#simultaneously tragic without being bleak | Explore Tumblr posts and blogs

kiruuuuu · 5 years ago

Text

Doc/Lion oneshot in which Lion suffers from the consequences of being tortured. (Rating M, hella angst + some comfort, ~3.3k words) - written for @renegad3spectre! Thank you a ton for commissioning me, I really really enjoyed this prompt, just took it and ran with it. It was a pleasure, all the love to you 🧡🧡🧡

Horrifically, it’s his grandfather delivering the blows.

He’s got fond memories of him, of sweets smuggled into his pocket, repeated stories ever-changing from one retelling to the next, quiet banter loud enough for him to hear but muffled enough that he suppressed his own laughter. He smelled of books and wood and old people, and that must’ve been it – the building had held a heavy, stale air which probably triggered the association, unwanted as it is.

So now the creature in his head, the remnant, the ghost haunting his mind wears his grandpa’s face like it owned it, like it had absolutely any right. It hurts more this way. It hurts to be called a disgrace, worthless, useless. It hurts to be disowned, it hurts to hear I have no grandson and it hurts to be accused of killing them, you killed them, your hand held the scalpel and this particular voice coming from his grandfather’s mouth is even more disturbing.

Who do you work for, he yells, unforgiving, merciless, and now his features shift, skin discolouring and eyes sinking into their holes to make way for nothing but darkness, and soon it’s the familiar sight of a brutal, faceless monster, concealed by a mask, surrounded by others looking exactly like him, supported by clones. Where are they, they scream at him in unison, who else. And he wants to answer, wants so desperately to reply to make it stop, is willing to give up anything, everything, if only it means this unbearable noise in his head quiets down. But his thoughts are made of tar, spread slowly and directionless, impossible to wade through. Words elude him, fade like smoke whenever he attempts to grasp them, endeavours to put this horrendous suffering into a single sentence.

Not like any expression he knows would be sufficient to describe this torture.

He doesn’t know what’s real. At times, he’s losing himself in a loud beat and a steaming crowd, coloured lights sweeping overhead and music seeping into his bones, and he knows he needs to reunite with his friends to keep partying, keep the night alive. It’s convincing enough he can taste the cheap drinks in his throat and feels naked, sweaty arms brush over his own on the dance floor – and the next second a blinding light pierces his skull and there are too many people around him he doesn’t know. They sound alarmed, eyes wide, and it sparks an instant, shrieking panic: something is wrong and he has no idea what it is. The strangers refuse to let him go, hold him down, and he tries to explain while the sterile stench they exude causes his stomach to churn and turn.

Most of the time, his ears are filled with accusations. The source is constantly evolving but what stays is the nauseating sense of dread. His heart races against the rest of his bodily functions and easily wins every time since his senses are sluggish, his perception unreliable and his thoughts wrapped in cotton. Grimaces of fury are persistent companions, and though he can’t put a name to all of them, their familiarity cuts deep. His mother, his former friends, his father, his sister. Alexis. Claire. The guy he met in Marseille who pretended to be his friend. Doc. Thatcher. An abomination from that cursed city Lion tries so hard to forget. Doc. The masked entity, omniscient, omnipotent, terrifying. Alexis. Doc.

He understands.

Why people would betray their loved ones, their country, their morals – he understands now, and the realisation is as chilling as the experience. He begged to be able to tell them. Begged for his life, begged for his life to be taken. Begged for peace as opposed to the chaos inside him, and he knows now most people have no idea what chaos really means. They humanise it, award it positive or negative qualities yet Lion would tell them it’s neither malevolent nor merciful. It just is. Against it, he is nothing, smaller than a speck of dust, utterly inconsequential and unimportant: in the face of true chaos, he’s meaningless. All he can do is hope he survives it.

The room is empty, his eyes tell him, and his ears tell him the same, but his brain is convinced of someone’s presence, just out of sight. Pitiful noises fill the barren, bleak chamber and they come from him, but at least they summon another human. A human with Doc’s face, and then with a mask, and then it’s Doc’s face again. Lion buries his fingernails so deep into his arm he tastes copper on his lips and pleads for him to stay. He sounds like a broken record, this voice isn’t his, the syllables barely intelligible among the dry heaving and the sobs. Music starts playing, a loud riff reminiscent of his teenager years, signifying rebellion and freedom and the worst fucking period of his entire life, and Doc says your hand held the scalpel and he’s gone again.

More, he implored as if anything he said would sway them, yes, please. And he looked at the needle and hated it, despised himself for craving it like this, abhorred the ones who turned him into this, and simultaneously he needed. He needed it so much. Without it, he was broken.

His throat is hoarse from screaming, so the visions morphed from atrocious to tragic until he had no more tears left to cry, and then they went for the very core of him. And this, too, he understands now: why anyone would go above God and decide existence isn’t worth it anymore. If he’s being tested, he’ll gladly fail as long as it means silence. If he’s being punished, he’s ready to receive eternal punishment for it can’t be any worse than this.

Someone is calling his name. The man – the men – knew it because he told them, it was one of the many things he told them, so he fights tooth and nail to continue drifting in this vegetative state, but it grows ever more insistent and strips away the layers of mud obstructing his consciousness, leaving him no choice. He can’t remember what it’s like, to have a choice, to choose.

Long words are being thrown at him. He deciphers none and yet an image forms below his eyelids, less blurry with every new description. The professional tone of voice pushes him gently back to his days of studying, a time filled with diligence and the hope to make a difference, and his despairing brain latches on to the information like a drowning man to a piece of driftwood.

Delirium, the familiar voice lists, agitation, seizures, anxiety, hallucinations. Too many syllables to fully absorb, and still he deconstructs them halfway. The mask wouldn’t know them. And if it did, it wouldn’t use them around him.

He’s safe.

He must be, it’s the only valid conclusion, but why does his existence still hurt this much? Why is the world shaking, why is he slowly drifting away from everything he ever held dear, from his life, this earth, himself?

They have Alexis. The realisation jolts through him like an electric shock. He needs to rescue him somehow, together with the people by his side, yet he can’t shoot at the maniacally cackling crowd running away from him because he’s not sure which one of them has him, and he can’t risk hitting his own son. Risk harming his most important footprint on this world. The masked grimace tells him he’ll be too late, and besides, it was his own fault anyway: Lion willingly told them about Alexis’ whereabouts in exchange for his next fix.

And he did do that. He did that. These are the consequences of his own actions, his punishment for complying with minimal resistance instead of staying strong, remembering his training. He sacrificed his son for something this trivial. Offered him up in exchange for complacency. Put himself first.

People are screaming, Claire, his colleagues, his family, and he knows he must interfere if his life is meant to be worth anything anymore, and there’s a small voice inside his head, an old companion. Full of vitriol, pulling at threads to make him come undone, scratching at scabs to cause scars, widening holes so he’s incomplete. It suggests a scenario and with petrifying speed, he’s there to live it.

He has a choice. On the one side is his son, gagged, tears in his eyes, struggling against his restraints. On the other side is –

There’s a –

It’s a syringe.

“-s alright. You’re alright. Take a breath, Flament. You’re safe, you have nothing to worry about. Do you need to throw up?”

Paying no attention to the words, Lion is flailing, sitting up abruptly and touching his legs to check whether they’re still there, touches his face and feels blind panic flare up the moment he spots the object in the crook of his arm. He’s narrowly stopped from ripping it out by an iron grip against which he struggles wildly, demanding to be let go, knocking something over and shattering it.

The vice-like grip never once wavers, and gradually his surroundings begin to sink in. He’s in a hospital, it seems, and the person by his side is none other than Doc, trusty (your hand held the scalpel) Doc who’d never let a patient suffer more than absolutely necessary. Bleeding heart Doc. Doc with his stoic face which barely contains the rage undoubtedly roaring in his chest (and is it directed at Lion?).

From one second to the next, Lion deflates and sinks back into the pillows, thoroughly fatigued. His adrenaline wears off quickly and makes way for uncomfortable nausea and the sensation of itching limbs. He needs to move, needs to shake off this horrible feeling of having slept a decade, but he doesn’t trust his body. The hand finally lets go of his wrist and leaves behind a print even lighter than Lion’s skin already is.

“Alexis is safe, too”, Doc assures him.

Lion jumps at this. How does he know? His throat closes and opens, produces a dry rasp and forces him to cough. Next to him, Doc is waiting patiently. “Where is he?”, Lion eventually gets out.

“At home. He never left.” He sounds composed despite the storm clouds visible in his expression, so Lion isn’t the intended recipient of his cold fury. “You kept calling for him, so I figured you must be worried. But there’s no need for concern.”

“What happened?”

Doc pauses for a few seconds. “We apprehended the ones responsible. Fortunately, we intercepted their outgoing messages, so what little information you gave them never reached anyone else.”

If this was true, Lion could exonerate himself. He also takes note of how Doc is silent about the before. He must guess Lion remembers being captured, remembers what they did to him. Bruises on his body are evidence for some of it, and the hellish trip tells the rest of the story. “How much did I say?”

“Doesn’t matter. We caught it.”

“How much?”

“You shouldn’t worry about -”

“Gustave!”, Lion roars, desperate to be either condemned or redeemed. He needs to know, must know so he can better assess his own mental strength. So he knows what to confess. So he can pray for forgiveness.

Doc’s lips are a thin line. “I don’t know. Grace and Mark had an agreement with Harry not to disclose any details. He says it’s standard procedure to prevent potential animosity.”

Not good enough. He’ll never be able to look Alexis in the eyes again if it turns out he did mention him. How much of his memories are real, how much were part of his nightmares? “What about my son?”, he whispers and Doc just shakes his head.

“As I said: I don’t know. Try to get some rest, Flament.”

Just as he exits the room, Lion spots the deep scratches on Doc’s forearm. Please stay, just please, he yells at Doc in his head, unable to bend his lips around the words. Don’t leave me alone. Don’t leave me.

He starts crying again.

So weak is he that the tears won’t stop, can’t stop, a broken silhouette in the shape of a man. Fragmented, just like his thoughts. He can’t remember ever feeling this terrible, hasn’t felt this frail and fragile in forever. His body doesn’t feel like home.

No time that night is spent sleeping. Restless, he crawls out of bed, explores the room that isn’t his while dragging his IV stand along, lets his eyes wander over pages not belonging to him, books left on his nightstand on accident probably, and doesn’t absorb a single word.

Once his thoughts are his own again, he utilises them with newfound fervour. He requests his phone and types until his thumbs hurt, types and deletes, corrects, amends, reinvents.

This is a theme in his life, an endlessly repeating circle: arrogance begets punishment. A boastful adolescent loses his innocence by nearly terminating an unborn life, by indulging vices too great for him to understand. A reformed young man deeming himself competent is burdened with death and riddled with blame (your hand held the scalpel).

A man, feeling invincible, having repaired bridges, full of empathy, is beaten bloody and broken.

He hasn’t updated his will in years – a symptom of a much more dangerous cause. Rainbow instilled a delusion of grandeur in him, promised him a future, coloured his life vibrantly and provided a new motto. Not me. He won’t be killed in the line of duty, not with these people by his side. He’ll be fine. Whatever happens, he’ll be fine.

This was a close call. Targeted and much more efficient than Six anticipated, or else Lion never would’ve been captured in the first place. If this is a sign, it couldn’t be any clearer: he’s not only not invincible, he’s delicate. This was just one weakness they could’ve exploited, Alexis obviously being another, his family as well. He won’t be as cocky when embarking on a mission from now on, and he’ll try to convey to the others how easy it is not to return.

It’s an earth-shattering wakeup call.

And so he types until the letters blur before his eyes, and says things which needed saying years ago. And he vows that this change in perspective will be a permanent one – he’ll never open himself up like this anymore. He’ll stay alert. He’ll fend off complacency.

And then Montagne is by his side and says a thing too chilling to be true. He’s gone, it drips from his lips like poison, and Lion knows with absolute certainty that it’s the truth. Doc accompanied him on the mission, Lion failed him, only he was saved. Endless protest is shushed by a sad shake of the head, a head with a face so ashen Lion can tell he’s not the only one filled with sorrow at the news.

There’s so much left unsaid between them, so much admiration and respect bottled up in order to show no weakness, and now he knows it’s useless to suppress emotion due to pride. Neither of them had managed to move on and now that Lion was willing to offer introspection and the admittance of possible mistakes in the shape of good intentions and the only course of action he saw, Doc would never be able to accept any of it.

Doc would never tell him he did a good job again. He’d never show him this grim smile again, the one he wore whenever he was satisfied with Lion’s work despite the outcome, laced with pride almost – or maybe this is wishful thinking, because after all they’ve lived through, a part of Lion still craves his approval so desperately that every positive word makes him glow from the inside, only he’s gone now, and Lion will never tell him –

“Olivier.”

Drenched in sweat, a pounding headache and with trembling limbs, he wakes up. Still in the hospital, still with Doc by his side. Of course: his demons have been depriving him of all things positive in his life, so why not him too? Nightmares know no bounds and refuse to accept Doc is sacred.

The other man is flushed slightly, dressed immaculately as always, but most importantly: alive. His gaze is turned downward to where Lion is gripping his wrist so tightly his knuckles are white. “I’m here”, Doc says gently. “You can let go. I’m here.”

Lion considers complying, though when it registers that Doc called him by first name, all he does is loosen his grip. “I dreamt you died”, he admits, staring up at the irregular patterns on the ceiling. He couldn’t ever convey this emotionless void Doc’s death caused in him, the utter emptiness – somehow, it was as if he’d lost his life’s goal. Which is insane, because his aim is to better the world. Not win Doc over.

“I could tell”, says Doc.

He must’ve been distraught, calling out in his sleep, reaching for his colleague. A question occurs to him which he should’ve asked sooner: “Is everyone else alright?”

“Yes.” Hesitation. “Ying has a black eye. When we came, they were currently depriving you.”

Lion figured as much. “I need to apologise to her.”

“You weren’t yourself.” Doc’s eyes meet his. “That wasn’t you.”

His relief must be palpable. Hearing it from Doc’s mouth doesn’t make it true, but it drowns out that malicious voice which never fucking shuts up. Giving up their secrets, thirsting for a meritless high, attacking blindly – even himself: he’s more than that, and knowing Doc is fully aware of this causes him to fight back tears of gratitude. “No. It wasn’t.”

After a moment of silence, Doc’s arm twists around and offers his hand, which Lion immediately accepts. For now, there’s no second-guessing motives, no long deliberation as to whether Doc is helping a co-worker, a friend, someone more than that, whether he’s volunteering support or understanding or something else entirely. All he knows is: the hand is warm, so warm it spreads a soft calmness all throughout him.

“I brought you music.” Doc indicates an old iPod on the bedside table next to the stack of books (which has grown), a vase with flowers and a few cards. Lion either failed to notice them before or they’re a recent addition. “Dominic helped with the selection.”

This is good news. Lion hopes for unfamiliar bands – he’s not sure what kind of reaction the ones from his youth might trigger in this state.

“And I spoke with Harry.” The segue is too casual. Lion has become proficient at reading between the lines with Doc, and he translates it as I gave him a stern talking to. “He said to tell you the information you gave was deemed ‘insignificant’.”

The wording doesn’t escape him: there’s no certainty in what -

“And you didn’t even mention Alexis.”

Lion takes a deep breath.

Between the constant pressure against his temples, the rolling stomach and nauseating dizziness, he’s felt better, but trusting Doc’s words to be true settles something inside him. Doc wouldn’t lie about this. “Thank you”, Lion replies and hopes his earnest gratitude is audible.

There’s so much to say between them his thoughts are going haywire considering just a fraction of it. All their arguments are ultimately the same as Lion’s treason: insignificant in the grand scheme of things. Something invisible connects them and it should be time to drag it to the surface, but not now. Not when he’s barely begun to heal from his outside and inside wounds.

Instead, he asks: “Will you stay a little longer?”

This time, Doc nods and remains where he is, a bastion of calm. And when Lion squeezes his hand, Doc returns the gesture and it’s all he needs for the moment.

It’s enough.

#rainbow six siege #doc #lion #doc/lion #fanfic #oneshot #commissions #my internet search history is very suspicious now #they're tired of dancing after this #there's more important things than beating around the bush

139 notes · View notes

preserving-ferretbrain · 6 years ago

Text

Sarah Monette, the Victim Dilemma, the Aesthetic of Suffering and the Uncanny Valley of Arse Rape

by Wardog

Monday, 27 April 2009

Wardog fails to finish Sarah Monette's Corambis.~

Massive massive massive massive spoilers for about 1/3 of the book. Also, as the title suggests, this article is about nasty things so don’t read if you’re likely to be upset

Preramble (like a preamble but … d’you see?)

This is a bleak day indeed. I just got my hands on a copy of Corambis, the much-anticipated (by me at least) concluding part to Sarah Monette’s Doctrine of Labyrinths quartet and the truth of it is, I don’t think I can finish it.

Oh, Sarah, what happened? I do still love you, I just don’t think it’s working out.

I think it’s partially problems associated with reading through a series over a lengthy period of time. When I read Melusine, The Virtu was already out in hardback and I tore through at them enthusiastically, so drawn into the world and the characters that I barely noticed they were so heavily saturated in angst and woe that one could drown in it by simply opening the book a little recklessly. There was a bit of a wait for The Mirador – which I seem to recall I felt slightly less positively about but still adored – and I fell upon Mehitabel Parr’s I’m sure welcoming bosom to save me from the tidal waves of A&W. As much as I love Felix and Mildmay, it was Mehitabel’s narrative voice that made The Mirador bearable for me. It was such a necessary contrast to the boys: someone with some redeeming sense of self-irony, hurrah!

Of course, Mehitabel isn’t in Corambis. And, God, I miss her. There is a new viewpoint character, Kay Brightmore, blinded and imprisoned and weighed down by the terrible military failure that kicks off the book. He’s basically lost everything that ever mattered to him, can no longer fight on account of being blind and, needless to say, he has angst out the wazoo about it. I was broken and crying by Chapter three.

And, quite frankly, I just can’t take it. I know there is redemption in the future of these characters (characters I really care about, having spent three books with them), I know there is self-actualisation and the potential for happiness, I know because I cheated and looked, but I’ve really really struggled with Corambis. The worst of it is, I’m sure it will be a triumphant and satisfying conclusion to the quartet. Sarah Monette is an excellent writer, I love her world, I love the way she uses language, I love her characters, I love everything about her but I think I’m going to have to accept the fact I simply can’t read her.

Oh, Sarah, what happened? I do still love you, it’s not you, it’s me.

Maybe in a couple of years we’ll be able to work something out.

I think circumstances might be playing into this unhappy state of affairs as well. When I read the early books, there wasn’t a cloud in my sky. But having emerged from a rather bleak year, there’s something a little too close in all that guilt and grief and self-loathing and despair, and I can’t distance myself enough from it to enjoy it. There is a systematic aestheticisation of suffering to be found in all of Monette’s books. I’m not going to try and argue that as either a positive or negative quality in her work. I think it’s probably neutral: it’s

something

art

does

sometimes

. I acknowledge the difference between literary suffering and real suffering, in that there can be a romance in the former which is impossible in the latter. Also literary suffering exists in a wider, symbolic and allegorical sphere than that of an individual having shitty things done to them by life or others, mainly, I suspect, because it’s not real. Take madness – there is something deeply attractive and romantic about the artistic representation of madness (like Felix’s madness in Melusine) and it’s perfectly possible to appreciate that, and to find in it a kind of beauty, without ignoring the genuine distress suffered by the mentally ill. In short, Ophelia is not my friend who killed herself last year.

But the boundaries between the fictional and the real are not comprehensively signposted. There isn’t a traceable spectrum between Lavinia, daughter of Titus Andronicus, and Elizabeth Short. And ultimately I think there comes an impossible point when the literary and the real collide, corrupt each other and prove they are utterly irreconcilable and yet simultaneously inseparable. Yes, they must be understood as different things operating in a different way – a painting of St Sebastian is not the same as footage of the prisoners at Guantanamo bay – but there comes a point when it is necessary to remember what it is that’s being aestheticised and ask yourself why.

Page 152

Okay, so, there’s a gang-rape scene in Corambis.

Felix – former prostitute, broken gay wizard with ex-cruel master and traumatic past - ends up subjecting himself a thaumaturgic orgy in order to earn money to pay for his ailing brother’s medicine.

It’s awful.

It’s not that it’s explicit, just awful.

And I’m no wuss, okay. I’ve read Last Exit to Brooklyn. I’ve read The Wasp Factory. I’ve read American Psycho.

But something about this scene in this book bought me a first class ticket on the ARGH! Train and whizzed me straight out of my comfort zone.

It’s strange to say that something is “outside your comfort zone” in that it feels like a confession of personal failure (also something that’s outside my comfort zone). And then I thought about it more, and I thought: hey, so what, gang-rape is outside my comfort zone. Surely that’s normal. Gang-rape is absolutely something that should be outside all our comfort zones. But here’s where it gets complicated: in fact, fictional gang-rape is not outside my comfort zone. I play H-games, for God’s sake, where they’re ten a penny. You can’t take two steps in an H-game without stubbing your toe on a gang rape. So it’s something more specific than that. It was something about this particular portrayal of it.

It’s not shock value. Felix gets himself sexually abused on a pretty regular basis, so much so, in fact, that it’s kind of part of the fun, and it’s very much tied into Monette’s aesthetic of suffering.

I could not see, and I could barely hear, save for my own harsh breathing. But I could feel. I could Malkar’s hands like silk, running up and down my back, tracing the scars, the old palimpsest of pain. I could feel his body arching against me, his bulk, his heat. I felt his hands slide under my hips, stroking, exciting, felt the stiffness of him against my thigh. Pain, then, but not too much. Pain … and arousal all woven together like a tapestry. I was moaning, gasping; the only word I could form were “Please, Malkar, please, lease,” and I didn’ tknow if I was begging him to stop or continue. Not that it would made the slightest difference either way.

Let’s pin our colours to the mast here. That’s beautiful. Terrible, but beautiful and absolutely literary in its unrealness. It’s also about as accurate a portrayal of sexual abuse than St Sebastian up there is of martyrdom. Perhaps I’m just an irredeemable sicko but I’m pretty sure it’s there, to an extent, to be enjoyed, partially as spectacle (straight women do not generally write about beautiful gay boys sexing each other manipulatively because it’s a Serious Social Issue) and, also, partially as vindication for all the crappy things that have been done to innumerable female characters in a seventy years of fantasy fiction. I’m not, of course, advocating backlash (more manrape!) but there is something compelling and, even perhaps comforting, in characters like Felix, Alec and friends, these beautiful men, who are as sexually vulnerable as women, suffer and fear the sort of things women suffer and fear, and are very much created to be subjects of an extra-textual female gaze and the intra-textual male gaze. I’m not saying that men don’t get raped and looked at, but the sheer saturation is demonstrably less. I am not trying to say that what happens to Felix at the start of Melusine isn’t dreadful. It is. But it’s a literary violation, and it reduces him to a literary madness that is as terrible and as beautiful as the horror that creates it.

But let’s talk about gang rape. Now there’s something you don’t say everyday.

The scene itself written in a very similar style – opulent, not too explicit although more explicit than above, and contains the same awkward issues of dubious consent. In Melusine, Felix chooses to go to Malkar in a fit of self loathing. In Corambis he agrees theoretically to an orgy in order to raise money for Mildmay’s medical treatment. In both cases what ends up happening to him is far more devastating than what he originally signed up for but, equally, there’s an element of complicity to it. If you return to your abusive master, expect to get abused. If you agree to be the centerpiece of an orgy, expect to get fucked. This abject stupidity is granted a psychological plausibility because Felix is a messed up little bunny, with a supposedly tragic conviction of his own profound worthlessness.

Obviously I don’t want to get into real issues here, but I think the reason the dubious consent became one of the bothering aspects of the scene in Corambis is that the sex abuse came plot-approved. I mean, if Felix was walking down the street and happened to get jumped and gang raped by a bunch of guys I think many a reader might rightly cry “Sarah Monette, what the fuck?” as there are very few occasions in which it is either appropriate or necessary to get one of your characters gang raped. But this way he has a “real” reason to put himself voluntarily into a position where he might be. It’s even, perhaps, meant to be on some level noble – in a hopelessly fucked up way, of course. So what you end up with is a deeply uncomfortable situation in which everything conspires, including (conveniently) Felix himself, to create a scenario in which a horrible but beautifully written gang rape is, to an extent, okay. And this is where the aesthetic of suffering starts to come apart at the seams.

Essentially this scene falls right into the uncanny valley. If it was purely designed for titillation I wouldn’t have a problem with it, but as it is there are elements are titillation and elements of horror. We are meant to be shocked and appalled – and it is shocking and appalling – but it’s framed in such a way that we are simultaneously liberated to relish the aesthetic. And quite frankly that leaves a bad taste in my mouth. I think there’s something profoundly hypocritical and, indeed, deeply disturbing in the idea of enjoying both moral outrage and illicit sexual excitement (see Joss Whedon’s Dollhouse). The scene bears all the hallmarks of erotic non-con (there are elements of psychological exposure as well as physical, the victim is physically aroused throughout, the abusers are appreciative of his beauty and his apparent eagerness, and so on and so forth) but worked through a guilt-appeasing filter of “oh gosh, isn’t this terrible.”

My ankles were still chained and somebody had me scruffed like a kitten; I was keening in protest, but I was dragged upright, forced to straddle someone’s thighs, while he continued fucking me with the same relentless steadiness. I was displayed for all of them, my arousal jutting out shamelessly, the tear tracks on my face attesting to my weakness.

Now, I know that, unlike erotic non-con, Felix is not secretly into what’s being done to him and that he’s breaking and being broken here but you still have a scene that’s running in two directions simultaneously and trying to have its cake and eat it. It goes out of its way to tick the non-con wink-wink boxes but then slaps you face in the face with its insistence that this a terrible and traumatic event. Essentially you can’t have a gorgeously written gang rape that positions itself within a carefully constructed aesthetic framework and a psychologically accurate and traumatic portrait of a terrible ordeal.

And, ultimately, I guess you have to ask yourself if it’s okay to have an aesthetic gang rape scene full stop. The idea bothers me less as pornography but here, I would argue, that it gains an added erotic piquancy from the fact it really is annihilating Felix, which, again is troublesome. Essentially it’s why raping Clarissa is so much more interesting than raping Justine, and why it’s all right to get off on the latter and not the former.

The more I’ve thought about this and tried to articulate my issues with it, the more complex and convoluted it has become. There is, of course, an element of the purely personal about – I didn’t like it and it upset me – as well as these more abstract, intellectualizations of it. I dug around on Monette’s Livejournal – on which is usually charming and sensible – to see what I could find and, lo and behold, she has written quite comprehensively on the subject, which I shall now quote pretty much in its entirety:

I knew from very early on that Felix was going to turn back to prostitution to get the money for a doctor for someone he loved (I knew this was going to happen before I knew Mildmay existed), and I knew that he was going to end up in a situation that was completely out of his control and that hurt him badly. Because Felix is reckless and self-destructive and because under all his vanity, he doesn't think he's worth protecting. And because it is a kind of answering horror to his being raped by Malkar at the beginning of Mélusine. And because he needed something that would force him to confront these issues--force him to see that he doesn't deserve to be abused--and it had to be something superlatively unbearable if it was going to get through to him, because Felix has way too much experience at ignoring his own pain.

Say what? So it’s redemptive gang rape, the sort makes you a stronger and better person? What … the … fuck? It’s like those Hollywood amnesia plotlines (one blow to the head gives you amnesia, another blow cures it) except with sexual abuse. I know, again, we’re operating in a fictional sphere but this is so made of wrong that I’ll just content myself with linking to Dan’s article on

the victim dilemma

and throw my hands up in despair.

I quite enjoy Monette’s aestheticisation of suffering, I could probably navigate the uncanny valley if I really had to but I am sick to death of male fantasy writers using sexual abuse as a textual shortcut for character development and I’m damned if I’m going to deal with women doing the same thing. Sarah Monette, you are better than this.

Sexual abuse is not good for you. It happens and people react. Constantly depicting characters who react to it in courageous and life-enhancing ways is not empowering, it’s fucking demeaning to people who struggle along every day as best they can.

I��m sure in a different time in a different mood I’ll pick up Corambis again and I’ll get to page 152 and I’ll shrug and go “gang rape, meh” and read right on.

But not today.Themes:

Damage Report

Books

Sarah Monette

Sci-fi / Fantasy

bookmark this with - facebook - delicious - digg - stumbleupon - reddit

~Comments (

go to latest

)

Arthur B

at 14:44 on 2009-04-27It's depressing when series go south like this. It's especially annoying when they burn down the virtues of the earlier volumes. I was looking at your first Monette review and you were saying how you were impressed by the fact that Felix was gay, but it kind of wasn't a big deal; I'm getting the impression that as the series goes on that becomes less true, since that LJ extract makes it sounds like Monette intended all along to reduce Felix to a weepy gay man being abused by angry gay men. (If I'm interpreting that right - if Felix pimping himself out predates the existence of Mildmay, that means that Monette was planning to make this happen since before the first book, right?)

permalink

go to top

Wardog

at 15:11 on 2009-04-27Mmm, that's part of the problem though. I don't actually think it's "gone south" - despite the Xtreme angst I was quite absorbed until page 152. It was merely that scene that tripped me out. I'm sure if I could put it behind me and just get on with the book, I'd probably really like it.

permalink

go to top

Rude Cyrus

at 20:32 on 2009-04-27Great, now I need a shower.

While I suppose rape can be presented as being aesthetically pleasing, like in erotic non-con, I still don't like it. I've always found consenting sex between happy, willing partners infinitely more pleasurable -- don't ask me why. This sort of stuff just makes my skin crawl.

What's funny is that I can make it through The 120 Days of Sodom without blinking, but I think that's because De Sade insisted on using the driest, most tortured language possible.

permalink

go to top

Wardog

at 21:15 on 2009-04-27Sorry Cyrus. I'm not sure but I think it's probably easier to be into erotic non-con / rape fantasy if you're a woman than a man, either because you're more likely to imagine yourself as the rapee rather than the rapist which is slightly easier to deal with morally speaking or because the world seems generally reluctant to admit that women can rape people too. Whereas if you're a man who fantasies about forcing women to have sex with him ... well ... hostility many ensue from quarters unwilling to concede the very real difference between fantasy, reality and simulated non-con.

Hmm, I think the thing about 120 Days of Sodom is that, as you say, it's incredibly dull. And de Sade is a terrible writer. There's only one thing worse than a rape scene and that's a badly written rape scene!

permalink

go to top

Arthur B

at 21:18 on 2009-04-27I do wonder sometimes whether deSade was an early pen-and-paper troll. Most of his books seem to be the literary equivalent of telling someone a particular link goes to an interesting and thought-provoking philosophy website when actually it points to goatse or 2girls1cup.

I mean, he went to jail for it, but you have to make sacrifices for "the lulz", as I believe the young people call it these days.

permalink

go to top

http://roisindubh211.livejournal.com/

at 02:43 on 2009-04-28"Constantly depicting characters who react to it in courageous and life-enhancing ways is not empowering, it’s fucking demeaning to people who struggle along every day as best they can."

I have to disagree here- not with the point you make, but with the accusation being levelled at Monette. Felix has spent three books getting abused and every reaction to it has been, basically, "I was right all along, I am worthless. Hmmm, should I hurt myself again or just re-alienate everyone who cares about me tonight?" The enormity of the gang-rape is something he's not prepared to consider his just desserts, and it isn't the only influence on his growth as a person. A lot has to do with having Mildmay -who has been developing his own self-confidence, on his own, without the help of shitty things happening to him- be there for him and push and push to get him (Felix) not to hurt himself any more.

permalink

go to top

Wardog

at 09:13 on 2009-04-28

The enormity of the gang-rape is something he's not prepared to consider his just desserts, and it isn't the only influence on his growth as a person.

I do see your point and I wasn't really dissing Monette, who I actually adore. There was just something about this scene, or the way it was presented, or *something* that was a bridge too far for me. And at first I was inclined to just ignore it and tell myself to stop being a wuss and then I got interested in *why* this scene was so problematic and, secondarily, I realised that, on a wider level, it should probably be okay to stand up and say "for me, this gang rape is not okay."

I will at some point finish Corambis, because I have *hugely* enjoyed the Doctrine of Labyrinths quartet (I have some reviews knocking around here in which I give much sweet sweet love), I think I just need some time to get away from the gang rape.

permalink

go to top

Wardog

at 09:29 on 2009-04-28

I do wonder sometimes whether deSade was an early pen-and-paper troll

Dan and I like the idea of historical trolls, and also explains the Marquis far more than most of pop-psych nonsense I've read does =P

Lucifer, of course, would be the first troll - complaining about the mods.

permalink

go to top

http://miss-morland.livejournal.com/

at 11:54 on 2009-04-28*giggles at the thought of de Sade and Lucifer as trolls*

I haven't read Monette's books, but I still found this post very interesting - it articulates my issues with non-con and dub-con in fiction very well. (I do wonder, though, if ambiguous portrayals of rape scenes are sometimes meant to make the readers think and question their own attitudes, instead of jumping to the safe reaction of 'OMG so horrible'?)

permalink

go to top

Dan H

at 14:25 on 2009-04-28

I do wonder, though, if ambiguous portrayals of rape scenes are sometimes meant to make the readers think and question their own attitudes, instead of jumping to the safe reaction of 'OMG so horrible'?)

You might well be right, but even if that is the intent, it's a deeply flawed one.

Perhaps I'm just an arrogant shit, but I really hate it when people try to make me think about stuff unless it's in a medium *specifically designed* for that.

If you want to challenge my preconceptions about rape, write a book that is *about* challenging my preconcieved notions about rape. Don't try to do it in the middle of a fantasy series that is mostly about hot gay wizards gettin' it on.

If I want to have my ideas about absuse challenged, I'll read Lolita, or possibly I'll track down some abuse-survivors' weblogs. I won't read an otherwise ordinary fantasy novel or, for that matter, watch

Dollhouse

permalink

go to top

Dan H

at 16:05 on 2009-04-28

The enormity of the gang-rape is something he's not prepared to consider his just desserts

I can't speak for Kyra, but the problem I have with this is that it suggests, falsely, that the more traumatic an experience is the less likely you are to blame yourself for it. I'm by no means an expert on the subject of abuse survival but from my limited experience people's tendency to self-blame for things is wholly unrelated to the severity of the abuse suffered. For that matter, the whole idea of rating abuse experiences in order of severity is a bit of a dodgy precedent.

Essentially I think there's an important, and worrying, difference between "Felix has experienced things like this before but, because he has grown as a person, and because of the influence of Mildmay, he does not blame himself for this experience" and "Felix has experienced things like this before but, because this experience is so much worse than the others, he cannot blame himself for it".

permalink

go to top

http://sistermagpie.livejournal.com/

at 21:38 on 2009-05-01I haven't read this last book yet, but I'm glad for the heads-up. Having read the other 3 I can definitely see how this kind of thing would play, and I'm not surprised that she'd planned something like this from the beginning. It does make you think thought, about the idea that this character is constantly going through situations like this, and it's finally when he acheives the kind of abuse he might have always thought would be what he deserved, that he realizes he didn't deserve it. Even if Mildmay and other experiences are also part of his turnaround, I don't know whether that kind of catalyst will click for me the way another one might.

Like, rather than having him be in a situatio that's the same as before, but with one clear difference that makes him see it clearly, it's almost like Helen Keller at the well. Repeated fingerspelling over and over and finally he gets it.

permalink

go to top

Wardog

at 15:28 on 2009-05-11I lost this temporarily in the deluge of comments about other things.

It is possible I've over-reacted to the gang rape; I suppose responses to these sort of motifs are always going to be extremely personal. I feel almost hypocritical because, as you say, there's plenty of indication previously that we were on the Sex Abuse Superhighway and something like this was probably bound to happen. But the way it's framed and written, combinated with its narrative function as a catalyst for change really really squicked me out. I know it's not necessarily meant to be psychologically plausible but there's something deeply worrying in the idea that there is a scale of sexual abuse, the extreme end of which teaches you self respect.

permalink

go to top

valse de la lune

at 14:04 on 2011-07-12I tracked down

this interview

and I'm now extremely, thoroughly grossed out with Sarah Monette:

I think this does happen to gay male protagonists (the most obvious example is Mercedes Lackey's Last Herald-Mage books). And I think Felix does fall into this trap to a certain extent, although in my defense I will say that the reason he gets raped is because I was interested in the tension inherent in a character who could be both rapist and victim. Which could have been a woman, or a heterosexual man, but it was most obvious and easiest to mobilize with a gay man. I also chose a gay male protagonist because my abiding interest is in the power dynamics of human relationships, especially sexual relationships, and it is VERY VERY HARD to write about that with a heterosexual female protagonist without pigeon-holing her and yourself into either a re-inscription of patriarchal gender roles (male dominant, female submissive) or a simple gender reversal (female dominant, male submissive) (which I did work with some in my novella, "A Gift of Wings," in The Queen in Winter). A lesbian relationship is also a possibility, but it's far more interesting and attention-grabbing to take power away from a man than it is to give power to a woman. [...] Also, because we live in a patriarchal society and have for several thousand years, there's nothing new or shocking about the idea that women are victims. (I'm not saying this is a good thing, mind you.) You can get more narrative charge out of victimizing a man and you aren't reinscribing the same old gender role patterns into that ever deeper groove of men act and women suffer.

What the fuck, Monette? My word, lesbian relationships aren't just ~hawt~ enough unlike slender

yaoi stereotypes

wizards sexing it up and... female empowerment is just too boring? Female victimization is just too

banal

to write about so gay men being degraded (and in this case, often raped by women) has more "narrative charge"? There's also something toward the end that basically goes "well, if you are writing about male rape it's super

titillating

shocking so people will recognize RAPE IS HORRIBLE whereas women being raped is just so

every day

so... hey, manpain! That'll get people

thinking

, right? Right!"

I don't know, all of this reads like the slash fangirl's justification why she's not interested in writing girls but wants to write hot boys instead, all disguised under a pretend layer of ~*soshul justeese*~.

permalink

go to top

Wardog

at 23:33 on 2011-07-12Oh dear. I'm actually really annoyed with myself that it took me to Book IV to unpack what was going on with the, err, sexay mainpain and all the arse rape. I did quite like Monette initially - I think partially because when I first read Melusine I was still under the impression that gay characters were pretty rare in fantasy. To give Monette credit, when she actually bothers to be interested in them, she does write interesting female characters - I mean I *loved* Mehitabel from this series.

I think what freaks me out the most is that, as you observe, it's blatant titillation under the label of trangression. I have no problems with people getting their kicks from whatever they get their kicks from, as long as it's a carefully demarcated fantasy space, but pretending it's anything else is deeply toxic.

Also that interview was just awful :(

Maybe it's just because it doesn't apply to me but I don't understand why so many women find two dudes so unbelievably hawt but two women apparently tedious. Ho hum.

permalink

go to top

valse de la lune

at 05:06 on 2011-07-13I think gay characters are still pretty rare in fantasy, but the gay dudes all seem to come from the same wellspring of fanfic tropes. I've read all the arguments as to why dudeslash is a female-positive space that enables women to explore their sexuality and I do get some of it, but I can't shake the feeling that so much of that is hot air; no matter how hard a slash fan argues I can't really see how spamming rape at gay dudes is particularly, y'know, feminist. Maybe it plays with power dynamics and whatnot but, on the other hand,

rape culture

I don't get the thing with YAY HAWT BOYS EWW GIRLS ARE BORING either, though it's been explained to me that most female characters aren't decently written so people'd sooner generate fanfic about boys instead. But that doesn't fly because fandom churns out great volumes of fanfic dedicated to minor male characters, even though some of them barely have a presence in the book/show/movie--see Figwit of the LOTR movies fame--whereas women, primary or tertiary, still get written out or villified. There are even

bingo cards

. Somewhere in that

a valid clause regarding how we're trained to look at media through male gateways thanks to patriarchy and we internalize that. Still don't get it on a personal level because I've always preferred female characters over male, but there it goes.

permalink

go to top

Melissa G.

at 06:30 on 2011-07-13

Maybe it's just because it doesn't apply to me but I don't understand why so many women find two dudes so unbelievably hawt but two women apparently tedious. Ho hum.

Speaking as a straight woman who gets paid to translate yaoi, I can understand that pretty well. :-) It's not that I find girls boring as characters, but as someone who isn't sexually attracted to women, I find myself gravitating toward situations where I can look at/write about two sexy boys instead if I'm looking for smexy times. (Though I'm very, very picky these days about yaoi because of tropes I'm sure I've mentioned before.)

I feel some sympathy for Monette because I do have a hard time verbalizing my tastes without resorting to those same basic arguments about power play or feeling the need to judge the female character and how she is portrayed specifically because she's female (which I wish I didn't, but I do so...). What I find odd is the fact that everyone insists on asking me *why* I find male-on-male romance so appealing, and then I'm stuck in this hem-hawing, putting-on-airs defense because I'm too embarrassed to just go, "Two guys doing stuff to each other is hot?"

(Uh-oh, now I'm having Dorian Gray flashbacks. Oh, Ben Barnes, you scamp, you!!)

permalink

go to top

Steve Stirling at 07:07 on 2011-07-13

I don't get the thing with YAY HAWT BOYS EWW GIRLS ARE BORING either

-- you get exactly the same in reverse from male writers a lot, so I don't see that there's any mystery about it.

permalink

go to top

valse de la lune

at 07:20 on 2011-07-13I don't think Kyra's asking "why male-on-male?" but more "why do people find women inexplicably boring?"

but as someone who isn't sexually attracted to women, I find myself gravitating toward situations where I can look at/write about two sexy boys instead if I'm looking for smexy times.

That doesn't make sense to me because, even outside of sexual context, a lot of slashers just don't want to write women period and I'm sure we don't always only write about what's sexually/romantically attractive to us (or no straight man would ever write male characters).

It also doesn't really answer why women are so villified and hated by fandom at large: why people like Monette believe "it's more interesting to take power away from a man than to give power to a woman," or why slash is passed off as some wonderful female-positive space when it involves a lot of female-negative things, including but not limited to slut-shaming and othering women. Ogle hot boys, whatever (but even so, why so much fucking rape all the fucking time? Why the infantilizing tropes?). But I think you can do that without contributing to misogyny and rape culture.

permalink

go to top

Steve Stirling at 07:24 on 2011-07-13

I don't think Kyra's asking "why male-on-male?" but more "why do people find women inexplicably boring?"

-- I don't. I actually had to start flipping coins at one point to make sure my characters weren't predominantly female.

Maybe it's because I was in single-sex schools for a lot of my adolescence, but I just find women more interesting than men. More complex and variable, on average.

permalink

go to top

Steve Stirling at 07:38 on 2011-07-13

Ogle hot boys, whatever (but even so, why so much fucking rape all the fucking time? Why the infantilizing tropes?). But I think you can do that without contributing to misogyny and rape culture.

-- I don't read much (any, really) slash, but the actually-published equivalents like the book described here don't seem particularly misogynist to me. Just obsessed with Hot Boys in Chains.

As for the rape and stuff, a lot of people get off on that. Trying to tell people that the sexual fantasies which ring their chimes aren't permissible is roughly equivalent to trying to scold water until it voluntarily runs uphill. Much effort, little result.

permalink

go to top

valse de la lune

at 07:45 on 2011-07-13

I don't. I actually had to start flipping coins at one point to make sure my characters weren't predominantly female.

Thank you, Minority Warrior, but if you are a bloke that's not exactly addressed to you.

I don't read much (any, really) slash, but the actually-published equivalents like the book described here don't seem particularly misogynist to me. Just obsessed with Hot Boys in Chains.

I've only read the first book and the gang-rape scene in the fourth, but a lot of the women in this series like to rape gay men for some strange reason.

Melusine

opens with an anecdote about the pure, true love between men. Two women get between it; one proceeds to rape one of the men repeatedly until he wants to kill himself. So, yes, both fandom slash and published slash perpetuate a lot of the same crap. Then there's Monette's interview and strange leaps of illogic which read sexist as hell to me.

permalink

go to top

Melissa G.

at 08:48 on 2011-07-13

I can't speak to that. I don't know why so many writers are so anti-female characters, and it would take me pages of musing to try and come to a conclusion. I was referring specifically to sexual situations (by which I mean stories centering on sex) because the comment I was particularly responding to was "why do so many women find two dudes so unbelievably hot but two women apparently tedious". Which I read as "why do so many women love writing about two guys (sexually) but find writing about two women so boring (sexually)". Perhaps I misinterpreted what Kyra was saying. I stated clearly that I don't find women boring as characters to read and write about, but that I understand why many women gravitate toward male homosexual relationships and why they might find it arousing when they are writing merely to titillate themselves/others.

I haven't read the series in question so I take everyone's word for it that the rape isn't handled well and misogyny abounds. And trust me, I'm the first person to get fed up with the kind of tropes male-on-male stuff tends to come with - especially when written by someone who's probably never even spoken to a gay man before. I got fed up with one author in particular because her protagonists kept falling for their rapists, yuck. But just because a lot of it sucks and perpetuates some seriously shitty stuff doesn't mean that it's not okay to find guy-on-guy stuff hot. And I really don't appreciate being made to feel like because I like it, I am somehow in danger of losing my feminist card.

permalink

go to top

valse de la lune

at 09:57 on 2011-07-13I don't think I have been suggesting that if you like slash, you're in danger of losing your feminist cred; being a feminist doesn't exactly mean everything you consume must be feminist, after all, and we all enjoy things that are problematic to some degree. I just don't like how it's put forward as a YAY WOMEN field when it's not really. Likewise, I've been shouted down in fandom spaces for calling out misogyny in slash, something along the line of

you will find it is you who is misogyny

permalink

go to top

valse de la lune

at 10:06 on 2011-07-13(Sorry that I'm coming down harshly such that you feel you're being discredited as a feminist, though.)

One more thing--I've been told over and over that there is a strong presence of queer women in slash circles, so for some it's not so much a matter of "I'm straight so more cocks yay!!!" In fact, with so many queer women around--so many lesbians even--you'd think there would be more F/F fanfic. But there isn't, so...

permalink

go to top

Melissa G.

at 10:23 on 2011-07-13

I don't think I have been suggesting that if you like slash, you're in danger of losing your feminist cred

I think I was responding defensively to this comment:

Ogle hot boys, whatever (but even so, why so much fucking rape all the fucking time? Why the infantilizing tropes?). But I think you can do that without contributing to misogyny and rape culture.

It basically felt to me like my entire sexual preference/fetish/whatever was being boiled down to "ogling hot boys". It’s those kinds of dismissive, judgmental comments that make me feel like I need to somehow justify what I find arousing. That’s why you have people arguing that it’s pro-women or empowering or whatever to write and read man-on-man love stories. When an attraction is called into question, I think often women in particular feel the need to base that attraction in something intellectual and philosophical. Because it would be wrong for a woman to just find something titillating or arousing. Because women aren’t supposed to like sex just for sex.

I think there are ways that it can be empowering (I wouldn't go so far as to say 'feminist'), but most of it fails in this regard. For me, when I read a story with a male bottom that I can relate to as far as sexual behavior, it makes me feel less weird. There's something freeing about the behavior being related to the position and not the gender, for me anyway. I think that also relates to why an author might find it more interesting (and by interesting I mean because they find it hot) to take power away from men. For some women who are attracted to men, there is something very fascinating and seductive about a man submitting (either sexually or emotionally), probably because it's something so commonly associated with female behavior. So again, it becomes less of a gender thing and more of a relationship role thing. If that makes any sense....

I just don't like how it's put forward as a YAY WOMEN field when it's not really.

I totally understand that. I actually avoid fan written slash like the plague because most of it is just not good. Most of it is (I think) influenced by yaoi, which oh dear god, has such problems. There is so much rape and questionable consent and a lot of "I'm only gay for that guy" and such overly traditional female behavior (even though one of them is male, go figure). And the kind of people you've probably argued with are likely the kind of people who make me afraid to admit I'm part of the yaoi subculture.

But there is good stuff out there. I promise. :-)

permalink

go to top

Melissa G.

at 10:26 on 2011-07-13

Sorry, I made my long post before I saw this! That is odd. Why don't they focus on yuri? Yuri is slowly becoming a more female dominated genre. It's kind of cool actually that the female authors are slowly co-opting a genre that was once basically male-written lesbian porn for men. To each their own, I guess?

permalink

go to top

valse de la lune

at 10:59 on 2011-07-13

It basically felt to me like my entire sexual preference/fetish/whatever was being boiled down to "ogling hot boys".

But... I said that because I think it's pretty dandy if you're just in it for the ogling of hot boys, or balls being cupped gently, or even self-lubing anuses. I don't think you, or anyone else, need to justify it any further than that. Think it's hot? Go for it! That's excellent. Objectifying

men

in and of itself, separate from the concern over straight people fetishizing homosexuality, doesn't really bother me. I'm not questioning the appeal of slash: I'm questioning some of the tropes, the homophobia, the misogyny. Which certainly aren't universal, but there sure is a lot of them to go around. Hell, gay male characters written by straight men also get raped an awful lot (hi Richard Morgan, thank you for that graphic schoolboy gang rape).

Disclosure: I think lesbians are awesome. I'd like to read more stuff with lesbian representation. Being homoromantic does have something to do with it, though.

permalink

go to top

Melissa G.

at 11:11 on 2011-07-13

:-) I think it just came off as hostile because of the swearing, lol. To be honest, I was probably overly defensive because it's kind of a touchy thing for me.

I'm not questioning the appeal of slash: I'm questioning some of the tropes, the homophobia, the misogyny.

Yes, I'm with you here. I have a lot of trouble with a lot of boy/boy stuff that's out there.

Re: Lesbians

If you're looking to try out some yuri, I can lead you to some scanlation sites. I haven't read much yuri so I can't totally vouch for the content, but these are sites that I know of:

Lililicious

Payapaya

Just be sure to check for ratings and such. There was one on Lilicious I read years ago that I was enjoying.

permalink

go to top

valse de la lune

at 11:14 on 2011-07-13OMG yay :D :D :D Thanks for the links. My friend's been sending me some too. I'm also quite pleased to see that a lot of yuri writers are female. Awesome.

permalink

go to top

Cammalot

at 15:23 on 2011-07-13I JUST WANNA WATCH DUDES EMOTE. ;-)

I actually got into yaoi (not slash for whatever reason) because I was attracted to what I thought was the innate equality in such a a relationship. There are a variety of reasons I don't really seek out much fanfic anymore (one of which is the decade-plus that has gone by) but one of them is that I don't really see that equality getting embraced. (I'm necessarily truncating this, I have to imitate being a productive employee at the moment.)

permalink

go to top

Melissa G.

at 19:40 on 2011-07-13

I JUST WANNA WATCH DUDES EMOTE. ;-)

Ooh, yes, good observation. I like that too.

I actually got into yaoi (not slash for whatever reason) because I was attracted to what I thought was the innate equality in such a a relationship.

Ditto. That's what I really like about it too, which is why I hate when they skew the power dynamic too far in one direction without somehow compensating for it in another way. I've never been into fanfic, but I do love doujinshi.

permalink

go to top

Cammalot

at 19:48 on 2011-07-13I wrote up this whole long comment yesterday, but today with you guys' further conversation I realized I was addressing something that Pyro was not talking about, so I'm tweaking, but I don't think I'll have a chance to get to it today.

The extremely short version is that there's a very definite blockage that some women seem to have about writing women, and I had it myself for some time (and that some more extreme versions of it outright baffle me), and have spent a lot of time trying to process, discuss, and debate what the fuck that is about. With theories. I have theories.

permalink

go to top

Melissa G.

at 19:53 on 2011-07-13

The extremely short version is that there's a very definite blockage that some women seem to have about writing women,

Definitely noticed this myself at times. I gravitate toward writing male characters, or at least I used to. I'm very interested to hear your theories whenever you find the time to write them up. :-)

permalink

go to top

Sister Magpie

at 20:07 on 2011-07-13

I would guess that that's probably not all that related to the whole "that's my kink" thing, only not all kinks are sexual. That is, expecting them to explain it would probably be similar to having anybody explain why they find one thing more hot than another.

For instance, I like het and I like slash, but there are certain kinds of stories that could definitely be considered non-sexual kinks that I am more likely to read about in a m/m pairing than a f/m pairing or f/f pairing. I suppose I could try to relate it to power issues with gender IRL, but it's probably more just a kink if it's something I've pretty much always been drawn to.

I don't find that rape or "I'm only gay for that guy" seems to dominate most of the slash I come across, but I think that might often come down to different pairings leaning towards different dynamics. Or else also some authors being better than most.

permalink

go to top

Steve Stirling at 22:44 on 2011-07-13Pyrofennec:

-of the women in this series like to rape gay men for some strange reason.Melusine opens with an anecdote about the pure, true love between men. Two women get between it; one proceeds to rape one of the men repeatedly until he wants to kill himself.

-- that is odd. I'd say it was evidence of misogyny if a guy wrote it, but I have trouble -imagining- a guy writing it, even a gay man. You'd need a very strange set of quirks to do so.

#Ferretbrain #Corambis #Sarah Monette #Wardog

2 notes · View notes

namelesslake · 7 years ago

Text

The Death of Stalin

4/5

There’s no tougher comedic tightrope to walk than satire. Too heavy on the story, and the jokes are lost much like David Michod’s War Machine. Forcing the message feels like a hard nudge in the ribs. Too often is the humor in satire found early in the premise but screenwriters have a hard time bringing the message full circle without being cloying. The jokes are thrown often and effectively in Jason Reitman’s Thank You For Smoking but the clunky third act misses the mark once Reitman wants to force a conscience into its protagonist. Often the source of satire is found in commenting on an industry (specifically Ben Stiller’s duo of Hollywood/studio system in Tropic Thunder and fashion/celebrity in Zoolander) but tackling history merely ratchets up the challenge. Choosing a particularly depressing moment in history, Armando Iannucci swings for the fences detailing the power struggle of Russia’s highest ministries following the death of the red tsar.

Unlike Dr. Strangelove, Iannucci keeps his ensemble of government agents lean but stacks the deck with a can’t miss cast. At its core, the three stooges swirling to clean up past misdeeds and position themselves at the top are played by Steve Buscemi, Simon Russel Beane, and Jeffrey Tambor respectively. Immediately following Stalin’s demise, Tambor’s anxious Malenkov assumes the reigns of the government sending him into a self conscious, dictatorial tizzy. The vultures buzzing whispers into his ear are Beale’s Beria, also responsible for government’s prisons and master of secrets, and Buscemi’s slimy Khruschev born with the gift of never letting his lips cease flapping while simultaneously saying nothing. But Iannucci has been blessed with an entire supporting cast just as talented at keeping the baton in the air.

The inane hilarity of government has long been Iannucci’s specialty, previously helming the riot Into the Loop as well as serving as the show runner for the multi-season awards juggernaut Veep. In each, his government agents are poised and adept at supporting governmental decrees one minute, then trying to tear them apart the next once they find a new angle that better serves their selfish ends. While Iannucci succeeds in scene after scene in Stalin of getting laughs, a rare accomplishment in any right, he never secures the gut check belly laughs from the best of Veep or Loop. Perhaps because his historical source fills every moment with bleakness the second the viewer remembers the close to the truth it is. While never nudging too hard, the film lands some key moments connecting pointing to our administration and the price of truth. Without hesitation, nearly everyone at one point or another advocates for the death of millions. The absurdist, tragic world depicted in Iannucci’s Russia is as devoid of soul as any could be. A doctor is needed to examine Stalin’s body as everyone laments that all the best doctors have already been murdered or exiled at their own bidding.

Outside his madcap center, Iannucci fills out his story with a lively, game set of clowns. Everyone plays into the paranoia to its zenith particularly Paddy Considine as a state radio manager Andreyev. After his audience applauds and files out of the concert hall, Andreyev receives word from on high for a recording of the previously unrecorded concert. Deftly blending slapstick, quick wordplay, and Iannucci’s trademark verbal jousting, Considine rises above the stellar cast as a standout. It’s in the effortlessness that everyone makes what is actually tremendously difficult that so impressive upon reflection. Holding her own as nearly the only female role in the ensemble, Andrea Riseborough delivers scene after scene recalling Chekhov’s Masha

As everyone fights for the throne, their double crosses and backfires hurl the country into insanity and to the brink of chaos. While this presents plenty of connections to our current political landscape, the reminder of government regimes worse than even our own makes our fight for democracy all the more important. The Death of Stalin neither proves to be Iannucci’s crown gem nor does it remove him from his deserved place as Europe’s funniest writer still very much in control of his voice. The absurdity has never been higher, but has it ever been for us either?

#film #film reviews #movie reviews #criticism #film criticism #the death of stalin #armando iannucci #steve buscemi #jeffrey tambor #comedy #movies

3 notes · View notes

nicolasninenien · 8 years ago

Text

Singaporean Paradigm

Statistically, Singapore’s education system has produced outputs of stellar academic results over the last few years, beating many illustrious international academic institutions. I must admit, the system is indeed an excellent one in providing a world-class education.

However, although it’s ranking in the international field is remarkably astounding, it comes with a heavy price upon those giving the end product. Not too long ago, I read an article about an 11 year old boy who committed suicide because he did not meet his parents’ academic expectation. This is indeed a tragic story; that young boy had a promising future ahead of him but it was taken away simply because of an ingrained culture that sweeps every Asian sub-conscience. Elitism 101.

The stress on excellent academic performance is crucial in Singapore. As such, this attitude spawned many ‘Tiger mums’ and ‘Lombardi dads’ to go crazy on their kids at a very young age, enrolling them to specialised tuition centres, music and art classes. In result, this emboldens the child’s capabilities and skill sets, enabling them to perform extremely well in schools. However, we must not neglect the silent few, the ones who can’t cope with such a system. Well, I was one of them.

I was a late bloomer. I was fascinated with cartoons and was rather mischievous in tuition classes (surprisingly, I was well-behaved in school though I do get punished in school at times). I was not interested in the Maths and sciences, I had no intention of even doing the assignments and homework given to me. I was a kid, I wanted to have fun playing with my friends. However, my parents reception to my behaviour was not well received. They placed me in many numerous classes, during the weekdays and the weekends. The tutors did their best but their efforts were futile, I still failed most of my subjects. As such, it really hit me and I thought that maybe I was dumb. I actually believed that I was stupid, incapable of thinking and logical rationalisation. In turn, my esteem was shattered pretty hard. When I was 12, I received my Primary School Leaving Examination (PSLE) results of 163. I still remembered the look on my mother’s face, a face I could not bear to see. A face that projected sheer disappointment and anguish.

The look on her face stirred my emotions quickly, without hesitation. I thought my life was over. “This was it, I’m such a loser”. Those kinds of sentiments rushed through my head, inside the wandering mind of a 12 year old kid. I felt lost and hopeless. However, that did not deter me. I gazed upon my mother’s face with a rousing determination: I made a bet with her. “I will enter the Express Stream”. She nodded without much enthusiasm.

As such, I entered secondary school with a drive to excel. I wasted no time with work. I wanted to be the best in all aspects, no matter what. Finally, at secondary 2, I was no longer in the Normal Academic Stream (NA). I was promoted to the Express Stream. It was glorious, a gamble I made that came true. I still remember the moment of elation when I received the news in the classroom. My efforts were not in vain.

Upper secondary came along, it was smooth sailing from the start. It seemed as though everything was in my favour, no obstacles, no barriers. As such, I was doomed from the start. My egoism mounted and my cynicism grew, I thought I could beat anyone in my class (or even the whole Express cohort). I wanted to prove what I was capable of, a former Normal Academic student. I wanted to beat them all. However, things came spiralling down. I was caught up with duties and responsibilities with my Co-Curricular Activities (CCA) in the Prefectorial Board and the National Cadet Corp (Land). I fought with my dear tuition teacher (Ms Yen) as I always made excuses for not accomplishing work given to me. I always feel guilty about that. Then one day, our amazing chemistry from lower secondary fell apart. I did not see her anymore. That’s where I made one of the greatest blunders in my whole academic life, I chose to join a class recommended by a friend of mine. That tutor, his name was Alvin Tan.

I came for his classes. He was so full of himself who talked about his academic achievements in the past, a braggart who manipulated feelings of his students to make them feel weak and useless, even to the extent of breaking friendships that altered and brewed tensions between former allies by creating unnecessary rivalry. I trusted him. He broke me to my very core. He told me I wasn’t suited for the A-level course. He was so wrong.

In the end, I got a raw score of 17 L1R5 for the GCE O-Levels and headed my way to Innova Junior College up north in Woodlands. I came with an idea of recreating myself, to forget the horrid past of Post O-Levels by establishing a wild and passionate persona. It did not go well. Well, things were easy at first. Then came along the real deal, the dreadful lectures and tutorials. Interestingly, as the months go by, my interests in the respective subjects that I was studying was reinforced while simultaneously dreading the work to be done. It was not a pleasant ride. I had a huge circle of friends at first which slowly deteriorated as the months go by. I fought with certain friends in the Student Council (not gonna state their names) and felt extremely vulnerable.

As such, the environment then felt very hostile as I felt alienated and isolated. I felt lonely, physically and emotionally. I was torn apart. Friends come and go, small talks here and there. Cliques everywhere. I felt as though I didn’t belong. What if Alvin Tan was right all along? Am I really not capable of conquering A-levels? Everything seemed so bleak, I did not have the answers. I mixed myself with a girl I thought I was in love with (dumped her in the end though, we were nothing much). It was all too much.

Until one special afternoon, a question that will forever change the course of my JC experience: “Nic, wanna go Wild Wild Wet with us?”. Everything blossomed, I got close with Asaad, Haziq and Ashleey (which at first seemed to unlikely) and they treated me like family. We laughed, we ate together, we played together, we studied together. Everything was doing just fine (well, not in the academic sense).

It was a long and winding road towards the A-levels, we (mostly Asaad and I) clocked in day in and day out in the library. Studying and mugging every concepts, notes, facts and abstract ideas for our essays. We were all sick and tired of failing (I received a rank point of 17 for Prelims) and we felt miserable. However, the company was great. Just the guys studying (sometimes productively) in the library towards one specific goal, conquering A-levels. That’s where we grew closer and stronger as we headed towards the final countdown.

This is where the story of my formal education ends. Well, you may ask how did I fair for the A-levels. I must say, not too good. I got a 60 Rank Point which was pretty average (though I couldn’t get into a local university). Believe me, A-levels was not easy. It was a suicidal course. However, I did took up the challenge where some may say I couldn’t do it (even Ms Yen doubted me). People may say that getting a 60 for 2 years of studying ain’t worthwhile. Well, I disagree. I’ve learnt so many things beyond the classroom. The notion of accountability and responsibility, the power of resilience and attitude, the will to smile through the times of hardships. I learnt that on my own. No teacher taught me that. Life was my teacher. It gave me a hard lesson these past few years in the Singaporean System.

I am eternally grateful to my teachers, those that were kind and patient, those that were brutally straight forward and honest, those that even question my very sanity. I thank them sincerely. Without them, I wouldn’t be typing this out. Throughout my academic life as a student in Singapore, I must say…

I was the victor and the victim. I had my moments of achievements and numerous failures. In these failures, I learnt the importance of humility because I know what it feels like being a complete loser. It sucks tremendously. It breaks your mind and soul, it leaves you in the dark begging for an answer to your perceived predicament. However, life itself is a dimension filled with endless possibilities. As long as you and I are still breathing, we can make the best out of our lives. As a kid, I thought failure was the end of the world. Everything felt like it was collapsing. Failure is an inevitable condition in the human experience. One must embrace it, one must remain calm and composed in the face of great adversities for life is a great big bubble of ambiguity. Our choices does not necessarily define you, it is what you do even when life seemed to be dead wrong. Respond difficulties with kindness and compassion for it shall be returned to the giver. What goes around what comes around.

Throughout this journey, I’ve met a lot of intelligent people. Oh, remembered the aforementioned 'Elitism 101’ nonsense? Well, there are those who were intelligent and there were those who mixed intelligence with blatant arrogance and disconcerting vanity. These people are those who belittle others, who mistreat them saying that they aren’t in the same level as them, in terms of intellectual capacity. Not the same level? That’s true. You know why? Intelligence is not solely got to do with numbers, concepts and statistics. There are different types of intelligence these elitist high horses need to comprehend. Schools test nothing about intelligence. They do not teach. They forgot to teach and thus we forgot to learn. We were instead forced to memorised in order to get an A for a damn certificate. People, don’t mix yourselves to these narrow-minded freaks. Don’t you dare say you’re stupid or whatsoever. You deserve everything in the world and what it has to offer, no one can tell you different. No one. Not even your parents, your siblings, your teachers and your friends. Intelligence and sheer memorisation, two different entities. Totally different things. You’re neither dumb nor stupid. You’re different and be yourself. Be original. Be you.

So, there you have it people, this is the Singaporean Paradigm, a perspective from a student and his great academic adventure from primary school to junior college, a great emotional rollercoaster that was worthwhile riding. It’s time to move along, to a next chapter of my life.

Thank you for everything, MOE

Sincerely, The Traumatised Teen

2 notes · View notes