's got enough drama in her life, she doesn't need me making her crazy enough to send someone to a crack house out of jealousy.

Raven: Uh, in the books Headmaster Grimm won't let her take Muse-ic because it's not an evil class. Luckily, because of a bizarre loophole in the school guidelines for competitive teams, Headmaster Grimm can't ban her from Glee Club. Everyone say thank you Giles.

Daring: He joined because he was told it would give him extra credit for the serenading skills portion of Advanced Wooing. Also, Apple asked him to join because they didn't have enough boys in the club and Daring's been trained to never ignore a request from a damsel.

Dexter: He’s there cause Raven’s there? And also cause he is a genuinely great singer and unlike Daring needs the Advanced Wooing extra credit? Also, I just kinda want him there.

Darling: Her mom made her join. Queen Charming really said “I’m gonna take a page from Snow White’s book and live vicariously through you, offspring of mine”.

Briar: She really likes the idea of a team competition where she won’t put her teammates in danger if she falls asleep. Also, she checked the competition rulebook, as long as they don’t all leave the stage when she has a narcoleptic episode they won’t be disqualified.

Humphrey: Every Glee AU needs a white-boy-who raps and Ever After High has one already built-in in the form of Humphrey Dumpty.

Maddie: She’s there cause Raven’s there. It’s utterly hattastic!

Kitty: She’s there because she remembered her mom talking about how some of her fondest memories of high school revolves around messing with the glee club, and Kitty wants dearly to be like her mother.

Lizzie: We’re completing the Wonderland ensemble. Lizzie joins because she needs an extra curricular and the Invisible Tree Situation has gotten so out of hand they had to disband the croquet team. Great voice, ngl.

Justine: Not the strongest singer in the room, but she’s capable of choreographing numbers like nobody’s business.

Meeshell: Listen, canon’s pretending her singing in that webisode was something amazing. So like, we’re pretending now too.

Duchess: I picture her as a Sugar Motta-type character. Cannot sing, massive diva, but they gotta put up with her cause her family’s donating to the club budget.

Melody: Listen, it’s her dad’s club. She can’t just not join. She’s banking those supportive daughter points for a rainy day.

Lawrence Bonecrusher III: Listen, I just it'd be funny if Professor Piper says the ever-insane "You're all minorities, you're in the glee club" line and there's the one orc student in the school just sitting there with his eyebrow raised. He's also the Matt of this AU. For some reason never speaks when in a scene.

Faybelle: Captain of the Cheerios, totally not here as part of a scheme by Madame Yaga to DESTROY THE GLEE CLUB!!!!

Nah, but seriously, this whole AU was born of me going "What EAH character would say the iconic 'I'm a closeted lesbian and a judgemental bitch' line?" and her face popped into my mind.

[swallowerofdharma]

Over Casca’s naked body

Part one: A long premise

We can’t escape from our geopolitical context even when we are reading manga. We have internalized a good amount of beliefs, values, practices, even regulations from our lived experiences and various simulacra we have been exposed to, especially those in an audiovisual form.

If you grew up in the US, you know that freedom of speech is a core value there. But, while you can say mostly whatever you want within your own country, the US constitution has given the government the right to regulate what comes in from abroad. [1]

And that power has been used. Idealistically, greater access to common technologies even before the internet should have seen a redistribution of the media-creating capacity to many foreign countries outside of the US, so that people could tell their stories. But that hasn’t always been the case, with some exceptions, especially if we consider the biggest narratives that reached global popularity.

During the Cold War, anything that might be considered “communist propaganda” could be seized by the Post Office and never delivered. Books or even souvenirs from communist countries, for instance. Pamphlets criticizing US foreign policy. (…) Obviously it wasn’t totally like North Korea, plenty of foreign movies and music were allowed into the US. But the media that caught on was either already Americanized, or so plastically exotic that it doesn’t really say anything about the culture where it is from. The Beatles were British, but they got their start covering American rock and roll musicians. When John Lennon stepped out of the line, the American government made sure that he knew it. Movies imported from Japan were mostly samurai flicks, with very few movies set in the modern day. The film Ikiru is widely considered the best Japanese film ever made (…) but this existential drama about a depressed lonely man was only given a limited release in California, and the poster was edited to feature a stripper who is only in the movie for one minute. The narrow stream of European movies that made into the USA came in the form of the French New Wave cinema, movies that were stylistically inspired by American films, but also so stuffy that few audiences would ever want to watch them anyway. This was further stifled by the Hays Code, a set of extremely strict regulations that were in place from 1934 to 1968. (…) Some things that were completely banned from ever being shown in any film included: bad guys winning. All movies must end with the police outwitting the evil criminals, or the criminals causing their own demise. Any nudity. (…) Blood or dead bodies. (…) Interracial couples. White people as slaves. Criticism of religion, or of any other country. Naturally this prevented the more artistically liberal European films from being shown in American cinemas and when they did get a release, they were usually edited (…). At least until the rules were abolished in 1968 and replaced by the age rating system we have today. [1]

Even after several decades of access to the internet and foreign cultures, some attitudes have been internalized and carried on. For example, I had direct experience of the ways my own culture has been perceived and stereotyped or interpreted in terms not dissimilar from the exotic. And the same happens to me probably if I don’t keep in check my own personal beliefs about cultures that have been presented to me in similar ways. And I was surprised to see by how deeply rooted and spread are certain attitudes towards punishment or violent retribution viewed as necessary, the policing and self policing, and the expression of judgments or condemnation, and all this can complicate the understanding of different forms of narratives and the acceptance of different cultural attitudes and norms, without the expression of any opinion about morality or legitimacy.

I am reminding you that this is a long premise because I evidently don’t have the gift of brevity but this article is about Berserk and Casca.

In 1956 Anna Magnani won the Academy Award for Best Actress for her first English-speaking role in the American movie The Rose Tattoo. In 1958 Miyoshi Umeki was the first Asian born actress to win an Academy Award for Best Supporting Actress in Sayonara, a movie that despite its title was an American drama starring Marlon Brando. It isn’t hard to see in these decisions from the Academy, or the ones that followed in other categories, the willingness to build relationships between the US and specific foreign countries where the American army had a massive presence and that after WWII were ideal places for American investors, considering significant rebuilding necessary after the loss in the war. The movie industry and everything around it had instrumental roles. When it comes to the Academy Award, it is very interesting to notice that the women were the first ones to be nominated, becoming ambassadors and facilitators of the reshaping of the images of Italy and Japan from enemies to new essential strategic allies in the Cold War. And here comes the problem of the exotic, because after several decades I still see similarities in the American perception of those foreign cultures, Italian and Japanese, to those easy and friendly and intentionally constructed imaginaries of that time. Take the press around Anna Magnani or Miyoshi Umeki for example. Terms are so widely used and repeated that they are still in their Wikipedia pages in English today. For what interests me here, I am going to quote or summarize parts of the video essay listed below as [2] but I really recommend watching it entirely. It really helped me understand some of the issues I am talking about here, but it is much more than just this. And there is footage worth the time. [I know that many people here on tumblr really dislike YouTube videos. I understand why, when it comes to manga and anime, written articles have still better quality and content, in my opinion, but there are also many video essayists doing their due diligence on several other topics. And when I am busy cooking I put them on].

In the 1950s one of the problem with the new alliance with Japan was the widespread hate and racism towards Japanese people.

The government stepped in, producing educational films meant to endear Japanese culture to Americans (…) They showed off Japanese industry, introduced Americans to sushi and sumo wrestling, explained the country’s new democratic system et cetera. (…) A lot of [musical] acts that were popular with American soldiers, specifically exoticized Asian girls bands, like the Kim sisters and the Tokyo Happycoats, come over to the US and appear on television as both entertainment and a sort of cultural ambassadors, not only demonstrating America’s cultural power and dominance by performing recognizable American tunes, but also signaling to white Americans that those cultures didn’t pose a threat. (…)

It’s worth looking at this film [Sayonara] as part of a larger theme in a very specific post war moment. Gina Marchetti points out in her book Romance and the yellow peril: «Between June 22, 1947, and December 31, 1952, 10517 American citizens, principally Armed Services Personnel, married Japanese women. Over 75% of the total Americans are Caucasian». Meaning, Japanese war brides and the concept of interracial marriages was very much a conversation. (…) Sayonara must be seen as one of many films which called for a new evaluation of Japan as an enemy nation. (…) Much of the way [Miyoshi Umeki] was discussed is probably exactly how you might expect. The language journalists used to describe her was unambiguously racialized and often condescending. In the aftermath of her Oscar win, for example, Louella Parsons called her «a lovely little bit of Japanese porcelain», adding: «What a cute little thing she was in her native costume». Still, her Japanese identity also seemed to serve as a symbol, an embodiment of the new friendly Japan. In Miyoshi, Americans would find an idealized portrait of reconciliation, a woman who bore no resentment over the war, a woman who brought homesick American troops to tears by singing White Christmas, who adored American pizza, who learned English by listening to American records. She was accepted because she actively appreciated and participated in American culture. [2]

The roles offered to Miyoshi Umeki are significant in many ways. After Sayonara, she was cast to play other Asian characters besides Japanese ones. One recurring theme in those movies in particular is the contrast between modernity and tradition.

William G. Hyland writes, Flower Drum Song is a «clash between the Americanized lifestyle of the young Chinese and the traditions of their parents». (…) Miyoshi Umeki plays Mei Lee, a Chinese stowaway who arrives in the US for an arranged marriage. The more Americanized she becomes the more independent, the more willing she is to strike out on her own. [Chang-Hee] Kim writes: «[Flower Drum Song] flamboyantly shows that Asians in America were ready and willing to cast off their heritage and become real Americans in repudiation of the pre-war racial consideration of Asians as permanent aliens». I mention this not only because it’s one of Miyoshi’s major roles, but also because this theme, a supposed enlightenment via westernization, occurs again and again in her filmography, particularly in her work on television. Han [?] writes «Umeki’s representation on television is in constant oscillation between her status as a subservient Asian woman and her transformation into an assertive, modern female professional who has achieved independence through American cultural influence». [2]

Bear with me for a little longer if you can, because we are at the point where, watching the video, I experienced that sensation better translated visually in a lightbulb being turned on. I am skipping here the presentation of the story and footage from Miyoshi’s first appearance on television in The Donna Reed Show, but I once again invite readers to watch the video, which features high quality original footage. I was really struck by the “sensitive way” the American woman - Donna Reed I presumed - approaches the character played by Miyoshi, as the writers back then were well aware of the sensitive racial implications, and nevertheless a certain mentality pushes thought. Watching still, it is easier to avoid the presumption that in the 1960s “they didn’t know better” or that contemporary attitudes have improved greatly, just because we are more careful about the language we use.

The thesis statement of this episode is not subtle. The rejection of traditional Japanese customs allows her to live more fully in a democracy. Of course it isn’t really much of a choice, is it. Maintaining the customs of your culture or risking alienating your entire community. She changes her clothes, puts on a hat and goes shopping because she is an American now. Obviously these stories are told from the white American perspective, where this rejection of tradition and culture is portrayed as unambiguously positive and relatively tension free. This was not the case in Japan where the relationship between modernity and tradition were richly explored in cinema, particularly in women’s films. [2]

I would like to add that the independence that Donna’s character shows is only possible because of a series of factors, including the fact that her husband secures her a higher level of comforts, in comparison with lower classes or non-white Americans, and that domestic work is presumably done by home electrical appliances or other women, especially when you add child care and looking after the elderly to the equation. The unwillingness to consider those types of labor, traditionally carried on by women, as of equal importance to any other jobs is rarely discussed when it comes to the issue of women’s emancipation. Not to mention how, alongside this idyllic world shown on television, in the same country large numbers of women have to deal with continuous push backs in the name of different traditional values that all the same prevent many of them from achieving true equality. Those types of conversation and conflicts between traditional and modern happens at the same time in many countries and in most cases translates to continuous negotiations and compromises carried by men and women in real contexts and real situations, without necessarily white American women being aware of it or of all the necessary nuances.

Let me add this last element of conclusion about Miyoshi Umeki’s story.

In 2018 her son told Entertainment Weekly that in the 1970s she etched out her name on her Oscar and then threw the trophy away. Although he isn’t sure exactly why she did it he said: «She told me, I know who I am and I know what I did. It was a point of hers to teach me a lesson that the material things are not who she was». What Miyoshi Umeki achieved is pretty remarkable but one can’t help but feel that she could probably have done a lot more if she’d been allowed to move beyond her identity. [2]

Part two: Are we reading the same manga?

After considering all this, and more that I can possibly include in here to avoid this being even lengthier, I can’t help but wonder about the generalizations I have seen repeated vastly about portrayals of women in Japanese media, as well as misunderstanding of cultural attitudes towards nudity or the treatment of sensitive topics like sexuality and rape. There is a diffuse certain sense of entitlement, sometimes you can hear a condescending tone even, and this isn’t limited to the US. But why approach a foreign culture with a patronizing attitude instead of trying to understand the context more deeply? So many manga readers are willing to ask for clarification on translations, but not many ask about the context or the visual aspects involved in manga writing. I like to read analysis about different topics, so I look for them in English too because they are very numerous and easily accessible, but when it comes to the critique about the portrayal of women in too many cases I have to click away because of too many bias or that subtle sense of superiority of judgment. Berserk has become easily accessible and more and more popular but it is so greatly misunderstood at various degrees by a lot of its western readers - me included - and I really wanted to understand what is preventing, in most cases, a textual and contextual analysis.

The Hays Code hasn’t been around since 1968 but the sentiment that the only proper conclusion for every story is the triumph of the good guys and the punishment for the wicked is very much alive and well. There is this conviction that the only clever readers are those able to separate the heroes from the villains, or the good deeds from evil, and root for the right side to achieve retribution and satisfaction. The Hays Code hasn’t been enforced officially but it’s there in essence and every counter narrative has been rendered almost ineffective or judged poorly. As for the treatment of women, I don’t feel like we can honestly and surely compare or scrutinize Japanese media under special lenses. Nudity in comic books seems to me to be very common outside of Japan too, depending on censorship rules. I certainly notice how frequently Casca is shown naked or has been threatened with sexual violence, but I also notice that she isn’t the only one. The exaggeration of Guts’ muscles and the mutilation of his body are largely put on display. Griffith is intentionally shown fully naked, or completely covered by an elaborate armor, and he is subjected to many threats of physical and sexual violence as well. Charlotte is shown naked, but always in her bedroom, in a private environment or with a transparent cloth or a sheet of some kind to make her nudity different from the occasions when Casca’s body is publicly displayed. I am careful with my own thoughts when I read Berserk, I take the time to analyze my reactions and what I am feeling in these situations. I think that this is the reason that certain books or media are intentionally aimed to adults. I don’t feel a necessity to call to censorship or to give guidance of a moral kind but rather to make the necessary reflections. And I can’t imagine how someone can understand the story without taking their time with it. Part three: Casca’s rape

In 1973 the animation studio Mushi Production released a film called Belladonna of Sadness. I haven’t seen it yet but I know a little about it and I am planning to watch it when I feel like I can do it without being affected in a bad way. It is well known that Miura remembered this film when he designed the Eclipse. In 1975 Pier Paolo Pasolini directed the film Salò or the 120 Days of Sodom, which I strongly don’t recommend to the casual viewer or anyone who felt even slightly offended by Berserk. Suffice to say that in a particular political climate and in the context of the sexual revolution of the late 1960s, in the 1970s nudity and sexuality were at the forefront of the debate and human bodies were exhibited in a symbolic way that can be misunderstood today without knowledge of the context. Gender expression was questioned and men grew their hair or refused to wear suits or to follow rigid dress codes regardless of their sexual orientation. Sexual acts were considered political acts in ways that aren’t comparable with today for many reasons. The languages, the words and the visuals we use are ever changing and actual for a moment and gone the next one or misunderstood. Many words used by queer people in the 1970s wouldn’t be received well today, because the context has been transformed. For what I understand, in films like Belladonna of Sadness and Salò rape and cruelty are preeminently used as symbols because rape and cruelty presented in a direct visual form effect greatly any type of audience and can’t go unnoticed. The sociopolitical climate in the 1970s, in the middle of the Cold War, was particularly violent, both in Italy and Japan, and the art of the time can be remarkably bleak. [Go Nagai’s Devilman was published between 1972 and 1973, Osamu Tezuka’s MW was published between 1976 and 1978, Takemiya Keiko’s Kaze to Ki no Uta was also published between 1976 and 1984].

Kentarō Miura was born in 1966, he breathed the air and grew up in that same climate and was influenced and informed by it, especially later, when he finds himself as a young man in the renewed bleakness of the 1990s. It is likely that he saw Belladonna of Sadness when he was old enough, when he started to develop the story of Berserk, and after being greatly influenced by Nagai’s Devilman. The number of sources of inspirations that Miura used for Berserk is vast, varied and multidimensional and includes books and novels and films of various genres (historical, fantasy, horror, sci-fi in particular) manga, foreign comics books, and traditional art. It is often pointed out among fans that he was also a big fan of Star Wars. Pop Culture Detective released a very interesting video essay called Predatory Romance in Harrison Ford Movies [3] that brought to my attention many things that I didn’t notice or thought about when I was seeing those films myself as a young girl [I am more or less a decade younger than Miura fyi]. Analyzing Star Wars, Indiana Jones or Blade Runner with particular attention to the relationship between the male lead, Ford, and women is an interesting exercise and helps to re-contextualize our judgment about the treatment of women across different media with arguably less reach than Star Wars. I am not inviting anyone to make comparisons and ranking which is better, or absolve Miura because he was influenced by the context around him as everyone else, but I am asking to let go of the presumption that Japanese media in particular presents problematic attitudes towards women by default. The problems are much more generalized than we’d probably like. Better analysis or methodologies are needed to make a proper assessment, and we really shouldn’t assume by default that manga (for boys and men) equals bad treatment of women.

I hope that someone is still reading after such a long time. I didn’t know how to make my point on Casca without at least presenting some of these considerations. I must say I have understood myself better, having questioned why I was feeling uncomfortable when reading Casca but not offended. I understood that Miura wanted me to feel that way, uncomfortable, horrified, and I can appreciate Berserk better [in particular as a person that wasn’t permitted to live in a female body without a certain type of violence].

As stated previously, I noticed that Casca is more exposed and shown in all her vulnerability in much extreme situations: to multiple men in very public displays, like on the battlefield or at the center of the circle of Apostles in the Eclipse. She is also shown naked and vulnerable in other moments, especially alone with Guts. Those intimate moments with Guts, during the Golden Age, are instrumental for the readers to see her in all her humanity, without the armor, or the female dress, in order to build an emotional connection with her. In the cave, Casca makes herself emotionally vulnerable in front of Guts for the first time and tells him her story, exposing her past, her goals and her true self. She tells him things about Grittith too, things that are meant to show Guts/the readers Griffith as much naked, vulnerable and human as she is. Let’s pay attention and try to recollect Guts’ reactions to her story: he is listening to her, but he is embarrassed, distracted and attracted by her nudity and he fails to see Griffith as a human being, potentially fallible and not much different from Casca or himself. Guts also fails to take away from the story the original message, something more than Casca’s infatuation with Griffith as part of her being a woman. Comparing Guts’ reactions to Casca’s nakedness, his recollections or focus on the conversation, what he takes from it and what he doesn’t: a big part of the male readership of Berserk is probably in his same situation. It isn’t till later by the waterfall, that we see Casca alone with Guts again in an intimate way. This time he is naked and vulnerable and completely exposed too. This time through the physical connection between the two, within the sexual act, Guts can’t hide himself anymore, can’t deflect from his past and his fears. I assume that that is an important moment for the male readership to start to feel emotionally invested in the connection between Guts and Casca. That emotional connection and the investment in the relationship helps them to see Casca as a human being through the Eclipse and if that didn’t work then they still can see and feel the horror of the rape of Casca through Guts. Because Miura didn’t want anyone to enjoy that scene or to be sexually aroused without at least the horror and the moral objection to it.

Casca is a woman of color, born in a disadvantaged family and community, that ended up in a mercenary group without achieving the things she wanted, never fully belonging and constantly threatened by groups of men on the enemy side with forms of violence specifically targeted and unnecessary cruel. And everything she goes through culminates or goes back to the Eclipse - before and after - and that should be taken as completely symbolic. Like the multiple instances of rape in Pasolini’s Salò, the innocent, poor and exploitable youth is violated by those in power or those who are in charge. Gambino decides that Guts is expendable or due a lesson in humility, he takes the money and coldly facilitates Guts’ rape. Gennon is rich and powerful and pretends to recreate his fantasy, a sick version of Greek ped*philia. And all he does is using money and power to horrifically exploit the youth and Griffith offers himself up and loses a fundamental part of himself in the process. But the most cruel thing in Berserk is Griffith surrendering to the call of power and doing the same thing to Casca, in the absence of lust or desire: the corruption that has been in him - and has reached Guts as well - has spread. Griffith’s surrender to the call of power, and his intolerance for more of his own pain, silences all empathy in him.

In conclusion, nudity has various narrative functions, beside the suggestion of the erotic: through each character’s naked body, male or female, we see their vulnerability and their fundamental humanity [and if I remember correctly in contrast the rapists are always dressed or covered]. And rape has a symbolic meaning, beside the literal one and the psychological exploration of trauma. Violence but in particular sexual violence is one of the most estreme and powerful tools that can be used in stories [especially in visual media], but unfortunately the overuse of it in an edulcorate format, or as a tease, or devoid of any meaning, has ceased to call for disgust and challenge us to think, has perhaps lessen the impact and the gravity around it. In the 1970s Pasolini saw the dark side of the sexual revolution and how the rich and powerful were willing to build economic empires just to have access to the youth and to the most beautiful women. But he wasn’t the only one. We should reconsider Belladonna of Sadness and the original meaning of those themes in films or later in manga like Berserk and think about it deeply and seriously and not approach every piece of art as entertainment.

Videography:

How America got so Stupid [1]

Miyoshi Umeki: The First East Asian Woman to Win an Acting Oscar [2]

Predatory Romance in Harrison Ford Movies [3]

[toss-a-coin-to-your-stan-account]

"ummm just because taylor has a big influence doesn't mean you can force her to call for a ceasefire :/// it's not like netanyahu would listen or it would happen ://// it doesn't matter how famous someone is you can't make her speak on something she doesn't want to :///" she could put out an instagram post about a deep cut from her 14th new album about her 20th failed romance being inspired by public libraries and every public library in the country would be praised like fucking palaces with enough funding for the next ten years and banning books/defunding libraries would be nothing more than a fever dream so i genuinely don't wanna fucking hear it. also yes I can I'm working on a spell as we speak that will make it so every time she tries to talk all that comes out is "ceasefire now" until we get one fuck you

[richincolor]

Interview with Seema Yasmin

We are please to have Seema Yasmin today, author of Unbecoming, a novel about the fight for body autonomy, which arrives on bookshelves on July 9th. I remember seeing Seema speak at NCTE22 when she was promoting “What the Fact?” Finding the Truth in All the Noise”, and she hinted at this book. I was so intrigued about the premise as it had only been 5 months since Roe v. Wade had been overturned and the wounds were still raw. I was so happy to get an ARC of this book and to ask Seema all about what went into bringing this moving novel to life. 

Also…slight warning as I’m going to try to do this interview without spoilers but just in case I let one slip….

K. Imani: I actually started reading Unbecoming on the day the Supreme Court ruled against a ban on mifepristone, which was a huge (albeit temporary) relief. At the beginning of Unbecoming, mifepristone has already been banned. What are your thoughts on the court’s ruling? 

Cautious relief, but greater amounts of concern. Some of the Court’s decisions have been based on fraudulent and flawed science and I worry about how this might pan out in the future. There are also the personhood laws that are disturbing and fly in the face of science. Georgia, for example, is offering $3,000 tax deductions to people who are six weeks pregnant because they count the pregnancy as a person. (This is even if the pregnancy later ends in miscarriage.) I could go on and on but we should be aware that the overturning of Roe v. Wade was just the beginning.

K. Imani: No lie, the world that you created for Laylah and Noor was terrifying but also could be our very near future. How did you approach creating this world and how did you practice self-care while writing it? 

It is our present in so many ways. At least six things I wrote in the novel have already come true, including the attack against IVF, the inability of doctors to provide emergency abortions in some states, criminalization of those helping a person get an abortion, and the fact that the overturning of Roe v. Wade led to the proliferation of state laws banning abortion. The novel mentions that Texas is soon to make abortion a criminal act punishable by the death penalty. Just a few weeks ago, we learned that the Texas GOP has just this punishment in mind.

I began to write the novel in 2019, three years before the Supreme Court would overturn Roe v. Wade.  But it wasn’t difficult to imagine the world of Unbecoming. Margaret Atwood famously said the heinous acts of torture against women in The Handmaid’s Tale were inspired by real life. Every sadistic punishment, from forced births to mandated monthly pregnancy tests, had been invented by politicians somewhere. Someone on Twitter asked her: :How do you come up with this shit?” Atwood’s response: “As if I invented it.”

It was easy for me to imagine a dystopian, post-Roe America. Inspired by Atwood, I looked to countries where abortion was banned to learn how desperate people act in desperate times. And I looked closer to home, to Texas, the most dangerous state in America to be pregnant, a state in which I had worked as a science journalist covering abortion. I sought inspiration from other states with abortion laws so restrictive they might as well have enacted bans.

I remain hopeful because of community organizers and movement lawyers; and my friends, many of them poets and artists who remind me a different world is possible. That better future begins in our imaginations. That’s why I write fiction. 

K. Imani: You have an impressive resume of non-fiction books published, but Unbecoming is your first fiction book. How was the writing process different for this novel versus your other books?

It wasn’t that different! I did a lot of research, took a lot of notes, wrote by the seat of my pants and then started to outline when I hit roadblocks. So, pretty much how I write non-fiction!

K. Imani: Throughout the novel Laylah and Noor are writing a guide for teens and comment many times on their research. What type of research did you have to do, if any, for this novel?

Yes, the novel contains a self-help guide! I talked to activists and asked them to imagine what they would be doing if they were teens. I looked into how younger people were organizing since they are not the apathetic monolith that people claim them to be. And I imagined what I might do if I were a student journalist, like Noor, who was stuck in a world where agency and autonomy were being ripped away from people with uteruses, and where young people felt powerless and voiceless.

K. Imani:  What are you hoping teens come away with after reading your novel?

Hundreds of thousands of teens become pregnant each year in the U.S. By some estimates, the number is close to 700,000. I want pregnancy, abortion and abortion care to be part of our stories since they are part of our lives. I want Laylah and Noor’s story to disrupt perceptions of Muslim teens, of queer teens, of Texans, of religious leaders, of politicians, even! Laylah and Noor learn some lessons during the course of the week in which this novel takes place: chief among them are that you have to turn up as your whole, messy self in order for your friends to fully love you and be able to support you; and while you’re worrying about how others might perceive or misperceive you, you might be misperceiving them.

K. Imani:  What was the hardest scene or chapter to write? 

There’s a part where Noor has to make a decision: does she save Laylah or does she save her friendship with Laylah? I won’t say which way she goes, but it was hard—and fun—to write about this friendship dilemma. She feels stuck between a rock and a hard place, and whether we’ve supported a friend through pregnancy and abortion, or not, we can all relate to that.

K. Imani: Can you share what you are writing right now? 

I’m writing a novel about a teenaged girl, climate change and mental health. And I’m working on a middle grade series called Muslim Mavericks which will be published by Simon and Schuster in the next year or so.

Thank you Seema for sharing with us all about the novel and your writing process. I really enjoyed the novel so look for more in my review of the novel in July.

 Pre-order Unbecoming today so you can have it in your hands on July 9th.  https://www.simonandschuster.com/books/Unbecoming/Seema-Yasmin/9781665938440

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DR. SEEMA YASMIN is an Emmy Award–winning journalist who was a finalist for the Pulitzer Prize, medical doctor, professor, and poet. She attended medical school at Cambridge University and worked as a disease detective for the US federal government’s Epidemic Intelligence Service. She currently teaches storytelling at Stanford University School of Medicine, and is a regular contributor to CNN, Self, and Scientific American, among others. Her other books include What the Fact?: Finding the Truth in All the Noise, The ABCs of Queer History, If God Is A Virus, Viral BS: Medical Myths and Why We Fall for Them, Djinnology: An Illuminated Compendium of Spirits and Stories from the Muslim World, Muslim Women Are Everything: Stereotype-Shattering Stories of Courage, and The Impatient Dr. Lange: One Man’s Fight to End the Global HIV Epidemic.