#sometimes is important to read

[f--e-u-e-r-t-r-u-n-k-e--n]

Collection of notes: On the confusion between gender and personality. Allowing confusion. Allowing not knowing how to define.

[I've been wanting to make a collection of notes for a while then I saw this interaction between users and thought it was time to contribute. but without the intention of making fun of them. Mocking attitudes prevent people from daring to research and learn.]

Personality n. the enduring configuration of characteristics and behavior that comprises an individual’s unique adjustment to life, including major traits, interests, drives, values, self-concept, abilities, and emotional patterns. Personality is generally viewed as a complex, dynamic integration or totality shaped by many forces, including hereditary and constitutional tendencies; physical maturation; early training; identification with significant individuals and groups; culturally conditioned values and roles; and critical experiences and relationships. Various theories explain the structure and development of personality in different ways, but all agree that personality helps determine behavior. >APA Dictionary of Psychology.

Personality psychology. The branch of psychology that systematically investigates the nature and definition of personality as well as its development, its structure and trait constructs, its dynamic processes, its variations (with emphasis on enduring and stable individual differences), and its maladaptive forms (i.e., personality disorders). The field rests on a long history of theoretical formulation (e.g., trait theories, psychoanalytic theories, role theories, learning theories, type theories) that has aimed to synthesize cognitive, emotional, motivational, developmental, and social elements of human individuality into integrative frameworks for making sense of the individual human life. It has also developed numerous tests and assessments to measure and understand aspects of personality. >APA Dictionary of Psychology. Questioning is a word that is used when people may question who they are sexually attracted to (…) is also used when people may question the feelings they have about their own gender. >Robie Harris "It's perfectly normal : changing bodies, growing up, sex, and sexual health" Effective Personality is a multidimensional construct, with a psychometrically confirmed structure, consisting of four spheres: Self Strengths (self-concept and self-esteem); Self Demands (motivation, expectations and attributions); Self Challenges (decision making and coping with problems); and Self Relationships (empathy, assertiveness, communication).

The first sphere, Self Strengths, refers to two questions: Who am I and How do I value myself? On the other hand, the sphere of Demands of the Self would answer: What do I want, what expectations do I have to achieve it, and on whom or on what does it depend for me to achieve it successfully? The third dimension asks: What do I do when faced with a problem? How do I make the right decisions when faced with a problem or difficulty? Finally, the sphere of Relationships of the Self poses the question: How do I relate to others? (Martín del Buey and Martín Palacio, 2012). (…) Gender differences are the discrepancies in men and women at the cultural, social and value levels, which have been transmitted over the years through the socialization process. The report made by the National Institute of Statistics of Chile (2011) shows the gender inequality between men and women with respect to the roles played by each one, as well as the different responsibilities of one and the other are also presented. Gender roles are the behaviors accepted as masculine or feminine, so they are directly related to the tasks and performances assigned to men and women differently (Instituto de la Mujer, 2013). "the processes of adaptation of gender roles have been strengthened to the extent that it is socially recognized that gender inequalities produce profound inequities that affect the development of women in all spaces of social, public, private and institutional life" (Instituto Nacional de Estadística de Chile, 2011, pp.12). Gender stereotypes refer to those beliefs and ideas imposed and rooted in society about the characteristics, aptitudes and attitudes that each gender should have (Instituto de la Mujer, 2013). Some examples of female stereotypes consider women to be dependent and emotional; while some examples of male stereotypes consider them to be courageous, rational, independent, decisive, etc. The United Nations Development Program shows that the Chilean woman is mainly represented as a mother, but also as a hard worker and fighter; while the image of the Chilean man is related to irresponsibility and machismo, as well as the provider figure. >Castellanos Cano, Silvia; Guerra Mora, Patricia; Bueno Álvarez, José Antonio. DIFERENCIAS DE GÉNERO EN PERSONALIDAD EFICAZ EN UNIVERSITARIOS CHILENOS International Journal of Developmental and Educational Psychology, vol. 5, núm. 1, 2014, pp. 131-139 Asociación Nacional de Psicología Evolutiva y Educativa de la Infancia, Adolescencia y Mayores. Badajoz, España A quarter of a century ago, philosopher Judith Butler (1990) called upon society to create “gender trouble” by disrupting the binary view of sex, gender, and sexuality. Key to her argument is that gender is not an essential, biologically determined quality or an inherent identity, but is repeatedly performed, based on, and reinforced by, societal norms. This repeated performance of gender is also performative, that is, it creates the idea of gender itself, as well as the illusion of two natural, essential sexes. In other words, rather than being women or men, individuals act as women and men, thereby creating the categories of women and men. Moreover, they face clear negative consequences if they fail to do their gender right.

Butler’s notion of performativity echoes a range of social psychological approaches to gender and gender difference. What we social psychologists might call gender norms and stereotypes (e.g., Eagly, 1987; Fiske and Stevens, 1993), or gender schemas (Bem, 1981) provide the “scripts” for what Butler’s describes as the performance of gender.

We are not the first to point out the relevance of Butler’s work to social psychology. Bem (1995) drawing on Butler’s work, argued in that as gender researchers we should create gender trouble by making genders that fall outside of the binary visible, in order to disrupt binary, heteronormative views of gender within and outside of psychology. Minton (1997)

To be clear, Butler does not argue that biological processes do not exist or do not affect differences in hormones or anatomy. Rather, she argues that bodies do not exist outside of cultural interpretation and that this interpretation results in over-simplified, binary views of sex. In other words, biological processes do not themselves result in two “natural,” distinct, and meaningful, categories of people. The two sexes only appear natural, obvious, and important to us because of the gendered world in which we live. More specifically, the repeated performance of two polar, opposite genders makes the existence of two natural, inherent, pre-discursive sexes seem plausible. In other words, Butler views gender as a performance in which we repeatedly engage and which creates the illusion of binary sex. She argues:

“Because there is neither an ‘essence’ that gender expresses or externalizes nor an objective ideal to which gender aspires; because gender is not a fact, the various acts of gender create the idea of gender, and without those acts, there would be no gender at all. Gender is, thus, a construction that regularly conceals its genesis. The tacit collective agreement to perform, produce, and sustain discrete and polar genders as cultural fictions is obscured by the credibility of its own production. The authors of gender become entranced by their own fictions whereby the construction compels one’s belief in its necessity and naturalness.” (p. 522) >Thekla Morgenroth and Michelle K. Ryan, Gender Trouble in Social Psychology: How Can Butler’s Work Inform Experimental Social Psychologists’ Conceptualization of Gender?

The second critical theory of gender is queer performative. This theory revolves around any gender action that varies from heterosexual behavior. Any gay, lesbian, transsexual, bisexual, transgender, etcetera person is in the gender queer group. The word queer refers to straying from the normalcy of heterosexuality to any abnormal sexual or gender preference (Wood). Researchers of the queer performative theory realized that because gender changes in all people and people do gender, categorizing gender as a verb makes more sense.

The interchangeability of gender traits in stereotypical straight and queer people is easy and often done. The gender identity of a person is fluid and not a rigid structure (Wood). Gender identity change is common now in most every group of people.

Respect and knowledge of all types of gender queer people is a major goal in this theory (Wood). If all races, groups, and sexes are to be respected then shouldn’t all other traits? Queer performative theory has two main points to convey. The first point is how gender should not bind a person’s attributes and characteristics. Physical traits can always change. People dye their hair other colors, get braces, lose weight, and go bald. Queer performative aims to prove that gender just like those physical characteristics can be changed. The term “man” interchanges from an eighteen year old, to a WWII veteran, then to a bedazzled drag queen. Consequently, the term woman interchanges between a young bride, to Cat Zingano, to Marilyn Monroe. The sex of a person is only one part of a whole human being (Wood). People cannot look to the sex of another person for the gender stereotype they wish to impose upon them. Even biological sex characteristics get murky at times. Back in 1629, a court was troubled with the case of manservant T. Hall (Meadow). Hall was both womanly and manly to the people around. The people physically checked Thomas/Thomasine and when they could not prove or find a sex, court order Hall to wear both women’s and men’s clothing at all times (Meadow). Nearly four hundred years ago this case was given and stories nowadays hardly have changed. The second main idea of queer performative is how our gender is in a constant state of flux (Wood). We could never live completely without changing out gender outlook. Identities are performed when dads watch baseball meanwhile bottle-feeding their newborn child. Gender identities are expressed when second grade girls do not cry when they are teased but retaliate with force. Some girls love to be girls; others just like to be themselves without any boundaries at all. I grew up in dresses. I actually had to learn how to crawl on my hands and feet because my knees would become caught in the skirts. When I grew and was in grade school, I still wore dresses very often. However, I would fight, kick, and hit any boy or girl who said any harm to my friends or me. Gender is not a wall or structure! >Critical Theories of Gender. https://www.azwestern.edu/sites/default/files/awc/student-success-center/15-03-02_Critical_Theories_of_Gender.pdf

[Takes references from "Wood, Julia T. Gendered Lives: Communication, Gender, and Culture. 10th ed. Belmont, CA: Wadsworth Pub., 2013. Print".]

[mofsblog]

"This is some gay shit" Good. Silly. Fair enough. Doesn't inherently invalidate other interpretations of the relationship. Honestly yeah, it is kind of gay regardless of their canonical relationship status

"There's literally no platonic explanation for th-" WRONG!! KILLING YOU WITH AMATANORMATIVITY KILLING LOBSTERS 🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞🦞

[morganbritton132]

Continuing from this (starting here and here)

Hopper doesn’t want to think about Steve.

He doesn’t really want to even see the kid or his broken arm or his wide gap-tooth smile where he’s starting to lose baby teeth. Every interaction is a reminder that he’s not doing anything to stop this clear case of child neglect.

He’s failing Steve and if he’s failing a kid whose problems are so blatantly obvious, then he could fail Sarah when the problems are close to home.

So no, Hopper doesn’t say anything when he walks into Melvards and sees Steve at the check counter. He nods to Joyce and continues on.

He’s got a list from his wife and that’s all he’s here for.

Sure, he noticed that on the check out counter is a tube of toothpaste, a box of cereal, and a pint of milk. Sure, he clocked Steve with his chin resting on the counter, pushing coins across it to Joyce and asking, “How ‘bout now?”

That’s just good observation. He’s a cop. It’s his job.

“That brings you to $2.54,” Joyce tells him. “You need 1 dollar and 0.32 cents more.”

Hopper is not listening to Steve sigh. He’s not standing next to a shelf of sunscreen watching Steve push the toothpaste to the side like, “I don’t need to brush my teeth. Is it enough now?”

“How about this,” Joyce whispers, leaning on the counter like they’re going to share a secret. Hopper is sure she’s crinkling her nose when she pushes the money back over to him, “How about you take all your quarters and I let you take your cereal, and your milk, and your toothpaste.”

Whereas he can’t see Joyce’s face, he can see the instant suspicion on Steve’s face when he steps back from the counter, “That’s stealing.”

“Yeah, silly, if you steal it. You’re not doing that,” Joyce concedes. “I’m letting you have this stuff.”

“I don’t think you’re allowed to do that, Miss Joyce. You’ll get in trouble.”

“Well, how about a trade?”

“Like a Quick Pro Skrull?”

“Sure,” Joyce says easily. “I will trade you $2.54, one box of cereal, one pint of milk, and a tube of bubblegum-flavored toothpaste….if you let me sign your cast.”

Steve’s voice is soft, considerate the way kids aren’t supposed to be when he says, “Miss Joyce, that’s not a fair trade.”

“It’s the only thing I want, baby.”

“Fine,” Steve agrees, laying his casted arm on the counter. “I get my allowance in two days and I’m going to buy you a flower.”

“That sounds lovely, sweetheart.”

Hopper leaves the sunscreen- it’s not even on his list - and goes to the canned goods in the next aisle. While there, he has a better view of Joyce writing her name on Steve’s cast.

“You know, Steve,” She tells him. “I’m going to put my phone number right here because I have little boy about your age. His name is Jonathan.”

“I know Jonathan from school.”

“That’s good! Maybe some time you two can play together.”

“Oh, no thanks, Miss Joyce,” Steve shakes his head sadly. “My dad says you’re poor an’ I’m not allowed to play with poor people ‘cause poor people are lazy and don’t work hard even though you have a job…”

Steve pauses like he’s contemplating that before continuing, “And Tyler - that’s Tommy’s big brother. Tommy is my best friend and I wish I lived at his house - he says that sometimes people are so poor that they can’t a’ford food and they eat babies. He says that happened in Ireland and he would know too ‘cause his great-great-great-ate grandpa is from there.”

“I’m not a baby,” He tells her seriously, “But my Nonna says I’m a sweet boy and one time I was playing with a kid from the trailer park and he bit me.”

He tells her, “I don’t wanna be eaten.”

Joyce blinks at him.

Hopper blinks too where he’s listening in.

Steve doesn’t blink at all but instead gathers up his stuff. He gives her a big smile and says, “Thanks, Miss Joyce. I love you. Bye.”

Then he’s gone.

The store is empty except for Hopper in the baby food aisle and Joyce at the counter. She asks aloud, “Did I just get accused of cannibalism?”

Hopper has never laughed harder.

[poorly-drawn-mdzs]

"Why did you change my name to 'Mr.Eaten?'"

Collaboration with the amazing @foongle! Go check them out!

[Hungry for more? Join my Ko-Fi to see WIPs and extras!]

[theerurishipper]

Honestly, I do love Dick as Nightwing and Bruce and Dick's complicated relationship, but sometimes I like the old days when things were sweet and simple you know? When it was just them and Alfred and they all had fun with each other. Like when they blew off boring parties to go on patrol by using Dick's bedtime as an excuse. When Bruce let Dick go off on his own and said he was allowed "a little escapade" and ruffled his hair. When Alfred always brought coffee and "turkey sandwiches with Swiss cheese" to the Batcave while Dick and Bruce happily talked about their nightlife escapades. When Dick would make Bruce laugh regularly.

When they discussed Hamlet while riding in the Batmobile. When Alfred picked Dick up from school and dropped him off on dates and helped him go behind Bruce's back on cases. When Dick and Bruce would play fight with each other. When Dick made Batman's meetings with Gordon "more optimistic." When Bruce was being a helicopter parent and wanting to know why Dick would want to go to a public school. When Dick would sneak off with Clark when Bruce wanted him to stay back to finish his homework, and Clark did it for him before Bruce noticed. When Bruce teased Dick about his failed date, and they talked about it and their love lives. When Bruce apparently told stories about Joker to Dick during rides in the Batmobile. When Dick was actually the one who named the aforementioned Batmobile. When they would banter even in between a serious case. When Dick would cling onto Bruce to annoy him. When Dick was contemplating how alone he felt, and Bruce just showed up to catch him and do a routine on the trapeze with him. When Bruce would call Dick "kiddo." When Dick even called him stuff like "Bruce-ter." When Bruce used to call Dick "chum." I miss those days.

Yeah a lot of these are from Robin: Year One but that's just because it's the one I remember most. But there's a lot of them just having a good time and it doesn't feel like we see a lot of that anymore.

[cozylittleartblog]

had a(nother) nightmare

[crow-caller]

I really do think looking at bad writing is one of the best ways to learn about writing in general, especially for beginners.

the thing is, writing in general is highly subjective- a good sentence will be good in different ways to different people, or not impress someone at all.

a bad sentence? most people can spot bad sentences easy, especially if it is presented to them as 'here's an example of a bad sentence, let's unpack why.'

bad writing can also be very funny, which I think is again often more engaging than 'here's a work of literary genius go analyze it'. Like here's some bad writing from lightlark3:

The moment it was out of Horus’s grip, his body became bones. The flesh turned to ash. He became a corpse.

it's dumb as hell, but I think could foster a solid discussion when you ask 'why? what is the author intending to say? what about it makes it feel 'clunky'? How would you write the same idea?'

[mikuyuuss]

Mitsuri's weirdness is slept on me thinks. It's true that Mitsuri sorta represents normalcy in kny's bleak setting, despite being seen as unusual over something she can't control, but still, she's a weirdo <3 (affectionate) Maybe people forget that Mitsuri is weird because she doesn't have deceased parents (therefore isn't as unhinged as the other characters) and is girly(?) so surely, she must like normal girly things like makeup and shopping. I mean true! I'm sure she enjoys those, but I don’t think those are the only things she would like. (besides food ofc) Mitsuri is depicted as so stereotypically girly that it is unconventional in itself. She made the boys wear LEOTARDS in the hashira training arc. She's weird in a childish whimsey sort of way.

Mitsuri is a fangirl. She gushes over her colleagues at the most inappropriate times, but she compliments the things that are unconventional, like Sanemi's scars, Giyuu being quiet, or Obanai being snakey. (whatever that means)

Ya girl is also so obsessed with cats that her breathing style techniques are named after cats?? Complete with meowing sound effects too. Cat Love shower hello?!??.

Also I feel that aside from normal girly things, Mitsuri would LOVE magical girl things like sailor moon. There's so much magical girl motifs to her. She is like obsessed with cute things that her breathing in itself is super colorful and shiny, with bubbles and glitters. She also does a lot of unnecessary backflips, because she's just that. Extra.

She even has little hearts on her tsuka! Everyone else is regular looking or plain. I think she's the only one with that kind of design on her katana.

And I don't think these are a coincidence. Even in extra materials she literally has a ridiculous yet adorable OC named Big Hand Cat.

Look at her dragon even! Its so silly and whimsy I love it. It's like her cat oc in dragon form, complete with the big anime eyes. Again, Mitsuri would soooo love anime.

She even made a manga where the characters are based on FOOD

In short, Mitsuri is equivalent to THAT weird art kid. She's a weirdo let her be weird. 🩷

[somerandomdudelmao]

@tapakah0

This little bunny means the world to me

[hangingslothcentral]

I swear, every time there is news about trans rights in the UK a chorus of people start crowing about a certain wizard school franchise as though a decent response to trans people having their freedoms limited is 'don't engage with wizard school content'

to be clear: the problem isn't that we shouldn't talk about that content in the context of trans rights. it's that whenever a conversation about trans rights starts happening, everyone starts talking about that content. not only does that suck out all the air from the room and reduce a conversation about people's freedoms into one about whether you should engage with a specific media franchise, but it keeps that content in the centre of the public's attention.

advocating for trans rights is not the same thing as encouraging people not to engage with specific pieces of media. of course, discourage people from engaging with it if you want, but too often I'm seeing people see a conversation happening about trans rights in the UK and IMMEDIATELY starting to talk about this other issue instead. it's not that it's not relevant, it's that it's not the point.

*stop feeding the fire.*

[starscream-is-my-wife]

From transformers marvel uk 93,

Tldr Jetfire hesitates more saving autobots then humans and is worried that he might be a traitor, Buster reassures him that he is still an autobot, Earth is his home and he should be proud of it

Posting some of my favorite official Jetfire stuff that isn't just cut content

[kangals]

two years later.

the first night I brought Boone home I ended up sleeping on a dog bed next to him all night long to stop him from crying the moment I was out of sight. I had a miserable uncomfortable night full of anxiety about how I was ever going to be able to live with this dog, and the moment the sun rose I took him for a long walk around the city to ease my mind.

the last night I spent with Boone I slept on a dog bed next to him all night long, because I knew he would die the next day and I couldn’t bear to not be with him every minute. I took a picture of the last sunrise and the way the light touched all the overlapping planes of limbs and body and blanket. knowing that something is ending makes you search for significance in everything. I did the math: 77,736 hours in between those two sleepless dawns. and all I could think was god, please, just a little more time. it’s too soon. I’m not ready.

he died as peacefully as he could have. at home, on a beautiful day, head on my lap as I clung to him in a silent panic. I have never in my life been as terrified as I was while watching the doctor push a syringe full of poison into his IV.

it needed to happen and it was quiet and gentle and the air smelled like lilacs but it was the scariest thing I’ve ever done and it replayed in my head for months afterwards over, and over, and over. what a privileged life I lead to be traumatized by a peaceful euthanasia!

it took me a long time to realize that my grief had changed from a productive healing process to something more akin to emotional self-harm. that it was ok to let go of the sadness and leave it to trail behind instead of holding it close. despite everything time has kept moving forward and the wounds have healed over. there’s still pain - I’ll never stop missing him and I’ll never forget the misery of that day. but god, 77,736 hours and I refuse to only remember the final few. there was too much love to be covered over like that.

I’ve been pretty good about moving on, of wiping away the old stains and re-using the leashes and bowls. one of the last things I was struggling to put away was a linen storage bin where I kept his coats and pajamas. I don’t have a use for them anymore but the thought of giving them away was abhorrent. the colors and patterns and textures - soft fleece, black and white houndstooth, blue camo - were in so many pictures and memories it was like his second skin. I couldn’t put them away.

I brought them up to the attic this morning, carrying it on my shoulder like a pallbearer. i remembered my grandmothers funeral last year when I tossed a shovelful of dirt into the grave. the rabbi described the act as “the greatest mitzvah you will ever do.”

shutting the attic door behind me sounded a lot like dirt hitting the top of the casket.

[amogus-real-not-clickbait]

part 1 of a little comic / art sequence that i've been working on! :D it's part tribute, part experimenting with brushes n colors and trying new thingz :]

| 1 | 2 | 3 | ... |

and thus continues my endless quest of spreading the carrot fics like a plague! if you've seen my art floating around you probs already figured that this au holds a very special place in my heart, forever and always!!

if you haven't heard of it, it's a fic series by @crowned-ladybug called carrot soup!! it made me wish i could speak colors and i need more people to share my struggle xd

go check it out if you're into sweet voice lore and qpr level gayness and just wanna feel warm and soft and warm (hurt/comfort my beloved) <333 there are some heavier themes cos everyone's traumatized but they're working through it! be sure to check the tags and stay safe! <3

[paranormal-taters]

I'm rereading Lockwood & Co. and I just started The Screaming Staircase and. the thought of little 8-year-old Lucy Carlyle walking around in an agency uniform actually makes me so sick to my stomach.

[bixels]

I'm not getting into The Giving Tree discourse...

[casscainmainly]

Hi

i wanted to ask, in canon, cass is able to speak normally and fluently but struggles with writing and reading and dyslexia right?

From what i've read that seems to be true, but i haven't read modern cass stuff besides bg 2024 where she seems to be able to read and write aswell

She does indeed have a language disability! From Batgirl (2000) #67:

Important part is that while she does struggle to read and write (more than speaking), Babs points out the she "can learn". We know from Gabrych's earlier issue (#58) that Cass has advanced significantly at this point in her reading skills:

It's still a struggle, but I think at this point her skills are speaking > reading > writing (and speaking is not completely fluent). Another thing we know from Batgirl (2008) is that Cass attended ESL lessons and got tutoring from Alfred. Beechen was trying to explain evil!Cass though, so whether you accept this explanation for her sudden fluent English is up to you. I think this is a copout since we didn't see this progression, and it's immediately followed by N52 anyway. But to answer your question about modern!Cass, honestly it's all over the place. We can start with Tynion's Detective Comics (2016), which remains the modern run that focuses most on her disability. Basil's Shakespeare lessons improve Cass' language ability, to the point where Babs says:

This is markedly different from pre-52, in that Cass seems to be a better reader than a speaker. So modern!Cass is reading > speaking > writing in terms of skill. This is supported by Batgirls (2022), where Cass is seen to be a huge bookworm and reads Steph's letter in #14. I think Batgirls overshoots this a bit because we don't see her struggle with reading at all, erasing her disability to an extent - this is my qualm with the current Birds of Prey run as well in regards to Cass' dialogue. Modern comics are hit or miss in terms of how they handle, or if they even address, Cass' disability.

Writing is the field least explored both pre- and post-52. We know from Batgirl (2000) #2 that Cass does practice writing, or at least she did at one point. As far as I recall we don't see her write again? Cass can type - as far back as Batgirl (2000) #30, we see that she can use a keyboard. We also know from TT's Nightwing that there's a family group chat, though Cass mostly sends emojis. Typing with a keyboard reduces the cognitive load of making sentences, so it's likely Cass is a more confident typer than she is a handwriter.

In general, modern comics have focused most on the speech aspect - Tynion's 'Tec, Batman and the Outsiders (2019), Batgirls '22, Batgirl '24, and Mariko Tamaki's story in Festival of Superheroes generally all focus on speaking over reading/writing (in contrast to Batgirl (2000) which touched on all three areas). The preview of Batgirl #7, though, has Cass listening to an audiobook as she reads, so Brombal is highlighting Cass' reading disability! Even if it's not all that visible in Cass' modern appearances, her disability is still a huge part of her character!!!

If you want a fairly in-depth look at the history of Cass' disability (until 2023), check out @dailycass-cain's post!